The seminal medieval history of the Second Commonwealth period of ancient Jewish history. Sepher Yosippon was written in Hebrew by a medieval historian and noted by modern scholars for its eloquent style. This is the first known chronicle of Jewish history and legend-from Adam to the destruction of the Second Temple-since the canonical histories written by Flavius Josephus in Greek and later translated by Christian scholars into Latin. Sepher Yosippon has been cited and referred to by scholars, poets, and authors as the authentic source for ancient Israel for over a millennium, until overshadowed by the twentiethcentury Hebrew translations of Josephus. It is based on Pseudo Hegesippus's fourth-century anti-Jewish summary of Josephus's Jewish War. However, the anonymous author (a.k.a. Joseph ben Gurion Hacohen) also consulted with the Latin versions of Josephus's works available to him. At the same time, he included a wealth of Second Temple literature as well as Roman and Christian sources. This book contains Steven Bowman's translation of the complete text of David Flusser's standard Hebrew edition of Sepher Yosippon, which includes the later medieval interpolations referring to Jesus. The present English edition also contains the translator's introduction as well as a preface by the fifteenth-century publisher of the book. The anonymous author of this text remains unique for his approach to history, his use of sources, and his almost secular attitude, which challenges the modern picture of medieval Jews living in a religious age. In his influential novel, A Guest for the Night, the Nobel Laureate author Shmuel Yosef Agnon emphasized the importance of Sepher Yosippon as a valuable reading to understand human nature. Bowman's translation of Flusser's notes, as well as his own scholarship, offers a well-wrought story for scholars and students interested in Jewish legend and history in the medieval period, Jewish studies, medieval literature, and folklore studies.

This collection of five tales and one play contains the definitive Robin Hood. They are the earliest ballads and play and still the best of the bunch. 'Robin Hood and the Monk' is the earliest surviving manuscript, dated c.1450, and is considered the greatest of the ballads, though it was probably not sung, being described as a 'talkyng'; 'Robin Hood's Death' is one of the most satisfying tragedies in the English language; while 'A Lytell Geste of Robyn Hode' is a comprehensive account of the famous English outlaw - complete, unified and pointing quite clearly to the reign of Edward II as a probable time for an historical Robin Hood, despite the opinions of most of the experts.

The Cinema of Sofia Coppola provides the first comprehensive analysis of Coppola's oeuvre that situates her work broadly in relation to contemporary artistic, social and cultural currents. Suzanne Ferriss considers the central role of fashion - in its various manifestations - to Coppola's films, exploring fashion's primacy in every cinematic dimension: in film narrative; production, costume and sound design; cinematography; marketing, distribution and auteur branding. She also explores the theme of celebrity, including Coppola's own director-star persona, and argues that Coppola's auteur status rests on an original and distinct visual style, derived from the filmmaker's complex engagement with photography and painting. Ferriss analyzes each of Coppola's six films, categorizing them in two groups: films where fashion commands attention (Marie Antoinette, The Beguiled and The Bling Ring) and those where clothing and material goods do not stand out ostentatiously, but are essential in establishing characters' identities and relationships (The Virgin Suicides, Lost in Translation and Somewhere). Throughout, Ferriss draws on approaches from scholarship on fashion, film, visual culture, art history, celebrity and material culture to capture the complexities of Coppola's engagement with fashion, culture and celebrity. The Cinema of Sofia Coppola is beautifully illustrated with color images from her films, as well as artworks and advertising artefacts.

After centuries of mystery, the mythical Magical Unicorn Society has published its official handbook.

These learned lovers of unicorns have created a treasure chest of unicorn lore - the facts, the fiction, the where, why and what of these elusive beasts. This is the ultimate gift for anyone who truly believes.

Discover the myth of the Gold and Silver Unicorns, and the legendary stories of the seven unicorn families. Find out about their unique powers, where they live around the world, what unicorns eat and how to have the best chance of spotting one. Learn about the history of the Magical Unicorn Society - from its foundation to the present day - and how to become a member.

With breathtaking artwork from Helen Dardik and Harry and Zanna Goldhawk (Papio Press), and stunning design and production, this special book gallops through a history of these mythical creatures and looks at their magical future.

Charles MacKay's groundbreaking examination of a staggering variety of popular delusions, crazes and mass follies is presented here in full with no abridgements. The text concentrates on a wide variety of phenomena which had occurred over the centuries prior to this book's publication in 1841. Mackay begins by examining economic bubbles, such as the infamous Tulipomania, wherein Dutch tulips rocketed in value amid claims they could be substituted for actual currency. As we progress further, the scope of the book broadens into several more exotic fields of mass self-deception. Mackay turns his attention to the witch hunts of the 17th and 18th centuries, the practice of alchemy, the phenomena of haunted houses, the vast and varied practices of fortune telling and the search for the philosopher's stone, to name but a handful of subjects. Today, Extraordinary Popular Delusions and The Madness of Crowds is distinguished as an expansive, well-researched and somewhat eccentric work of social history.

In the last fifty years, folklorists have amassed an extraordinary corpus of contemporary legends including "the Choking Doberman," "the Eaten Ticket," and "the Vanishing Hitchhiker." But what about the urban legends of the past? These legends and tales have rarely been collected, and when they occasionally appear, they do so as ancestors or precursors of the urban legends of today, rather than as stories in their own right. In The Nail in the Skull and Other Victorian Urban Legends, Simon Young fills this gap for British folklore (and for the wider English-speaking world) of the 1800s. Young introduces seventy Victorian urban legends ranging from "Beetle Eyes" to the "Shoplifter's Dilemma" and from "Hands in the Muff" to "the Suicide Club." While a handful of these stories are already known, the vast majority have never been identified, and they have certainly never received scholarly treatment. Young begins the volume with a lengthy introduction assessing nineteenth-century media, emphasizing the importance of the written word to the perpetuation and preservation of these myths. He draws on numerous nineteenth-century books, periodicals, and ephemera, including digitized newspaper archives-particularly the British Newspaper Archive, an exciting new hunting ground for folklorists. The Nail in the Skull and Other Victorian Urban Legends will appeal to an academic audience as well as to anyone who is interested in urban legends.