For the nearly three millennia since its creation, the Iliad's Real Story has gone undiscovered. Homer, a blind poet as antiquity believed him to be, created a powerful war story which must have enthralled his listening audiences. But this story concealed another one, far grander in design, and immensely more clever in execution, which can be discovered only by careful examination of the written text. Living in an age where literacy was minimal, Homer created this story for the gods, and undoubtedly never expected any mortal to understand it. Homer's imaginative fantasy radically undermines traditional Trojan War mythology, and exposes the speciousness of war's glory, the folly of the warriors who (supposedly) fight for it, and the amorality of the gods who help them do so. Homer's great war poem, great indeed, war poem indeed, is in its depths antiwar. In piecing together the Iliad's web of secret plans, deeply hidden motives, and subtle lies and deceptions, and in the process identifying and discarding post-Homeric corruptions to the text, we will find an Iliad which is not a prelude to Achilles' glorious early death and the Fall of Troy, but the opposite. In a concealed ending, towards which the entire story has been leading, Homer's own words will tell us how Achilles, as supplicated by Priam, chooses a long life without renown, and goes home. The Greek army, unwilling to fight without its greatest warrior, leaves also, sparing peaceful, holy Troy, Zeus’ favorite city and best hope for mankind. Homer tells this story with a brilliance that is almost unimaginable, until one actually encounters it. The Real Iliad is an immense intellectual challenge and an inexhaustible source of surprises. Far from a formalistically "heroic" epic, as has long been thought, it is an imaginative expression of the full creative powers of Western antiquity's greatest author.
The most complete and detailed reference book of its kind, Who's Who in Classical Mythology contains over 1200 extensive entries, covering both Greek and Roman characters.
The book subjects male characters in six south Wales novels written between 1936 and 2014 to detailed, gendered reading. It argues that the novels critique the form of masculine hegemony propagated by structural patriarchy serving the material demands of industrial capitalism. Each depicts characters confined to a limited repertoire of culturally endorsed behaviourial norms – such as displays of power, decisiveness and self-control – which prohibit the expression and cultivation of the subjective self. Within the social organisation of industrial capitalism, the working-class characters are, in practice, reduced to dispensable functionaries at work while, in theory, they are accorded the status of patriarchally-sanctioned principals at home. Ideologically subservient and ‘feminised’ in one context, they are ideologically dominant and ‘masculinised’ in another. As they negotiate, resist or strive to reconcile the irreconcilable demands of such gendered practices, recurring patterns of exclusion, inadequacy and mental instability are made evident in their representation.
Why do some marriages grow stronger in the face of conflict or stress while others dissolve? In this book, two pioneering researchers present a groundbreaking theory of how mutually responsive behaviors emerge—or fail to emerge—in relationships. Illustrating their findings through the vivid stories of four diverse couples, the authors explore how conscious considerations interact with unconscious impulses to foster trust and commitment. Compelling topics include why marriages have such different personalities and what makes partners truly compatible. Also discussed are implications of the model for helping couples sustain satisfying relationships and improve troubled ones.
Frank, an Army Special Forces vet, screwed up, went to prison, and is now out, living in small-town Wyoming and trying to go straight. But then some old "friends" from the big house come to collect on a favor, and everything goes totally nuts, forcing Frank to go outside the law to save the one thing he cherishes most.
The underground history of the American education will take you on a journey into the background, philosophy, psychology, politics, and purposes of compulsion schooling.
Vernon came out of the Civil War with a honed talent for violence that disallowed any opportunity for a peaceful existence. Pursuant to a confluence of circumstances, five children living a scratch existence on the outskirts of Jackson, Texas will come to rely on that talent for their very lives. Indeed, one runaway Chickasaw with vengeance in her blood and another with destruction in his will force Vernon to extremes that challenge not only his skill with a revolver but his very survival. With an old man carrying an old shotgun riding at his side, Vernon seeks to control his personal demons while going up against the very real threats that seek to destroy both him and the people he cares about. “The author delivers a strong protagonist and an engaging supporting cast. … A likeable, quirky hero and delightful youngsters make this violent yarn appealing.” — Kirkus Reviews.
He argues that the dramatic depopulation of the Highlands in the nineteenth century was one of the main reasons for the decline of Gaelic piping. Gibson follows the emigration of the Highland Scots from the Old World to the New - to where an echo of traditional Gaelic music can still be heard.
Actors will each play 18 to 32 characters. On a simple stage, with the clock ticking in front of everyone?s eyes, the cast speeds through all of Greek mythology plus the Iliad and the Odyssey. This fast, funny, modernized version is easy for today's audiences to understand.
John Kenneth Muir is back! This time, the author of the acclaimed Horror Films of the 1970s turns his attention to 300 films from the 1980s. From horror franchises like Friday the 13th and Hellraiser to obscurities like The Children and The Boogens, Muir is our informative guide. Muir introduces the scope of the decade's horrors, and offers a history that draws parallels between current events and the nightmares unfolding on cinema screens. Each of the 300 films is discussed with detailed credits, a brief synopsis, a critical commentary, and where applicable, notes on the film's legacy beyond the 80s. Also included is the author's ranking of the 15 best horror films of the 80s.
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