Instead of ambush, skirmish, maneuver, or combat between individual heroes, the Greeks of the fifth century b.c. devised a ferocious, brief, and destructive head-on clash between armed men of all ages. In this bold, original study, Victor Davis Hanson shows how this brutal enterprise was dedicated to the same outcome as consensual government--an unequivocal, instant resolution to dispute.The Western Way of War draws from an extraordinary range of sources--Greek poetry, drama, and vase painting, as well as historical records--to describe what actually took place on the battlefield. It is the first study to explore the actual mechanics of classical Greek battle from the vantage point of the infantryman--the brutal spear-thrusting, the difficulty of fighting in heavy bronze armor which made it hard to see, hear and move, and the fear. Hanson also discusses the physical condition and age of the men, weaponry, wounds, and morale.This compelling account of what happened on the killing fields of the ancient Greeks ultimately shows that their style of armament and battle was contrived to minimize time and life lost by making the battle experience as decisive and appalling as possible. Linking this new style of fighting to the rise of constitutional government, Hanson raises new issues and questions old assumptions about the history of war.

    Here are Icarus flying too close to the sun, mighty Hercules, Achilles and that darn heel, the Trojans and their wooden horse, brave Perseus and beautiful Andromeda, wandering Odysseus and steadfast Penelope. Their stories and the stories of the powerful gods and goddesses who punish and reward, who fall in love with and are enraged by the humans they have created, are set forth simply but movingly, in language that retains the power and drama of the original works by Aeschylus, Sophocles, Euripides, and Homer. In Gustav Schwab’s masterful retelling, they are made accessible to readers of all ages.Part of the Pantheon Fairy Tale and Folklore Library

    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.

    The Aryan Model, which is current today, claims that Greek culture arose as the result of the conquest from the north by Indo-European speakers, or "Aryans," of the native "pre-Hellenes." The Ancient Model, which was maintained in Classical Greece, held that the native population of Greece had initially been civilized by Egyptian and Phoenician colonists and that additional Near Eastern culture had been introduced to Greece by Greeks studying in Egypt and Southwest Asia. Moving beyond these prevailing models, Bernal proposes a Revised Ancient Model, which suggests that classical civilization in fact had deep roots in Afroasiatic cultures.This long-awaited third and final volume of the series is concerned with the linguistic evidence that contradicts the Aryan Model of ancient Greece. Bernal shows how nearly 40 percent of the Greek vocabulary has been plausibly derived from two Afroasiatic languages-Ancient Egyptian and West Semitic. He also reveals how these derivations are not limited to matters of trade, but extended to the sophisticated language of politics, religion, and philosophy. This evidence, according to Bernal, confirms the fact that in Greece an Indo-European people was culturally dominated by speakers of Ancient Egyptian and West Semitic.Provocative, passionate, and colossal in scope, this volume caps a thoughtful rewriting of history that has been stirring academic and political controversy since the publication of the first volume.

    What is beauty? Umberto Eco, among Italy’s finest and most important contemporary thinkers, explores the nature, the meaning, and the very history of the idea of beauty in Western culture. The profound and subtle text is lavishly illustrated with abundant examples of sublime painting and sculpture and lengthy quotations from writers and philosophers. This is the first paperback edition of History of Beauty, making this intellectual and philosophical journey with one of the world’s most acclaimed thinkers available in a more compact and affordable format.From the Trade Paperback edition

    Fortunately we've created our second Art Now volume to keep art fans abreast of the latest trends and hottest names. Not only will you discover the most important artists in the international art market, you'll also learn how the art scene has changed dramatically in recent years - notably with a return to figurative painting and an increase in political topics. Featuring over 135 artists in A-Z entries, plus a special section about gallery representation and current market prices, Art Now Vol. 2 is the guide to what's happening and who's who in contemporary art.A-Z artist entries include:short biographyexhibition history and bibliographical informationimages of important recent workBonus illustrated appendix features:names and contact information for the galleries representing the artists featuredprimary market pricesthe five best auction results

    . . . Ferry writes with warmth, wit, and energy; one could call his prose conversational, but it’s rare to have a conversation quite this wonderful.” — Boston Globe A fascinating journey through Greek mythology that explains the myths' timeless lessons and meaningHeroes, gods, and mortals. The Greek myths are the founding narratives of Western civilization: to understand them is to know the origins of philosophy, literature, art, science, law, and more. Indeed, as Luc Ferry shows in this masterful book, they remain a great store of wisdom, as relevant to our lives today as ever before. No mere legends or clichés ("Herculean task," "Pandora's box," "Achilles heel," etc.), these classic stories offer profound and manifold lessons, providing the first sustained attempt to answer fundamental human questions concerning "the good life," the burden of mortality, and how to find one's place in the world. Vividly retelling the great tales of mythology and illuminating fresh new ways of understanding them, The Wisdom of the Myths will enlighten readers of all ages.

    Written with ideas on The White Goddess as a cultural/anthropological backdrop to the ancient Greek tale. What the Golden Fleece really was—a cloak tossed to earth by a drunken Zeus, a sheepskin book of alchemic secrets or the gilded epidermis of a young human sacrifice named Mr. Ram—nobody knows. But Graves is quite sure that, whatever the Golden Fleece was, the voyage of Jason & his Argonauts really happened. His story shows the legendary cruise as one of the bawdiest, bloodiest, most boisterous expeditions of all time. In I, Claudius & its Claudius the God sequel, Graves brought the teeming life of Claudian Rome so vividly alive that they became bestsellers. In the not-so-successful Wife to Mr. Milton, his blend of imagination & scholarship projected his readers into 17th-Century England & the bedchamber temper tantrums of the blind poet-politician. With Hercules & shipmates, Graves becomes an ancient Greek, moving among demigods & goddesses, myths & monsters with an easy familiarity & a wealth of erudite detail. Both sometimes seem too much of a good thing. Atomic-age readers, ill-attuned to the leisurely, formal talk of myth-age Greeks, may find themselves skipping some of the longer speeches. Most of the Argo's 50-oar crew were princes, each with a special talent & gift of the gods. The only woman aboard was a princess: Atalanta of Calydon, a virgin huntress who could outrun any man in Greece. Argus, who built the Argo, was the world's finest shipwright. Castor & Pollux, sons of Leda & Zeus-as-swan, were champion prizefighters. Nauplius, Poseidon's son, was an unrivaled navigator. Orpheus could make sticks & stones dance to his lyre. Hercules of Tiryns was the world's strongest man. He would've captained the Argonauts were it not that in moments of insanity he murdered friend & foe alike. Captaincy devolved on Jason of lolcos—a man nobody liked or trusted, but who had a power denied to all the others: women instantly fell in love with him. Even surly Hercules agreed it a quality worth all the rest. Backed by divine blessings & equinoctal winds, the Argonauts set sail. On the Island of Lemnos, peopled solely by women, they generously stopped off to help out with spring sowing. Nine months later, 200 children were born, of whom no less than 60 were said to be the spitting image of Hercules. On Samothrace, they were initiated into the sacred mysteries. The Goddess of All Being mated with the Serpent Priapus to be delivered of a bull. Then the sacred nymphs leapt on them & scratched & bit until even Hercules passed out. Thereafter, the Argonauts glowed with "a faint nimbus of light." The Argonauts boldly pushed on thru the dread Hellespont & entered the Black Sea. To their dismay, Hercules deserted, summoned home to perform another of his mighty labors. "Holy Serpents!" he growled. "Tell me what this time?" The job—cleaning the Augean Stables—didn't take long. He stayed around afterwards with the Lydian high priestess—who in due time bore male triplets. In gratitude, she taught him to spin, tying up his hair in blue braids. He was crazy about it, admitting confidentially he'd always wanted to be a woman. The Argonauts went on without Hercules. Reaching Colchis, Aphrodite won the Fleece for them. She made her son Eros wait behind a pillar with his bow until handsome Jason strode into the King of Colchis' palace. Eros shot Medea thru the heart, & the smitten princess helped to get the Fleece from her father's temple. Mythology's most famous voyage had reached its goal, but Graves takes 150 more pages to wind things up.

    The celebrated Macedonian king has been one of the most enduring figures in history. He was a general of such skill and renown that for two thousand years other great leaders studied his strategy and tactics, from Hannibal to Napoleon, with countless more in between. He flashed across the sky of history like a comet, glowing brightly and burning out quickly: crowned at age nineteen, dead by thirty-two. He established the greatest empire of the ancient world; Greek coins and statues are found as far east as Afghanistan. Our interest in him has never faded. Alexander was born into the royal family of Macedonia, the kingdom that would soon rule over Greece. Tutored as a boy by Aristotle, Alexander had an inquisitive mind that would serve him well when he faced formidable obstacles during his military campaigns. Shortly after taking command of the army, he launched an invasion of the Persian empire, and continued his conquests as far south as the deserts of Egypt and as far east as the mountains of present-day Pakistan and the plains of India. Alexander spent nearly all his adult life away from his homeland, and he and his men helped spread the Greek language throughout western Asia, where it would become the lingua franca of the ancient world. Within a short time after Alexander’s death in Baghdad, his empire began to fracture. Best known among his successors are the Ptolemies of Egypt, whose empire lasted until Cleopatra. In his lively and authoritative biography of Alexander, classical scholar and historian Philip Freeman describes Alexander’s astonishing achievements and provides insight into the mercurial character of the great conqueror. Alexander could be petty and magnanimous, cruel and merciful, impulsive and farsighted. Above all, he was ferociously, intensely competitive and could not tolerate losing—which he rarely did. As Freeman explains, without Alexander, the influence of Greece on the ancient world would surely not have been as great as it was, even if his motivation was not to spread Greek culture for beneficial purposes but instead to unify his empire. Only a handful of people have influenced history as Alexander did, which is why he continues to fascinate us.

    Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

    Sir Mortimer Wheeler describes the architecture and town planning, thesculpture and painting, the silverware, glass, pottery and the otherrich artistic achievements of the era.

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    Through most of its long history, Greece was poor. But in the classical era, Greece was densely populated and highly urbanized. Many surprisingly healthy Greeks lived in remarkably big houses and worked for high wages at specialized occupations. Middle-class spending drove sustained economic growth. Classical wealth produced a stunning cultural efflorescence lasting hundreds of years.Why did Greece reach such heights in the classical period--and why only then? And how, after "the Greek miracle" had endured for centuries, did the Macedonians defeat the Greeks, seemingly bringing an end to their glory? Drawing on a massive body of newly available data and employing novel approaches to evidence, Josiah Ober offers a major new history of classical Greece and an unprecedented account of its rise and fall.Ober argues that Greece's rise was no miracle but rather the result of political breakthroughs and economic development. The extraordinary emergence of citizen-centered city-states transformed Greece into a society that defeated the mighty Persian Empire. Yet Philip and Alexander of Macedon were able to beat the Greeks in the Battle of Chaeronea in 338 BCE, a victory enabled by the Macedonians' appropriation of Greek innovations. After Alexander's death, battle-hardened warlords fought ruthlessly over the remnants of his empire. But Greek cities remained populous and wealthy, their economy and culture surviving to be passed on to the Romans--and to us.A compelling narrative filled with uncanny modern parallels, this is a book for anyone interested in how great civilizations are born and die.This book is based on evidence available on a new interactive website. To learn more, please visit http://polis.stanford.edu/

    As varied and inventive as the volumes they hold, such buildings can be much more than the dusty, dark wooden shelves found in mystery stories or the catacombs of stacks in the basements of academia. From the great dome of the Library of Congress, to the white façade of the Seinäjoki Library in Finland, to the ancient ruins of the library of Pergamum in modern Turkey, the architecture of a library is a symbol of its time as well as of its builders’ wealth, culture, and learning. Architectural historian James Campbell and photographer Will Pryce traveled the globe together, visiting and documenting over eighty libraries that exemplify the many different approaches to thinking about and designing libraries. The result of their travels, The Library: A World History is one of the first books to tell the story of library architecture around the world and through time in a single volume, from ancient Mesopotamia to modern China and from the beginnings of writing to the present day. As these beautiful and striking photos reveal, each age and culture has reinvented the library, molding it to reflect their priorities and preoccupations—and in turn mirroring the history of civilization itself. Campbell’s authoritative yet readable text recounts the history of these libraries, while Pryce’s stunning photographs vividly capture each building’s structure and atmosphere.  Together, Campbell and Pryce have produced a landmark book—the definitive photographic history of the library and one that will be essential for the home libraries of book lovers and architecture devotees alike.

    His talent soon caught the eye of 16th-century rulers, and he moved on to the imperial courts of Ferdinand I, Maximilian II, and Rudolf II in Prague, where he created the scenes for his Seasons. In Arcimboldo's allegorical paintings, Spring appears as a young man composed entirely of flowers, Summer as a composition of fruits, Autumn as a head made of grapes, and Winter as a gnarled old man twined with ivy. Arcimboldo remained true to the allegorical principles informing the artistic and philosophical world view of the 16th century. His paintings are not only full of references to ancient classical gods and goddesses, but above all they reflect the courtly cosmos of the art chambers and wonder cabinets in which countless exotic and bizarre objects were housed. With the decline of this allegorical world vision between the Renaissance and Mannerism, Arcimboldo was forgotten- only to be rediscovered by modern artists.