Hatshepsut, the daughter of a general who took Egypt's throne without status as a king’s son and a mother with ties to the previous dynasty, was born into a privileged position of the royal household. Married to her brother, she was expected to bear the sons who would legitimize the reign of her father’s family. Her failure to produce a male heir was ultimately the twist of fate that paved the way for her inconceivable rule as a cross-dressing king. At just twenty, Hatshepsut ascended to the rank of king in an elaborate coronation ceremony that set the tone for her spectacular twenty-two year reign as co-regent with Thutmose III, the infant king whose mother Hatshepsut out-maneuvered for a seat on the throne. Hatshepsut was a master strategist, cloaking her political power plays with the veil of piety and sexual expression. Just as women today face obstacles from a society that equates authority with masculinity, Hatshepsut had to shrewdly operate the levers of a patriarchal system to emerge as Egypt's second female pharaoh.Hatshepsut had successfully negotiated a path from the royal nursery to the very pinnacle of authority, and her reign saw one of Ancient Egypt’s most prolific building periods. Scholars have long speculated as to why her images were destroyed within a few decades of her death, all but erasing evidence of her rule. Constructing a rich narrative history using the artifacts that remain, noted Egyptologist Kara Cooney offers a remarkable interpretation of how Hatshepsut rapidly but methodically consolidated power—and why she fell from public favor just as quickly. The Woman Who Would Be King traces the unconventional life of an almost-forgotten pharaoh and explores our complicated reactions to women in power.

    Examining heroic myths in the light of modern psychology, it considers not only the patterns and stages of mythology but also its relevance to our lives today--and to the life of any person seeking a fully realized existence.Myth, according to Campbell, is the projection of a culture's dreams onto a large screen; Campbell's book, like Star Wars, the film it helped inspire, is an exploration of the big-picture moments from the stage that is our world. It is a must-have resource for both experienced students of mythology and the explorer just beginning to approach myth as a source of knowledge.

    Your students will gain an appreciation and understanding of ancient and modern cultures through myths and epics from the Middle East, Greece and Rome, the Far East and Pacific islands, the British Isles, Northern Europe, Africa, and the Americas. An introduction and historical background supplement each myth. Questions at the end of each selection prompt analysis and response.

    They could own and trade in property, work outside the home, marry foreigners and live alone without the protection of a male guardian. Some of them even rose to rule Egypt as ‘female kings’. Joyce Tyldesley’s vivid history of how women lived in ancient Egypt weaves a fascinating picture of daily life – marriage and the home, work and play, grooming and religion – viewed from a female perspective, in a work that is engaging, original and constantly surprising.

    It was enacted by the sixth Babylonian king, Hammurabi. The stele containing the Code of Hammurabi was discovered in 1901 by the Egyptologist Gustav Jequier, a member of the expedition headed by Jacques de Morgan. The stele was discovered in what is now Khuzestan, Iran (ancient Susa, Elam), where it had been taken as plunder by the Elamite king Shutruk-Nahhunte in the 12th century BC. It is currently on display at the Louvre Museum in Paris.

    When famed archaeologist Arthur Evans unearthed the ruins of a sophisticated Bronze Age civilization that flowered on Crete 1,000 years before Greece's Classical Age, he discovered a cache of ancient tablets, Europe's earliest written records. For half a century, the meaning of the inscriptions, and even the language in which they were written, would remain a mystery. Award-winning New York Times journalist Margalit Fox's riveting real-life intellectual detective story travels from the Bronze Age Aegean--the era of Odysseus, Agamemnon, and Helen--to the turn of the 20th century and the work of charismatic English archeologist Arthur Evans, to the colorful personal stories of the decipherers. These include Michael Ventris, the brilliant amateur who deciphered the script but met with a sudden, mysterious death that may have been a direct consequence of the decipherment; and Alice Kober, the unsung heroine of the story whose painstaking work allowed Ventris to crack the code.

    Christianity, for example, was one of the innovative religious movements that arose during this time. However, Christianity had many competitors, and one of the most remarkable of these was the ancient Roman mystery religion of Mithraism. Like the other mystery cults of antiquity, Mithraism kept its beliefs strictly secret, revealing them only to initiates. As a result, the cult's teachings were never written down. However, the Mithraists filled their temples with an enigmatic iconography, an abundance of which has been unearthed by archaeologists. Until now, all attempts to decipher this iconography have proven fruitless. Most experts have been content with a vague hypothesis that the iconography somehow derived from ancient Iranian religion. In this groundbreaking work, David Ulansey offers a radically different theory. He argues that Mithraic iconography was actually an astronomical code, and that the cult began as a religious response to a startling scientific discovery. As his investigation proceeds, Ulansey penetrates step by step the mysteries concealed in Mithraic iconography, until finally he is able to reveal the central secret of the cult: a secret consisting of an ancient vision of the ultimate nature of the universe. Brimming with the excitement of discovery--and reading like an intellectual detective story--Ulansey's compelling book will intrigue scholars and general readers alike.

    Making remarkable connections across brain function, myth, and anthropology, Dr. Shlain shows why pre-literate cultures were principally informed by holistic, right-brain modes that venerated the Goddess, images, and feminine values. Writing drove cultures toward linear left-brain thinking and this shift upset the balance between men and women, initiating the decline of the feminine and ushering in patriarchal rule. Examining the cultures of the Israelites, Greeks, Christians, and Muslims, Shlain reinterprets ancient myths and parables in light of his theory. Provocative and inspiring, this book is a paradigm-shattering work that will transform your view of history and the mind.

    This newly annotated, free verse translation conveys the full force of Lucan's writing and his grimly realistic view of the subject. The work is a powerful condemnation of civil war, emphasizing the stark, dark horror of the catastrophies which the Roman state inflicted upon itself. Both the introduction and glossary set the scene for readers unfamiliar with Lucan and explore his relationship with earlier writers of Latin epic, and his interest in the sensational.

    Yeats took a particular interest in the tales' mythic and magical roots. The Celtic Twilight ventures into the eerie and puckish world of fairies, ghosts, and spirits. "This handful of dreams," as the author referred to it, first appeared in 1893, and its title refers to the pre-dawn hours, when the Druids performed their rituals. It consists of stories recounted to the poet by his friends, neighbors, and acquaintances. Yeats' faithful transcription of their narratives includes his own visionary experiences, appended to the storytellers' words as a form of commentary.

    The earth-shaking changes that marked this era include such fundamental inventions as the wheel and the plow and intellectual feats such as the inventions of astronomy, law, and diplomacy.#374

    This volume provides basic writings of Dostoevsky, Kierkegaard, Nietzsche, Rilke, Kafka, Ortega, Jaspers, Heidegger, Sartre, and Camus, including some not previously translated, along with an invaluable introductory essay by Walter Kaufmann.

    The story’s focus is not on drama but on a bitter truth: both armies want nothing more than to stop fighting and go home. Achilles—the electrifying hero who is Homer’s brilliant creation—quarrels with his commander, Agamemnon, but eventually returns to the field to avenge a comrade’s death. Few warriors, in life or literature, have challenged their commanding officer and the rationale of the war they fought as fiercely as did Homer’s Achilles.Homer’s Iliad addresses the central questions defining the war experience of every age. Is a warrior ever justified in challenging his commander? Must he sacrifice his life for someone else’s cause? Giving his life for his country, does a man betray his family? Can death ever be compensated by glory? How is a catastrophic war ever allowed to start—and why, if all parties wish it over, can it not be ended?As she did in The Endurance and The Bounty, Caroline Alexander has taken apart a story we think we know and put it back together in a way that reveals what Homer really meant us to glean from his masterpiece. Written with the authority of a scholar and the vigor of a bestselling narrative historian, The War That Killed Achilles is a superb and utterly timely presentation of one of the timeless stories of our civilization.

    Because his poems were often ecstatic love songs from God to his beloved world, many have called Hafiz the "Tongue of the Invisible."With this stunning collection of 250 of Hafiz's most intimate poems, Daniel Ladinsky has succeeded brilliantly in capturing the essence of one of Islam's greatest poetic and religious voices. Each line of THE GIFT imparts the wonderful qualities of the spiritual teacher: an audacious love that empowers lives, profound knowledge, wild generosity, and a sweet, playful genius unparalleled in world literature.

    He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.