In a vast land where dark and light spirits have fought for domination over thousands of years, two orphans adopted by the Monastery of the Brotherhood rejoin the fight to sustain the light. Ophelia is traveling home to Ringell, the crown jewel and capital of the land of Hinnom. She goes there to meet Kempis, her surrogate brother also adopted by the brotherhood, now turned priest. She hopes to convince him to travel with her to Havenwood, an ancient site of conflicts between light and dark, where the cold war has again come alive. Abba, the spiritual leader of the creatures of light, reveals his wishes and wisdom through the oracles sent to Ophelia. These oracles prove evasive and dangerous, yet are enlightening to Ophelia and her companions, as their god leads them through a web of darkness that threatens to destroy them all.

The Helot slave and the Spartan Prince shouldn’t cross paths. Yet supernaturally, Lyra and Leonid’s fates happened to become interwoven. Lyra, the one true oracle in the temple, saw him bleeding to death in her visions. Refusing to accept this end, she tagged along on his treacherous journey to Athens. She had a simple undercover mission at the Temple of Delphi, to compete for a priestess position, but the Pythia in charge had other plans in mind— an inhumane set of trials designed for betrayals and bloodshed. The strong resistance Lyra encountered forced her to race with time. But from the start, are futures able to be rewritten? Leonid loathed the throne of Sparta that was paved by his brothers’ assassinations. He had fought tooth and nail to consolidate his young kingship, but his revenge, however, didn’t account for her, the girl he once vowed to protect. Newfound feelings for her thus began to get in the way. As he walks a dangerous line between Athenian rivals, he must weigh her and Sparta on opposite ends of the balance. But only fate will know the ultimate price of his decision.

Storms and pirates are nothing compared to the evil within men’s hearts. After a lifetime of abuse at the hands of superstitious townsfolk, Ophelia Young, a bastard child of the notorious pirate queen, is tired of paying for the sins of her mother. Despite playing by the rules her whole life, she’s earned nothing but spite and suspicion. So when a naval officer saves her from the jeering crowd at her mother’s hanging, Ophelia hatches a new hope of enlisting in the navy to escape her mother’s legacy and redeem her own reputation for good. But Ophelia soon discovers that a life at sea isn’t as honorable as she hoped. Betsy Young is as different as she could be from her half-sister Ophelia. She’s a nervous homebody who wants to keep her family safe and longs to be in love. So naturally, she’s devastated when the son of their family’s business partner rejects her hand in marriage and her sister joins the navy. But when her father contracts a life-threatening illness as well, Betsy has to bring Ophelia home to save the family business. Unfortunately for the Young sisters, Betsy trying to get Ophelia recalled reveals that Ophelia enlisted fraudulently under Betsy’s name, a secret which Ophelia struggles to keep from crewmates who would kill her if they knew she was the pirate queen’s daughter. To save Ophelia from the naval authorities, Betsy will have to board a ship during hurricane season and brave all the dangers of the sea to get them both home safe.

In Shakespeare's Hamlet, when Ophelia tells King Claudius, "Lord, we know what we are, but know not what we may be," she implies more than that we can never know what will happen next, that we have no grounds on which to make significant decisions in the conduct of our lives. She herself had done little or nothing to bring about her present state. Now she is quite mad. Claudius, too, could never have guessed where he would end. Yet the rest of us, although not significantly more knowing than they, profess to think we can actually make Me decisions which genuinely good reasons will support.Experience seems to have convinced us that, deficient in self-knowledge though we may be, sometimes the arrow of decision reaches its mark. Kadish examines how decisions hi the conduct of our lives are possible, how they may be justified, and what the limits of that justification might be for a self that defines itself in a context of social change. Although the need for self-justification tends to be regarded as a weakness, this book suggests that it may also be regarded as the inevitable outcome of the desire to make justifiable decisions, those for which on reflection one can approve oneself.The prime problem of the conduct of life, according to Kadish, is to say when one can and when one cannot justify oneself for one's conduct not to others but to oneself. He proposes that through self judgment individuals develop that very self-interest in virtue of which they endeavor to choose one course of action rather than another. He proposes also that they justify and form themselves through their self-identification as members of communities in conflict and in process of transformation. From this difficult social and human condition the basic problems of ethical and social theory, together with the possibility of a theory of good reasons, are held to arise.In the present time of discontent and emphasis on change hi social, economic, and political life, The Ophelia Paradox has a particular pertinence to the prospects for resolving the basic issues of conduct. It should be of interest to philosophers, sociologists, and psychologists, and of special relevance to anyone concerned with the interrelationships of ethics, art, and law.

Following everyone from Frankenstein’s Monster to King Lear’s Fool, Charles Dickens to Virginia Woolf, this is a loving spoof of our literary favorites, and a hilarious collection for a twenty-first century generation of readers. Long live the Classics: 2.0! When humorist Sarah Schmelling transformed Hamlet into a Facebook news feed on McSweeney’s, it launched the next big humor trend—Facebook lit. In this world, the king “pokes” the queen, Hamlet becomes a fan of daggers, and Ophelia renounces her interest in moody princes. Now, what began as an internet phenomenon is a book. Ophelia Joined The Group Maidens Who Don’t Float: Classic Lit Signs on to Facebook is a clever spoof of the most-trafficked social networking website and a playful game of literary who’s who. The book brings more than fifty authors and stories from classic literature back to life and online, and it is sure to have book lovers and Facebook addicts alike twittering with joy. From The Odyssey to The Adventures of Huckleberry Finn, Pride and Prejudice to Lolita, Schmelling brings the conventions of social networking—profile pages, status updates, news feeds, games and quizzes—to some of literature’s most well-known works, authors and characters.

Brief history of Hereford cattle: v. 1, p. 359-375.

"Electra's story is essentially a tale of murder, revenge, and violence. In the ancient myth of Atreus, Agamemnon returns home from battle and receives no hero's welcome. Instead, he is greeted with an ax, murdered in his bath by his wife, Clytemnestra, and her lover-accomplice, Aegisthus. Electra chooses anger over sorrow and stops at nothing to ensure that her mother pays. In revenge, Electra, with the help of her brother, orchestrates a brutal and bloody matricide, and her reward is the restitution of her father's good name. Amid all this chaos, Electra, Agamemnon's princess daughter, must bear the humiliation of being treated as a slave girl and labeled a madwoman."--from the IntroductionAlmost everyone knows about Oedipus and his mother, and many readers would put the Oedipus myth at the forefront of Western collective mythology. In Electra after Freud, Jill Scott leaves that couple behind and argues convincingly for the primacy of the countermyth of Agamemnon and his daughter. Through a lens of Freudian and feminist psychoanalysis, this book views renderings of the Electra myth in twentieth-century literature and culture.Scott reads several pivotal texts featuring Electra to demonstrate what she calls "a narrative revolt" against the dominance of Oedipus as archetype. Situating the Electra myth within a framework of psychoanalysis, medicine, opera, and dance, Scott investigates the heroine's role at the intersections of history and the feminine, eros and thanatos, hysteria and melancholia. Scott analyzes Electra adaptations by H.D., Hofmannsthal and Strauss, Musil, and Plath and highlights key moments in the telling and reception of the Electra myth in the modern imagination.

Blessings, invocations, chants, prayers, oriki and discussions with Spirit from 72 women in 25 different spiritual traditions around the world: "Talking to Goddess is a cacophony of whispers, prayers, and sweet sound vibrations reflecting the many ways that everyday women can communicate with the divine essence of nature and our own beautiful selves." - Chief Luisah Teish, Founder, School of Ancient Mysteries and author of Jambalaya and Carnival of the Spirits "This cornucopia of blessings and chants is both an excellent resource for use in rituals and a powerful introduction to the many faces of Goddess." - Dr. Judith Plaskow, Professor, Religious Studies, Manhattan College and author, Standing Again at Sinai

From USA Today bestselling author Leslie Langtry comes the next wacky, wild, wonderful Merry Wrath mystery... Whether they like it or not, culture is coming to Who’s There, Iowa in the form of community theater! Merry Wrath, former CIA operative turned suburban Girl Scout Troop leader has high hopes when Ye Olde Opera House is renovated, and newcomers Ophelia and her husband Dante arrive from off-off-off Broadway (…Street in Peoria) with their stage pig, Iago, to put on a production of Derek the Sparkly Unicorn Ninja, which was written by the mysterious SeBasquetian deCatalonia Braveheart. But chaos is the name of the game when half the town and their hamsters show up for auditions, Merry has been volunteered as Stage Manager, and her precocious troop are planning death-defying stunts and dangerous special effects. It certainly doesn’t help that Ophelia emotes like a deranged drama queen and Dante seems to think there’s a Tony Award for seducing women. When one of the thespians takes Method Acting a bit too far and ends up an actual corpse on stage, Merry has to work fast to find a killer before the curtain falls on another victim! What critics are saying about Leslie Langtry's books: "I laughed so hard I cried on multiple occasions! Girl Scouts, the CIA, and the Yakuza... what could possibly go wrong?" ~ Fresh Fiction "Darkly funny and wildly over the top, this mystery answers the burning question, 'Do assassin skills and Girl Scout merit badges mix…?'" ~ RT BOOKreviews "Mixing a deadly sense of humor and plenty of sexy sizzle, Leslie Langtry creates a brilliantly original, laughter-rich mix of contemporary romance and suspense." ~ Chicago Tribune "Langtry gets the fun started from page one." ~ Publisher's Weekly