A Greek playboy’s marriage of convenience yields more than he can handle in this holiday romance by a USA Today–bestselling author. Coldly ruthless and deeply cynical, Apollo Metraxis has made a career of bachelorhood. But when the inheritance of his father’s estate is conditional on a marriage and a child, he is forced to do the unthinkable! Unpolished Pixie Robinson is the world’s worst choice of a wife for Apollo. Yet her family’s mounting debts leave her defenseless and therefore uniquely suitable. But when the wedding night exposes Pixie’s untouched vulnerability, striking a chord in the dark reaches of his heart, Apollo is forced to think again. And that’s before he discovers that she’s carrying not one—but two Metraxis heirs!

Ancient Greek music and music theory has fascinated scholars for centuries not only because of its intrinsic interest as a part of ancient Greek culture but also because the Greeks? grand concept of music has continued to stimulate musical imaginations to the present day. Unlike earlier treatments of the subject, Apollo?s Lyre is aimedøprincipally at the reader interested in the musical typologies, the musical instruments, and especially the historical development of music theory and its transmission through the Middle Ages. The basic method and scope of the study are set out in a preliminary chapter, followed by two chapters concentrating on the role of music in Greek society, musical typology, organology, and performance practice. The next chapters are devoted to the music theory itself, as it developed in three stages: in the treatises of Aristoxenus and the Sectio canonis; during the period of revival in the second century C.E.; and in late antiquity. Each theorist and treatise is considered separately but always within the context of the emerging traditions. The theory provides a remarkably complete and coherent system for explaining and analyzing musical phenomena, and a great deal of its conceptual framework, as well as much of its terminology, was borrowed and adapted by medieval Latin, Byzantine, and Arabic music theorists, a legacy reviewed in the final chapter. Transcriptions and analyses of some of the more complete pieces of Greek music preserved on papyrus or stone, or in manuscript, are integrated with a consideration of the musicopoetic types themselves. The book concludes with a comprehensive bibliography for the field, updating and expanding the author?s earlier Bibliography of Sources for the Study of Ancient Greek Music.

Wedding, Gender, and Performance in Ancient Greece traces the wedding song tradition, its imagery, and its tropes as a genre that became crystallized throughout the ages. It explores how wedding poetics permeates ancient Greek literature. It first analyzes how explicit or implicit matrimonial references shape archaic epic diction and become an integral part of epic discourse; orally circulating texts, such as wedding songs, could have a life of their own but, beyond their original context, could also become an integral part of a different genre, especially epic and drama. This author discusses the multiple platforms that enrich the wedding song tradition, including children's songs, hymns, paeans, and ululations, arguing for a combination of ritualized discourse with ludic childhood poetics. With an approach from cognitive and trauma studies, such references can be more revealing of the female experience than previously acknowledged. This book resists the idea that a wedding constitutes an initiation ritual, arguing that what on the surface may seem like a transition to a new phase reveals other underlying trends that work against the concept of a passage. It further considers how emotion is staged and revisits the poetics of return by looking at patterns such as the eloping, returning, failed, and dead bride. Finally, the theme of separation and return as an exemplification of a distinct female nostos is revisited in female-authored poetry, which helps us decode the complex interweaving of wedding performances and lamentation, among other types of performance.

Berenice II (c. 264-221 BCE), daughter of King Magas of Cyrene and wife of Ptolemy III Euergetes, came to embody all the key religious, political, and artistic ideals of Ptolemaic Alexandria. Though she arrived there nearly friendless, with the taint of murder around her, she became one of the most accomplished and powerful of the Macedonian queens descended from the successors of Alexander the Great. She was at the center of a group of important poets and intellectuals associated with the Museum and Library, not the least of which was Callimachus, the most important poet of the age. These men wrote poems not just for her, but about her, and their eloquent voices projected her charisma widely across the Greek-speaking world. Though the range of Berenice's interests was impressive and the quantity and quality of the poetry she inspired unparalleled, today she is all but known. Assimilating the scant and scattered evidence of her life, Dee L. Clayman presents a woman who was more powerful and fascinating than we had previously imagined. Berenice II and the Golden Age of Ptolemaic Egypt offers a portrait of a woman who had access to the cultural riches of both Greece and Egypt and who navigated her way carefully through the opportunities and dangers they presented, ultimately using them to accrue unprecedented honors that were all but equal to those of the king.

Over the past fifty years, studies pertaining to the reality of the church in the Apocalypse have, for the most part, tended to be either selective or sketchy in their treatment of the relevant material of the book. Yet in all fairness to the seer of Patmos, his portrayal of the church as a reality decidedly complex and at once profound can only be attained in a thoroughgoing study of the principal ecclesial narratives of his work, so as to allow for that indispensable 'synoptic' overview of such intentionally correlated material. Woman, Mother and Bride is such a study. It re-examines the relevant imagery of the Apocalypse but from the perspective of the seer's ecclesial 'thought-world' and on the basis of his overriding pastoral concerns for the 'seven churches' without which his work will continue to puzzle and trouble at every page. The ensuing outlook on the church is panoramic in its scope yet compelling in its appeal which further goes to confirm the Apocalypse as one of the most significant theological achievements of early Christianity.

He is the one man she shouldn’t want…but the only man she can’t walk away from! Embrace the angst in this dramatic forbidden romance by Millie Adams! Will their desire be his ruin… Or redemption? CEO Apollo Agassi sold his soul to rise up from the streets. Becoming Hannah West’s guardian is the sole thing he’s proud of. Acknowledging their forbidden attraction is unthinkable! Yet Hannah seems determined to push him beyond his limits… Hannah knows her unrequited love for Apollo will devastate her. She’ll do anything to avoid his magnetic pull, including marry another. Then Apollo shockingly steals her from the altar, and a dangerous flame is ignited. Hannah must decide—is their passion a firestorm she can survive unscathed, or will it burn everything down? From Harlequin Presents: Escape to exotic locations where passion knows no bounds.

Focusing on songs by the troubadours and trouvères from the twelfth to the fourteenth centuries, Medieval Song from Aristotle to Opera contends that song is not best analyzed as "words plus music" but rather as a distinctive way of sounding words. Rather than situating them in their immediate period, Sarah Kay fruitfully listens for and traces crosscurrents between medieval French and Occitan songs and both earlier poetry and much later opera. Reflecting on a song's songlike quality—as, for example, the sound of light in the dawn sky, as breathed by beasts, as sirenlike in its perils—Kay reimagines the diversity of songs from this period, which include inset lyrics in medieval French narratives and the works of Guillaume de Machaut, as works that are as much desired and imagined as they are actually sung and heard. Kay understands song in terms of breath, the constellations, the animal soul, and life itself. Her method also draws inspiration from opera, especially those that inventively recreate medieval song, arguing for a perspective on the manuscripts that transmit medieval song as instances of multimedia, quasi-operatic performances. Medieval Song from Aristotle to Opera features a companion website (cornellpress.manifoldapp.org/projects/medieval-song) hosting twenty-four audio or video recordings, realized by professional musicians specializing in early music, of pieces discussed in the book, together with performance scores, performance reflections, and translations of all recorded texts. These audiovisual materials represent an extension in practice of the research aims of the book—to better understand the sung dimension of medieval song.