Octavio Paz presents his sustained reflections on the poetic phenomenon and on the place of poetry in history and in our personal lives.

In this interpretation of the Odyssey, Seth Benardete suggests that Homer may have been the first to philosophize in a Platonic sense. He argues that the Odyssey concerns precisely the relation between philosophy and poetry and, more broadly, the rational and the irrational in human beings.

Far-Shooter. Foreseer. Wolf. Raven. Rat. Swan. Bringer of Health and Plague. Master of Song and Poetry. Lord of Truth and Enlightenment. Olympian God of prophecy and healing, archery and light and music, Apollo was honored throughout the ancient Mediterranean and across the Roman Empire. A paradoxical God, he is associated with both wisdom and virility, with compassion and cruelty, with fatherhood and youth. Twin to the virginal Artemis, he took many mortal lovers, male and female, and sired numerous children - at least one of whom, the healer Asklepios, ascended to godhood himself. Despite the deliberate destruction of His temples, Apollo was never forgotten. Renaissance artists and philosophers found in Him a worthy and willing patron, and in the centuries since his devotees have only grown in number. Among them are the contributors to this anthology, whose poems, essays, artwork, rites, and short fiction celebrate the God in all his wondrous complexity. And so we sing, as they did in ancient days: hail to you, Son of Thunder and Lightning. Io Paean!

One of the great minds of the 20th century,explores the duality of human nature in all its,variations in cultures around the world.,Fascinated by the polarity of being, Paz has,boldly attempted to write a |history of man|.,Unlike countless other histories that simply,chronicle civilizations and cultures, Paz's work,explores the human heart, the meaning of human,nature and the duality that exists within all,beings and, it would seem, all things. Ranging,across cultures and centuries, Paz explores,opposites and contradiction through the ages.

Archery and the Human Condition in Lacan, the Greeks, and Nietzsche showcases archery as a metaphor for the fundamental tension at the heart of the human condition. Matthew Meyer develops a theory of subjectivity that incorporates elements from psychoanalysis, Greek literature, philosophy, and Zen archery, bringing together allusions to the bow and archery made by Sophocles, Homer, Heraclitus, Aristotle, Lacan, Nietzsche, and Awa Kenzo. The book weaves together a psychoanalytic account of infant development, the obstacles faced by Greek heroes, and virtue theory to explore the tension between the forces inside and outside of the human that subject the human beingit to conditions beyond its control. Meyer develops this side of the tension through Jacques Lacan’s theory of human drive, illustrating the three parts of drive theory through application to three works in Greek literature and philosophy. He The second part of the text describes the other side of this fundamental tension--the ability to control drive impulses—through Aristotle’s use of the archer as a metaphor in his virtue theory. The book illustrates the productive nature of this tension through an analysis of Friedrich Nietzsche’s ideas about drives and sublimation, especially his contention that the “highest” types are like “the bow with the greatest tension.”

What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways. Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

In Bending the Bow, Robert Duncan is writing on a scale which places him among the poets, after Walt Whitman, bold enough to attempt the personal epic, the large-canvas rendering of man's spirit in history as one man sees it, feels it, lives it, and makes it his own.