The notorious image of Pandora haunts mythology: a woman created as punishment for the crimes of man, she is the bearer of hope yet also responsible for the Earth’s desolation. She binds together perpetuating dichotomies that underlie the most fundamental aspects of the Western canon: beauty and evil, body and soul, depth and superficiality, truth and lie. Speaking in multiplicity, Pandora emerges as the first sign of female complexity. In this compelling study, Vered Lev Kenaan offers a radical revision of the Greek myth of the first woman. She argues that Pandora leaves a decisive mark on ancient poetics and shows that we can unravel the profound impact of Pandora’s image once we recognize that Pandora embodies the very idea of the ancient literary text. Locating the myth of the first woman right at the heart of feminist interrogation of gender and textuality, Pandora’s Senses moves beyond a feminist critique of masculine hegemony by challenging the reading of Pandora as a one-dimensional embodiment of the misogynist vision of the feminine. Uncovering Pandora as a textual principle operating outside of the feminine, Lev Kenaan shows the centrality of this iconic figure among the poetics of such central genres as the cosmological and didactic epic, the Platonic dialogue, the love elegy, and the ancient novel. Pandora’s Senses innovates our understanding of gender as a critical lens through which to view ancient literature.
For many, the historical-critical method has released a host of threats to Christian faith and confession. In Pandora's Box Opened, however, Roy Harrisville argues that despite the evils brought upon biblical interpretation by the historical-critical method, there is still hope for it as a discipline. Harrisville begins by describing the emergence and use of the historical-critical method. He then attends to the malaise that has come over the method, which he says still persists. Finally, Harrisville commends the historical-critical method, though shorn of its arrogance. He claims that the method and all its users comprise a "Pandora's Box" that, when opened, releases "a myriad other pains," but hope still remains.
This study traces developments in early Greek poetry in the use of disease and madness-type imagery to express aspects of the erotic experience. Cyrino also works to illuminate the relationships between the early hexameter narrative poets and the archaic lyric poets who employ this imagery in their works. The arrangement of this study is conveniently chronological as to make the interrelations between the uses of this imagery by different authors in different periods more easily understandable. The author takes particular notice of the first instances of usage of disease and madness imagery for love, and how and where variations on the theme or new uses of the old image occur, and of the characteristic metaphorical habits of each poet. Contents: Preface; Introduction; Eros; Homer; Hesiod and the Homeric Hymn to Aphrodite; The Lyric Poets: Archiochos and Alkman; The Lyric Poets: Alkaios, Ibykos and Anakreon; Sappho; Conclusions; Bibliography; Index of Passages Cited; Index of Greek Words; General Index.
College students Neil Carpenter and Mark Hudson set out to create "The Triumvirate," a comic book about supernatural creatures who resist their evil natures and hunt their own kind. When Neil learns hypnosis in his Psychology class, he proposes to use it to enrich the characters -- they could hypnotize themselves into thinking that they ARE the characters, then exchange interviews. To test the idea, Neil assumes the identity of the vampire, the independently wealthy and deeply religious Alistaire Bachman. The Game begins... ...a Game that leads to a whirlwind of confusion, murder, and impossibility. Praise for Pandora ́s Game: "Pandora ́s Game is written in a unique way, where it is more of a memoire written by Neil to tell everyone what has really happened. I am not a very big fan of the first person point of view, but Andrews uses it in a way that improves the story, instead of detracting from it. Near the end of the book, the point of view changes without warning, and while not something that would be a recommended technique, it adds greatly to the plot. In many ways, Andrews writes like an author with much more experience behind him than he actually has. And while there are certain scenes that showed the inexperience, those scenes were few and far between. I expect Christopher Andrews to become a fantastic author. I highly recommend Pandora ́s Game ́ especially to those who are looking to discover a new author." -- Pat McGreal, "Horror Novels Online" Newsletter, March 2nd, 2000 "This isn ́t just a [story] of two young men going mad. This isn ́t a [story] of a hypnotism game going wrong. It is much more than that, and that is what makes this book so interesting ... Pandora ́s Game takes this to a new level ... Andrews shows a lot of versatility in this book handling 15th century Germany as well as a modern day college setting. The supernatural scenes, both set now and in the past are written with as much competence and style as Poppy Z. Brite or Anne Rice, yet at the same time other parts of the book show normal college kids getting drunk and having fun at parties. To write both in a natural way, and switch seamlessly between the two, is something that I have seen many authors try and fail. I started Pandora ́s Game because I had to review it, but I kept on reading it because I was enjoying it so much ... that is why it will be Book Of The Month in June [2001]." Lesley Meade, Booknet, June 1, 2001 Praise for Christopher Andrews ́ next novel, Dream Parlor: "Dream Parlor has been likened to 1984, [with a] tone similar to The Running Man ... I was impressed with the characters -- Corbit makes a good egotistical Villain with believable motivations -- and Eli ́s desire to fill his fathers shoes, and at the same time lack of belief in himself, made him an easy-to-identify-with hero. Dana, Jacob, Derby and the other less major characters were also well fleshed out - too often characters are used to bring the plot along then forgotten about, but that didn ́t happen here ... An amazing read, and one that I think would appeal to a much wider audience than the usual science fiction crowd." Lesley Meade, Booknet, June 1, 2001
This volume brings together 29 junior and senior scholars to discuss aspects of Hesiod's poetry and its milieu and to explore questions of reception over two and half millennia from shortly after the poems' conception to Twitter hashtags. Rather than an exhaustive study of Hesiodic themes, the Handbook is conceived as a guide through terrain, some familiar, other less charted, examining both Hesiodic craft and later engagements with Hesiod's stories of the gods and moralizing proscriptions of just human behavior. The volume opens with the "Hesiodic Question," to address questions of authorship, historicity, and the nature of composition of Hesiod's two major poems, the Theogony and Works and Days. Subsequent chapters on the archaeology and economic history of archaic Boiotia, Indo-European poetics, and Hesiodic style offer a critical picture of the sorts of questions that have been asked rather than an attempt to resolve debate. Other chapters discuss Hesiod's particular rendering of the supernatural and the performative nature of the Works and Days, as well as competing diachronic and synchronic temporalities and varying portrayals of female in the two poems. The rich story of reception ranges from Solon to comic books. These chapters continue to explore the nature of Hesiod's poetics, as different writers through time single out new aspects of his art less evident to earlier readers. Long before the advent of Christianity, classical writers leveled their criticism at Hesiod's version of polytheism. The relative importance of Hesiod's two major poems across time also tells us a tale of the age receiving the poems. In the past two centuries, artists and writers have come to embrace the Hesiodic stories for themselves for the insight they offer of the human condition but even as old allegory looks quaint to modern eyes new forms of allegory take form.
The study of women in the ancient Mediterranean world is a topic of growing interest among classicists and ancient historians, and also students of history, sociology and women's studies. This volume is an essential resource supplying a compilation of source material in translation, with suggestions for further reading, a general bibliography, and an index of ancient authors and works. Texts come from literary, rhetorical, philosophical and legal sources, as well as papyri and inscriptions, and each text will be placed into the cultural mosaic to which it belongs. Ranging geographically from the Greek mainland and the communities along the eastern shores of the Mediterranean, to Egypt and the Greek West (modern day southern Italy and Sicily), the volume follows a clear chronological structure. Beginning in the eighth century BCE the coverage continues through Archaic and Classical Athens concluding with the Hellenistic era.
There are two kinds of people in the world at the present juncture: the dreaming & awake; the sheeple & un-sheeple; the shadow keepers & the light-bringers. Many people have one foot in both worlds. If you are in limbo, awake... or want to be, this book was made to serve YOU. ***** What you have before you is a masterpiece spawn to pioneer the New Renaissance on “New Earth” in this era of the 21st century Golden Age. Despite a wee bit of irreverent sass, this book is meant to be earnestly undertaken. Bold predictions are made, for the future of our civilization. ***** The mass devastation we currently see taking place on the world stage: war, division, conflict, corruption; crime, injustice, poverty, illness, disease; pollution, wildfires, twisters, death, destruction & disaster... is all just the PURGING of a long lineage of UN-grace, if you will. There is no other way to rid the planet of it, than to draw it to the surface for release, to be transmuted to light. Any stuck pattern & program must unearth in order to be gone for good. Make sense? ***** THIS is what "Pandora's Box is Burning" means. The future of our species depends on it. The burning of Pandora's Box is the catalyst for Humanity's Final Frontier, which is… World Peace, Ahimsa & the law of the land becoming LOVE. Hence, the symbolic transformational feat of the rising phoenix portrayed on the front cover. This is the stage in human evolution where everything is coming to a head on purpose, to be cleared or burned into the fire of transmutation, so PEACE can be possible. Man's turning point, is GOD'S TURN. ***** Note: This book is the final installment of "Thee Trilogy of the Ages" series, which is more like a collection, so the books can be read in any order. ***** ”Wel--come--to--your---life, there’s no turning back.” ***** BookonFire Press~In Love We Trust Self-empowerment/Soul Mastery/Higher Learning/Social Justice/Transformation/Ahimsa/America
"The art of life is the most distinguished and rarest of all the arts." -C.G. Jung, CW 8, par. 789. The Cycle of Life explores the patterns that unfold over the course of our lives, as we set out to find our place in the world, in our efforts to live authentically, and in our search for home-that place within ourselves that can so easily be neglected or disregarded in this fast-paced modern world. In the first half of life, the task of the young traveler is to depart from home, to adventure out into the world to find his or her own individual path. However, in the second half, we find ourselves on what often amounts to a very long journey in search of home. In many a tale, the hero, for instance Gilgamesh, sets off on his road to find life's elixir, while other stories, such as the Odyssey, revolve around the hero's long and arduous journey home. Many are also familiar with the journey of Dante, who at the very beginning of his Divine Comedy finds himself "Midway along the journey of our life.” The archetypal journey of life is constantly reenacted in the never-ending process of individuation. We find ourselves returning to this venture repeatedly, every night, as we set out on our voyage into the landscape of our unconscious. Many dreams begin by being on the way, for instance: I am on my way to ... I am driving on a road that leads into the desert ... I am walking through one room after the other in a long corridor-like building ... I am walking towards my office, but it looks different than in reality ... I walk on the pavement and on the opposite side of the street someone seems to be following me ... I go down into an underground parking ... I am in my car, but someone I don't know is driving ... I have to go to the place from where I came ...
This book grows out of a longstanding fascination with the uncanny status of the mother in literature, philosophy, psychoanalysis, film, and photography. The mother haunts Freud's writings on art and literature, emerges as an obscure stumbling block in his metapsychological accounts of the psyche, and ultimately undermines his patriarchal accounts of the Oedipal complex as a foundation for human culture. The figure of the mother becomes associated with some of psychoanalysis's most unruly and enigmatic concepts (the uncanny, anxiety, the primal scene, the crypt, and magical thinking). Read in relation to deconstructive approaches to the work of mourning, this book shows how the maternal function challenges traditional psychoanalytic models of the subject, troubles existing systems of representation, and provides a fertile source for nonmimetic, nonlinear conceptions of time and space. The readings in this book examine the uncanny properties of the maternal function in psychoanalysis, technology, and literature in order to show that the event of birth is radically unthinkable and often becomes expressed through uncontrollable repetitions that exceed the bounds of any subject. The maternal body often serves as an unacknowledged reference point for modern media technologies such as photography and the telephone, which attempt to mimic its reproductive properties. To the extent that these technologies aim to usurp the maternal function, they are often deployed as a means of regulating or warding off anxieties that are provoked by the experience of loss that real separation from the mother invariably demands. As the incarnation of our first relation to the strange exile of language, the mother is inherently a literary figure, whose primal presence in literary texts opens us up to the unspeakable relation to our own birth and, in so doing, helps us give birth to new and fantasmatic images of futures that might otherwise have remained unimaginable.
The family tradition was broken over the centuries since they came across from Dahomey. But the family remembered much of what their ancestors had taught. Now, the Sib is stretching its wings and recovering much of what was lost. From today's libraries, traces have been found. And the web, like Legba's fabled home, has caught the small flies of more details to flesh out knowledge that is fragmented. This revised and expanded edition will add to the reader's understanding of how one family has pulled together the strands of a long and broken history to make a new beginning in the modern world. The author, Tielzi'e alim, was student to Tovodu se Legba, and has carried his plans for the Sib forward in this book. It is now open for the world to read, according to his plan. Modupe!
