Described by a later Greek historian as "a man seriously committed to raising a laugh", Lucian exulted in the exposure of absurdity and the puncturing of pretension, and was capable of finding a comic angle on almost any subject. In this selection we see him conversing with his literary enemies, railing against hypocrisy and the vanity of human wealth and power, and taking a wry look at the power of lust and the unsatisfactory nature of deviant sexual practices.

An innovatory exploration of art and visual culture. Through carefully chosen themes and topics rather than through a general survey, the volumes approach the process of looking at works of art in terms of their audiences, functions and cross-cultural contexts. While focused on painting, sculpture and architecture, it also explores a wide range of visual culture in a variety of media and methods. "1000-1600: Medieval to Renaissance" includes essays on key themes of Medieval and Renaissance art, including the theory and function of religious art and a generic analysis of art at court. Explorations cover key canonical artists such as Simone Martini and Botticelli and key monuments including St Denis and Westminster Abbey, as well as less familiar examples.The first of three text books, published by Tate in association with the Open University, which insight for students of Art History, Art Theory and Humanities. Introduction Part 1: Visual cultures of medieval Christendom 1: Sacred art as the Bible of the Poor' 2: Sacred architecture, Gothic architecture 3: Sacred in secular, secular in sacred: the art of Simone Martini 4: To the Holy Land and back again: the art of the Crusades Part 2: The shifting contexts of Renaissance art 5: Art at court 6: Botticelli 7: Did women patrons have a Renaissance? Italy 1420-1520 8: From Candia to Toledo: El Greco and his art

**Shortlisted for Waterstones Book of the Year** The Penguin Classics Book is a reader's companion to the largest library of classic literature in the world. Spanning 4,000 years from the legends of Ancient Mesopotamia to the poetry of the First World War, with Greek tragedies, Icelandic sagas, Japanese epics and much more in between, it encompasses 500 authors and 1,200 books, bringing these to life with lively descriptions, literary connections and beautiful cover designs.

More than one hundred books have been written about T.E. Lawrence which explore the man and his deeds. Just about every aspect and the many incarnations of his life, his campaigns, the geo-politics of the Arab world, and the influence of the West in it, as Lawrence experienced them, have been examined. However, nobody has gone in search of the mind of the man himself – of his formation and his deep beliefs. Nobody has asked the question, What, really, is the source of the extraordinary power of this little man? – not only in terms of his incontestable qualities of leadership, but also in regard to the sheer range of his activities and accomplishments. Archaeologist, writer, guerilla warfare theorist and practitioner, diplomat, soldier and airman, Lawrence also possessed an unusual ability to cross boundaries of class, race, culture, and religion. On top of this, he demonstrated the ability to walk away from power and wealth and the accumulation of things – to change his name more than once; to begin again at the bottom of the heap in the RAF, and stay there, with only a few friends and books and a motorcycle. Lawrence – Warrior and Scholar is a quest. It examines how a slight Oxford academic combined two of the most challenging paths a man can choose. What drove and motivated this man? How was it that he could apparently out-shoot, out-ride, and out-starve the Bedouin? How is it that the US military, and others, are still studying his famous account of the Arab Revolt and his ‘27 Articles’? Drawing upon what Lawrence and those who knew him wrote, and did, and said, Bruce Leigh delves into Lawrence’s personal philosophy and practices, examining and analyzing his library, and his close relationship to the world of classical scholarship and chivalry, emphasizing that Lawrence’s views were not abstractions only, but intimately tied to his actions and deeds. Ultimately, the book argues that there is a message in Lawrence’s writings and activities – one that is against the grain of the world of self-definition by consumption. As one of his friends wrote: ‘The Man was great, the message is greater.’

Twelve Voices from Greece and Rome is a book for all readers who want to know more about the literature that underpins Western civilization. Chistopher Pelling and Maria Wyke provide a vibrant and distinctive introduction to twelve of the greatest authors from ancient Greece and Rome, writers whose voices still resonate strongly across the centuries: Homer, Sappho, Herodotus, Euripides, Thucydides, Plato, Caesar, Cicero, Virgil, Horace, Juvenal and Tacitus. To what vital ideas do these authors give voice? And why are we so often drawn to what they say even in modern times? Twelve Voices investigates these tantalizing questions, showing how these great figures from classical antiquity still address some of our most fundamental concerns in the world today (of war and courage, dictatorship and democracy, empire, immigration, city life, art, madness, irrationality, and religious commitment), and express some of our most personal sentiments (about family and friendship, desire and separation, grief and happiness). These twelve classical voices can sound both compellingly familiar and startlingly alien to the twenty-first century reader. Yet they remain suggestive and inspiring, despite being rooted in their own times and places, and have profoundly affected the lives of those prepared to listen to them right up to the present day.

Materia Magica approaches magic as a material endeavor, in which spoken spells, ritual actions, and physical objects all played vital roles in the performance of a rite. Through case studies drawing on objects excavated or discovered in the late nineteenth and early twentieth century at three Mediterranean sites, Andrew T. Wilburn identifies previously unknown forms of magic. He discovers evidence of the practice of magic in objects of ancient daily life, suggesting that individuals frequently turned to magic, particularly in times of crises. Studying the remains of spells enacted by practitioners, Wilburn examines the material remains of magical practice by identifying and placing them within their archaeological contexts. His method of connecting an analysis of the texts and inscriptions found on artifacts of magic with a close consideration of the physical form of these objects illuminates an exciting path toward new discoveries in the field.

No Laughing Matter is a wide-ranging collection of new studies of the comic theatre of Athens, from its origins until the 340s BCE. Fifteen international scholars employ an array of approaches and methodologies that will appeal to Classics and Theatre scholars while still remaining accessible to students. By including discussions of fragmentary authors alongside Aristophanes, the collection provides a broad understanding of the richness of Athenian comedy. The collection showcases the best of the new scholarship on Old and Middle Comedy, using the most up-to-date texts and tools. No Laughing Matter has been prepared in tribute to Professor Ian Storey of Trent University (Peterborough, Ontario), whose work on Athenian comedy will continue to shape scholarship for many years to come.

In 1775, the young Count de Sade decided to turn a flight from legal trouble into an opportunity to undertake the "grand tour." He transformed his sojourns in Florence, Rome, Naples, and their environs into a philosophical travelogue; alongside advice on where to go and what to see, his Journey to Italy would include analyses of local customs and institutions, history and politics, natural phenomena, and the development of the arts. For today’s readers, Journey to Italy provides remarkable portraits of major Italian cities and the surrounding countryside, vivid accounts of aristocratic and popular entertainments, and a clear sense of what it was like to be a tourist in eighteenth-century Italy – from scams, rough roads, and unreliable guidebooks to learned interlocutors, balls, and nights at the opera. We witness Sade learning about the lives of Roman emperors, the machinations and misdeeds of pontiffs, the power struggles of the Medici, the ancient libertine world revealed by the excavations of Herculaneum and Pompeii, and a host of artistic examples and cultural practices – the material he would soon metamorphose into trenchant satire, gothic horror, and violent sexual fantasy. This book presents the first English translation of Sade’s unfinished and unpolished Journey to Italy along with his extensive dossiers of notations, sketches, plans, and correspondence. The translation is accompanied by extensive explanatory annotations and preceded by a critical introduction that provides biographical, artistic, historical, and intellectual context for Sade’s fascinating project, connecting his travels in and writings about Italy to his later famous and controversial works.

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