This wide-ranging, interdisciplinary collection explores different ways of visualising Greek and Roman epic from Homer to Statius, in both ancient and modern culture. The book presents new perspectives on Homer, Virgil, Ovid, Lucan, Valerius Flaccus and Statius, and covers the re-working of epic matter in tragedy, opera, film, late antique speeches of praise, story-boarding, sculpture and wall-painting.
A courageous Siamese bags a cunning cat burglar. A country kitty proves a stumbling block in a violent murder. And an intuitive feline's premonition helps solve the case of the missing antique dealer. Here are 14 Braun "Cat" tales that are riveting and amusing whodunits.
Added by: Kahena | Karma: 11526.37 | Fiction literature | 18 November 2011
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In An Antique Land
In the 1980s Amitav Ghosh moved into a converted chicken coop. It was on the roof of a house in Lataifa, a tiny village in Egypt. During the day he poured over medieval letters sent to India from Cairo by Arab merchants. In the evenings he shut out the bellowing of his fat landlord by turning up the volume of his transistor radio and wrote stories based on what he had seen in the village.
Added by: Kahena | Karma: 11526.37 | Fiction literature | 20 August 2011
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Stealing Heaven
My name is Danielle. I'm eighteen. I've been stealing things for as long as I can remember. Dani has been trained as a thief by the best - her mother. Together, they move from town to town, targeting wealthy homes and making a living by stealing antique silver. They never stay in one place long enough to make real connections, real friends - a real life.
The major theoretical contributions of Kitzinger's later career are embodied in his book Byzantine art in the making (1977), originally delivered as a series of lectures at the University of Cambridge, and in a volume of his collected essays, The art of Byzantium and the medieval West (1976). In both volumes Kitzinger maintained his life-long preoccupation with the analysis of style change in late antique and early medieval art, and his conviction that stylistic analysis could speak with an authority equal to that of iconography or textual history.
