A radical new interpretation of Picasso and his relation to the classical seen through the artist's prints of the 1930s.

An illustrated study of a number of Greek myths about the transformations of humans and gods. Richard Buxton poses the question of how seriously the Greeks took these tales, and in doing so also illuminates issues explored by anthropologists and students of religion.

The transformation of human beings to animals, plants, and stones is one of the commonest and most characteristic themes of Greek mythology; whereas many cultures contain some such stories, in none are they so popular as in the Greek myths. Transformations are also some of the most mysterious and fantastic episodes in Greek mythology. Given the intriguing nature of the subject-matter, it is surprising that no study of these stories has ever appeared in English. But this book is unusual in its approach. Studies of Greek myths have usually tended to try to explain them away in terms of some external entity, whether it be some hypothetical ritual, some curious phenomenum of nature or some long-forgotten historical event. The book argues that this attitude ignores what is of most interest about Greek myths - their appeal as stories. The author analyses the various ways in which these stories imagine and explore what it means for a person to change his or her form.

The impact of Ovid's Metamorphoses on our culture can hardly be overestimated. The poem is one of the most exciting and accessible classical texts, our key source for nearly all the famous myths of Greece and Rome. Sarah Annes Brown offers a lively, and sometimes provocative, introduction to the Metamorphoses, exploring the impact of recent critical developments and tracing its rich afterlife in both high and popular culture. The book's later chapters are devoted to five of the most memorable Ovidian stories - Apollo and Daphne, Actaeon, Philomela, Arachne and Pygmalion. Each subtle and elusive story is found to have generated a huge range of creative responses. The influence of the Pygmalion myth, for example, can be traced in Frankenstein, Vertigo and Blade Runner, as well as in the works of Chaucer and Shakespeare.

In fierce, textured voices, the women of Ovid's Metamorphoses claim their stories and challenge the power of myth I am the home of this story. After thousands of years of other people’s tellings, of all these different bridges, of words gotten wrong, I’ll tell it myself. Seductresses and she-monsters, nymphs and demi-goddesses, populate the famous myths of Ovid's Metamorphoses. But what happens when the story of the chase comes in the voice of the woman fleeing her rape? When the beloved coolly returns the seducer's gaze? When tales of monstrous transfiguration are sung by those transformed? In voices both mythic and modern, Wake, Siren revisits each account of love, loss, rape, revenge, and change. It lays bare the violence that undergirds and lurks in the heart of Ovid’s narratives, stories that helped build and perpetuate the distorted portrayal of women across centuries of art and literature. Drawing on the rhythms of epic poetry and alt rock, of everyday speech and folk song, of fireside whisperings and therapy sessions, Nina MacLaughlin, the acclaimed author of Hammer Head, recovers what is lost when the stories of women are told and translated by men. She breathes new life into these fraught and well-loved myths.

This volume contains the lectures delivered at an international conference in Israel devoted to the topic of Franz Kafka (1883-1924) and Zionism. Kafka's interests in Hebrew, Yiddish, and Jewish Nationalism and his various relationships to his Zionist friends and his participation in Jewish national and Zionist-related activity are explored from a number of different critical vantage points. Likewise, his writings are considered within the specific framework of Jewish nationalism and Zionism.

Synthesizing a wealth of detailed observations, Joseph Solodow studies the structure of Ovid's poem Metamorphoses, the role of the narrator, Ovid's treatment of myth, and the relationship between Ovid's and Virgil's presentations of Aeneas. He argues that for Ovid metamorphosis is an act of clarification, a form of artistic creation, and that the metamorphosed creatures in his poem are comparable to works of art. These figures ultimately aid us in perceiving and understanding the world.

"It is the single most important work of poetry in ancient history" - M. L. Andres, author of 'A Simple but Effective Strategy for Success' & founder of The Block Bard. Ovid's 15-book epic, written in exquisite Latin hexameter, is a rollercoaster of a read. Beginning with the creation of the world, and ending with Rome in his own lifetime, the Metamorphoses drags the reader through time and space, from beginnings to endings, from life to death, from moments of delicious joy to episodes of depravity and abjection.The madness and chaos of some 250 stories, spanning around 700 lines of poetry per book, are woven together by the theme of metamorphosis or transformation. The artistic dexterity involved in pulling off this literary feat is testimony to Ovid's skill and ambition as a poet. This accomplishment also goes a long way in explaining the rightful place the Metamorphoses holds within the canon of classical literature, placed as it is beside other great epics of Mediterranean antiquity such as the Iliad, Odyssey and Aeneid.