Eleni Gatzoyiannis, forty-one, defied the traditions of her small village and the terror of the communist insurgents to arrange for the escape of her three daughters and her son, Nicola. For that act, she was imprisoned, tortured, and executed in cold blood.Nicholas Gage joined his father in Massachusetts at the age of nine and grew up to become a top New York Times investigative reporter, honing his skills with one thought in mind: to return to Greece and uncover the one story he cared about most: the story of his mother.Eleni takes you into the heart a village destroyed in the name of ideals and into the soul of a truly heroic woman.

    The dazzling result was The Firebird, a work which brought overnight success to its creator and distinguished him as the most gifted of the younger generation of Russian composers. Based on Russian fairy tales, the piece, according to Grove's Dictionary of Music and Musicians, has "all the coloring of a Russian child's picture book…brilliant orchestration, glowing color…an extraordinary evocative power which literally enchants the listener."Today, The Firebird is as popular and enthusiastically received as it was following its triumphant premiere in Paris more than a century ago. Greatly admired for its orchestrations and harmony, the composition is widely studied by practicing musicians and music students.Now the complete score of this modern masterpiece is available in this handsome, authoritative, and inexpensive edition, which includes a list of instruments and English translations of the stage directions.

    In all but one of the extant Sophoclean dramas, a heroic figure who is compounded of the same literary elements faced a situation which is essentially the same. The demonstration of this recurrent pattern is made not through character-analysis, but through a close examination of the language employed by both the hero and those with whom he contends. The two chapters attempt to present what might, with a slight exaggeration, be called the "formula" of Sophoclean tragedy.A great artist may repeat a structural pattern but he never really repeats himself. In the remaining four chapters, a close analysis of three plays, the Antigone, Philoctetes, and Oedipus at Colonus, emphasizes the individuality and variety of the living figures Sophocles created on the same basic armature. This approach to Sophoclean drama is (as in the author's previous work on the subject) both historical and critical; the universal and therefore contemporary appeal of the plays is to be found not by slighting or dismissing their historical context, but by an attempt to understand it all in its complexity. "The play needs to be seen as what it was, to be understood as what it is."

    There, a chance meeting with the charismatic Vangeli led to him buying a piece of land on a remote cove, once the site of an ancient city and the perfect harbour for Astarte.So unfolds the story of Carroll’s growing attachment to Skopelos as he sets down roots and makes it his home. Engaging and vividly-described, An Island in Greece is a sun-drenched tale of a life full of simple pleasures, governed by the seasons, the tides and the wind; the story of a traveller who finally arrived and a unique homage to the island that harbored him.

    Jon Mikalson turns instead to the religious beliefs citizens of Athens spoke of and acted upon in everyday life. He uses evidence only from reliable, mostly contemporary sources such as the orators Lysias and Demosthenes, the historian Xenophon, and state decrees, sacred laws, religious dedications, and epitaphs."This is in no sense a general history of Athenian religion," Mikalson writes, "even within the narrow historical boundaries set. It is rather an investigation of what might be termed the consensus of popular religious belief, a consensus consisting of those beliefs which an Athenian citizen thought he could express publicly and for which he expected fo find general acceptance among his peers."What emerges in Mikalson's study is a remarkable homogeneity of religious beliefs at the popular level. The topics discussed at length in Athenian Popular Religion include the areas of divine intervention in human life, the gods and human justice, gods and oaths, divination, death and the afterlife, the nature of the gods, social aspects of popular religion, and piety and impiety.Mikalson challenges the common opinion that popular religious belief in Athens deteriorated significantly from the mid-fifth to the mid-fourth century B.C. "The error in understanding the development of Athenian religion has arisen, it seems to me, because scholars have failed to distinguish properly between the differing natures of the sources for our knowledge of religious beliefs in the earlier and later periods," Mikalson writes. The difference between those sources "is more than simply one of years. It is a difference between poetry and prose, with all the factors which that difference implies."

    The texts, written by experts, furnish details of the historical and cultural context of these masterpieces. The most important achaeological sites are also presented, with exclusive aerial photographs and other lavish illustrations.