Who Killed Homer? is must reading for anyone who agrees that knowledge of classics acquaints us with the beauty and perils of our own culture.

    Anaximander, the sixth-century BC Greek philosopher, is often called the first scientist because he was the first to suggest that order in the world was due to natural forces, not supernatural ones. He is the first person known to understand that the Earth floats in space; to believe that the sun, the moon, and the stars rotate around it—seven centuries before Ptolemy; to argue that all animals came from the sea and evolved; and to posit that universal laws control all change in the world. Anaximander taught Pythagoras, who would build on Anaximander’s scientific theories by applying mathematical laws to natural phenomena.In the award-winning The First Scientist: Anaximander and His Legacy, translated here for the first time in English, Rovelli restores Anaximander to his place in the history of science by carefully reconstructing his theories from what is known to us and examining them in their historical and philosophical contexts. Rovelli demonstrates that Anaximander’s discoveries and theories were decisive influences, putting Western culture on its path toward a scientific revolution. Developing this connection, Rovelli redefines science as a continuous redrawing of our conceptual image of the world. He concludes that scientific thinking—the legacy of Anaximander—is only reliable when it constantly tests the limits of our current knowledge.

    This illustrated and abridged edition provides a stimulating survey of the communications revolution of the fifteenth century. After summarizing the initial changes, and introducing the establishment of printing shops, it considers how printing effected three major cultural movements: the Renaissance, the Reformation, and the rise of modern science. First Edition Hb (1984) 0-521-25858-8 First Edition Pb (1984) 0-521-27735-3

    Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil.In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of WEB Du Bois, from O Pioneers! to Apocalypse Now.In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.

    He relates the arts to society instead of penning them in the study. As a judge, he is tolerant and undogmatic, but never slack in his standards. He is fair to all and gushes over none...This justice of approach is coupled with a mastery of phrase, which makes the writing lively without being exhibitionistic. Since its first appearance in 1940, A Short History of English Literature has served countless readers as a perceptive, reliable, and readable guide. This fourth edition < revised and extended to include major poets, dramatists, and novelists of the present day < provides an invaluable map to the vast field of English literature.

    Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.

    As in the authors' bestselling "Film Art", concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

    This seventh edition has been revised and expanded and six new authors have been selected. Every image from the previous edition has been enhanced/refreshed using modern imaging technology.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.

    Drawing on workers' memoirs, social surveys, library registers, and more, the author discovers how members of the working classes educated themselves, which books they read, and how their reading influenced them.

    For nearly five centuries the methods and practices of book publishing remained largely unchanged, but at the dawn of the twenty-first century the industry finds itself faced with perhaps the greatest challenges since Gutenberg. A combination of economic pressures and technological change is forcing publishers to alter their practices and think hard about the future of the books in the digital age.In this book - the first major study of trade publishing for more than 30 years - Thompson situates the current challenges facing the industry in an historical context, analysing the transformation of trade publishing in the United States and Britain since the 1960s. He gives a detailed account of how the world of trade publishing really works, dissecting the roles of publishers, agents and booksellers and showing how their practices are shaped by a field that has a distinctive structure and dynamic. This new paperback edition has been thoroughly revised and updated to take account of the most recent developments, including the dramatic increase in ebook sales and its implications for the publishing industry and its future.

    In this readable, thought-provoking history of bisexuality in the classical age, Eva Cantarella draws on the full range of sources--from legal texts, inscriptions & medical documents to poetry & philosophical literature--to reconstruct & compare the bisexual cultures of Athens & Rome.PrefaceGreeceRomeConclusionNotesAbbreviationsSelect BibliographyIndex

    Miguel León-Portilla had the incomparable success of organizing texts translated from Nahuatl by Ángel María Garibay Kintana to give us the The Aztec Account of the Conquest of Mexico: Indigenous people of Tenochtitlán, Tlatelolco, Texcoco, Chalco and Tlaxcala were formed about the struggle against the conquerors and the final ruin of the Aztec world.An account of the omens that announced the disaster, a description of Cortes' progress, a chronicle of the heroic battle of the ancient Mexicans in defense of their culture and of their own lives, a civilization that was lost forever, a great epic poem of the origins of Mexican nationality, The Aztec Account of the Conquest of Mexico is already a classic book and an indispensable reading work.

    Ranging in date from Elias's teenage years before the First World War to the 1930s, the writings in this volume were previously unpublished in English.

    The alternative view now suggests that many of Rome's enemiesthe Celts, Hebrews, and Phoenicians, for examplewere developing civilizations in their own right before obliteration at the Roman sword. Indeed, as Philip Matyszak argues, had Rome not crushed rivals so completely, the drop into the Dark Ages might not have occurred; at Rome's collapse, no other powerful civilizations remained to absorb the impact. This book looks at the growth and eventual demise of Rome from the viewpoint of those vanquished by Rome. They varied from the highly cultivated Greeks and Egyptians to wild and rebellious Britons and Germans, to the Asiatic empires of the Persians and Parthians. Their leaders were driven by ambition, vindictive hatred, fear, political calculation, or naked greed. Some fought to preserve their heritage, some for personal survival, and others from a warrior's love of battle. Defying the might of Rome was a dangerous business, and few of the men and women described here died in their beds. Some, like Vercingetorix and Jugurtha, were captured, exhibited in triumph, and then, while their conquerors sat down to a festive dinner, killed in the dungeons below. Rather than face such an end, some of Rome's greatest adversaries, including Hannibal, Boudicca, and Cleopatra, killed themselves. Here is the reality behind legends such as Spartacus the gladiator, and the stories of Shapur the conqueror and Mithridates the connoisseur of poisons. Some enemies of Rome were noble heroes, others were murdering villains, but each has a unique and fascinating story. 80 illustrations.