This original, provocative study, first published in 1973, presents a new method of interpretation of mythology, and reveals the wide-ranging implications of this universal phenomenon for many disciplines. The volume begins with a sympathetic but critical examination of Lévi-Strauss’s interpretation of mythology. Professor Munz points out the deficiencies in structuralist interpretations, and takes Lévi-Strauss’s neglect of the historicity of all myths as a starting-point for an alternative approach to mythology. Myths, he argues, come in typological series. If the whole series is read forward to the most specific version, the myths will reveal their inherent meaning typologically.

NATIONAL BESTSELLER • WINNER OF THE GOVERNOR GENERAL'S LITERARY AWARD FOR NON-FICTION • WINNER OF THE WRITERS’ TRUST NON-FICTION PRIZE “Absolutely spellbinding.” —The New York Times The environmental true-crime story of a glorious natural wonder, the man who destroyed it, and the fascinating, troubling context in which this act took place. FEATURING A NEW AFTERWORD BY THE AUTHOR On a winter night in 1997, a British Columbia timber scout named Grant Hadwin committed an act of shocking violence in the mythic Queen Charlotte Islands. His victim was legendary: a unique 300-year-old Sitka spruce tree, fifty metres tall and covered with luminous golden needles. In a bizarre environmental protest, Hadwin attacked the tree with a chainsaw. Two days later, it fell, horrifying an entire community. Not only was the golden spruce a scientific marvel and a tourist attraction, it was sacred to the Haida people and beloved by local loggers. Shortly after confessing to the crime, Hadwin disappeared under suspicious circumstances and is missing to this day. As John Vaillant deftly braids together the strands of this thrilling mystery, he brings to life the ancient beauty of the coastal wilderness, the historical collision of Europeans and the Haida, and the harrowing world of logging—the most dangerous land-based job in North America.

Monumental epic poem tells the heroic story of Aeneas, a Trojan who escaped the burning ruins of Troy to found Lavinium, the parent city of Rome, in the west.

Reproduction of the original: A Study in Magic and Religion by J.G Frazer

A masterpiece from one of the greatest poets of the century In a momentous publication, Seamus Heaney's translation of Book VI of the Aeneid, Virgil's epic poem composed sometime between 29 and 19 BC, follows the hero, Aeneas, on his descent into the underworld. In Stepping Stones, a book of interviews conducted by Dennis O'Driscoll, Heaney acknowledged the significance of the poem to his writing, noting that "there's one Virgilian journey that has indeed been a constant presence, and that is Aeneas's venture into the underworld. The motifs in Book VI have been in my head for years--the golden bough, Charon's barge, the quest to meet the shade of the father." In this new translation, Heaney employs the same deft handling of the original combined with the immediacy of language and sophisticated poetic voice as was on show in his translation of Beowulf, a reimagining which, in the words of James Wood, "created something imperishable and great that is stainless--stainless, because its force as poetry makes it untouchable by the claw of literalism: it lives singly, as an English language poem."

A great many theorists have argued that the defining feature of modernity is that people no longer believe in spirits, myths, or magic. Jason Ā. Josephson-Storm argues that as broad cultural history goes, this narrative is wrong, as attempts to suppress magic have failed more often than they have succeeded. Even the human sciences have been more enchanted than is commonly supposed. But that raises the question: How did a magical, spiritualist, mesmerized Europe ever convince itself that it was disenchanted? Josephson-Storm traces the history of the myth of disenchantment in the births of philosophy, anthropology, sociology, folklore, psychoanalysis, and religious studies. Ironically, the myth of mythless modernity formed at the very time that Britain, France, and Germany were in the midst of occult and spiritualist revivals. Indeed, Josephson-Storm argues, these disciplines’ founding figures were not only aware of, but profoundly enmeshed in, the occult milieu; and it was specifically in response to this burgeoning culture of spirits and magic that they produced notions of a disenchanted world. By providing a novel history of the human sciences and their connection to esotericism, The Myth of Disenchantment dispatches with most widely held accounts of modernity and its break from the premodern past.