Originally published: Wilmington, Del.: ISI Books, 2003, in series: Crosscurrents.

It�s Clara who�s desperate to enter the labyrinth and it�s Clara who�s bright, strong, and fearless enough to take on any challenge. It�s no surprise when she�s chosen. But so is the girl who has always lived in her shadow. Together they enter. Within minutes, they are torn apart forever. Now the girl who has never left the city walls must fight to survive in a living nightmare, where one false turn with who to trust means a certain dead end.

Made up of nine prominent scholars, The Postclassicisms Collective aims to map a space for theorizing and reflecting on the values attributed to antiquity. The product of these reflections, Postclassicisms takes up a set of questions about what it means to know and care about Greco-Roman antiquity in our turbulent world and offers suggestions for a discipline in transformation, as new communities are being built around the study of the ancient Greco-Roman world. Structured around three primary concepts—value, time, and responsibility—and nine additional concepts, Postclassicisms asks scholars to reflect upon why they choose to work in classics, to examine how proximity to and distance from antiquity has been—and continues to be—figured, and to consider what they seek to accomplish within their own scholarly practices. Together, the authors argue that a stronger critical self-awareness, an enhanced sense of the intellectual history of the methods of classics, and a greater understanding of the ethical and political implications of the decisions that the discipline makes will lead to a more engaged intellectual life, both for classicists and, ultimately, for society. A timely intervention into the present and future of the discipline, Postclassicisms will be required reading for professional classicists and students alike and a model for collaborative disciplinary intervention by scholars in other fields.

Highlighting the interaction between myth and artist, word and image, Jacob Nyenthuis here presents a catalogue of these works, one that will enlighten Ayrton's British following while introducing him to an American audience."--BOOK JACKET.

In The Icarus Deception, Seth Godin's most inspiring book, he challenges readers to find the courage to treat their work as a form of art Everyone knows that Icarus's father made him wings and told him not to fly too close to the sun; he ignored the warning and plunged to his doom. The lesson: Play it safe. Listen to the experts. It was the perfect propaganda for the industrial economy. What boss wouldn't want employees to believe that obedience and conformity are the keys to success? But we tend to forget that Icarus was also warned not to fly too low, because seawater would ruin the lift in his wings. Flying too low is even more dangerous than flying too high, because it feels deceptively safe. The safety zone has moved. Conformity no longer leads to comfort. But the good news is that creativity is scarce and more valuable than ever. So is choosing to do something unpredictable and brave: Make art. Being an artist isn't a genetic disposition or a specific talent. It's an attitude we can all adopt. It's a hunger to seize new ground, make connections, and work without a map. If you do those things you're an artist, no matter what it says on your business card. Godin shows us how it's possible and convinces us why it's essential. 'If Seth Godin didn't exist, we'd need to invent him' Fast Company 'Seth Godin is a demigod on the web, a bestselling author, highly sought-after lecturer, successful entrepreneur, respected pundit and high-profile blogger' Forbes Seth Godin is the author of thirteen international bestsellers that have changed the way people think about marketing, the ways ideas spread, leadership and change including Permission Marketing, Purple Cow, All Marketers are Liars, The Dip and Tribes. He is the CEO of Squidoo.com and a very popular lecturer. His blog, www.sethgodin.typepad.com, is the most influential business blog in the world, and consistently one of the 100 most popular blogs on any subject..

An exploration of story-telling as discourse through a wide range of teaching activities.

The Unsignificant: Three Talks on Poetry and Pictures is a selection of lectures that poet and Griffin Award–finalist Srikanth Reddy presented for the Bagley Wright Lecture Series in 2015. True to its title, The Unsignificant is concerned with what it’s not about—not the logical proofs of philosophy but the affective flux of poetry. The lectures approach poetry from Homer to Gertrude Stein to Ronald Johnson obliquely, refracted through images such as Brueghel’s “Landscape with Fall of Icarus,” Hermann Rorschach’s inkblots, or Galileo’s drawings of the moon. Ranging from pictorial backgrounds in visual art to portraiture and similes to the poetics of wonder, The Unsignificant embarks on an unsystematic, errant, and eccentric tour of Western poetry and poetics from the ancient world to our continuous present.

Rooted in the robust discourse of eminent Canadian philosopher Charles Taylor (A Secular Age), this book takes the reader on a journey of deep reflection and discovery. Many things in today’s culture misdirect, seduce, and confuse younger generations, when they actually need wise mentors with integrity. The discussion clarifies some of the core issues at stake in the late modern identity quest. In the process, it unpacks some of the most profound implications of the miraculous incarnation for personal flourishing. The author introduces us to the power of dialogue with both divine and human interlocutors. We are brought around the table for mutual engagement, while receiving a compelling vision for life. The discussion is deeply embedded in a rich understanding of the Judeo-Christian Scriptures. The effect is to spark a lively faith-and-culture investigation. The crucial question we are left with is this: Do we intend to be our own gods in some gnostic permutation—to invent ourselves from the ground up according to our own individual design? Or, should we investigate a relationship with God and agape love that can be life-transforming, freeing, and anchoring? Which direction will lead to a grounded, resilient identity?

This book examines the vital nature of the subject of leadership in Asia and looks, in particular, at the processes and practices within the Asia Pacific region. It describes how leadership processes differ across various regions and teaches managers how to better employ these processes in order to improve the success of their organisations. The work moves beyond looking only at Western ideas and explores further leadership perspectives based on differing cultural foundations. It considers the influences of Confucianism, Daoism, Mohism and Legalism and also reflects the character of different leadership styles, such as paternalistic, benevolent transactional and transformational styles, as well as authentic and entrepreneurial approaches. Throughout the text, a wide range of international contributors adopt an array of leadership and other theories, cases, sectors and methods to discuss leadership in Asia. This book was originally published as a special issue of the Asia Pacific Business Review.

Why does Bassanio compare himself to Jason? What is Hecuba to Hamlet? Is the mechanicals' staging of the Pyramus and Thisbe story funny or sad? This dictionary elucidates Shakespeare's use of mythological references in an early modern context, while bringing them to life for today's audiences and readers, at a time of renewed critical interest in the reception of the classics and fascination with classical mythology in popular culture. It is also a precious tool for practitioners who may not always know quite what to make of mythological references. Mythological figures, creatures, places and stories crowd Shakespeare's plays and poems, featuring as allusions, poetic analogies, inset shows, scene settings and characters or plots in their own right. Most of these references were familiar to Shakespeare's spectators and readers, who knew them from the writings of Ovid, Virgil and other classical authors, or indirectly through translations, commentaries, ballads and iconography. This dictionary illustrates how, far from being isolated, a mythological reference may resonate with the poetics of the text and its structure, cast light on characters and contexts, and may therefore be worth exploring onstage in a variety of ways. The 200 headings correspond to words and names actually used by Shakespeare: individual figures (Dido, Venus, Hercules), categories (Amazons, Centaurs, nymphs, satyrs), places (Colchos, Troy). Medium and longer entries also cover early modern usage and critical analysis in a cross-disciplinary approach that includes reception, textual, performance, gender and political studies.