Juvenal's sixth Satire is a masterpiece of comic hyperbole, an outrageous rant against women and marriage which, in its breadth and density, represents the high point of the misogynistic literature of classical antiquity. The Introduction situates Juvenal within the wider tradition of Roman satire, interrogates afresh the poem's architecture and recurrent themes, shows how Juvenal systematically attributes to his monstrous women the inverse of the Roman wife's canonical virtues, traces the various literary currents which infuse the Satire, and lastly addresses the much-discussed issue of the poetic voice or persona from a sociohistorical as well as a theoretical perspective. Above all, the commentary strives to locate Juvenal in his historical, literary and cultural context, while simultaneously affording assistance with the nuts and bolts of the Latin, and always keeping in view two key questions: what was Juvenal's purpose in writing the Satire? How seriously was it meant to be taken?

Juvenal's sixth Satire is a masterpiece of comic hyperbole, an outrageous rant against women and marriage which, in its breadth and density, represents the high point of the misogynistic literature of classical antiquity. The Introduction situates Juvenal within the wider tradition of Roman satire, interrogates afresh the poem's architecture and recurrent themes, shows how Juvenal systematically attributes to his monstrous women the inverse of the Roman wife's canonical virtues, traces the various literary currents which infuse the Satire, and lastly addresses the much-discussed issue of the poetic voice or persona from a sociohistorical as well as a theoretical perspective. Above all, the commentary strives to locate Juvenal in his historical, literary and cultural context, while simultaneously affording assistance with the nuts and bolts of the Latin, and always keeping in view two key questions: what was Juvenal's purpose in writing the Satire? How seriously was it meant to be taken?

First published in 1932, as the sixth edition of an 1898 original, this collection of some of Juvenal's satires, including the often-overlooked sixth satire, was edited and abridged by noted Juvenal scholar James Duff. Duff begins the book with a biography of the poet, an overview of satire before Juvenal, as well as an assessment of the available manuscripts and the rich scholia handed down from antiquity. The notes include a summary of each satire and commentary on the text. This book will be of value to anyone with an interest in Juvenal or the history of satire.

This book contains cutting edge theoretical papers by top authors in the field, who also conduct original field work and bring new data to light. It contains articles that apply the most recent theoretical tools to the area of ergativity, and explore issues that emerge. The articles are written by linguists with expertise in bringing original data to bear on complex theoretical issues. The overall theme of the volume is the formal expression of the range and limits of ergativity. The main sections are on the nature of ergative and absolutive case, the antipassive, split ergativity, and ergativity in languages not generally considered to be ergative. Languages investigated are Basque, Chukchi, Georgian, Halkomelem Salish, Hindi, Inuktitut, Kirundi, Malagasy, Niuean, NuumiipuutA-mt, Russian, Tongan, and Warlpiri.

This book contains cutting edge theoretical papers by top authors in the field, who also conduct original field work and bring new data to light. It contains articles that apply the most recent theoretical tools to the area of ergativity, and explore issues that emerge. The articles are written by linguists with expertise in bringing original data to bear on complex theoretical issues. The overall theme of the volume is the formal expression of the range and limits of ergativity. The main sections are on the nature of ergative and absolutive case, the antipassive, split ergativity, and ergativity in languages not generally considered to be ergative. Languages investigated are Basque, Chukchi, Georgian, Halkomelem Salish, Hindi, Inuktitut, Kirundi, Malagasy, Niuean, Nuumiipuutimt, Russian, Tongan, and Warlpiri."

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The bite and wit of two of antiquity's best satirists are captured here in a new Loeb Classical Library edition, a vivid and vigorous translation facing the Latin text.

Persius (34-62 CE) and Juvenal (writing maybe 60 years later) were heirs to the style of Latin verse satire developed by Lucilius and Horace, a tradition mined in Susanna Braund's introduction and notes. Her notes also give guidance to the literary and historical allusions that pepper Persius's and Juvenal's satirical poems--which were clearly aimed at a sophisticated urban audience. Both poets adopt the mask of an angry man, and sharp criticism of the society in which they live is combined with flashes of sardonic humor in their satires. Whether targeting common and uncommon vices, the foolishness of prayers, the abuse of power by emperors and the Roman elite, the folly and depravity of Roman wives, or decadence, materialism, and corruption, their tone is generally one of righteous indignation.

Juvenal and Persius are seminal as well as stellar figures in the history of satirical writing. Juvenal especially had a lasting influence on English writers of the Renaissance and succeeding centuries.

Satire was a genre of poetry invented and developed by the Romans. When it came into Juvenal's hands, he stamped his mark upon it: indignation. His angry voice had an overwhelming influence upon later European satirists and persists in modern forms of satire. In this new commentary, Susanna Morton Braund situates Juvenal within the genre of satire and illuminates his appropriation of the 'grand style' of declamatory rhetoric and epic poetry for his indignant persona in Satires 1-5, including the notorious second Satire. The commentary on each of the Satires is followed by an essay which offers an interpretation of the poem, including a synthesis of recent critical thought. These essays, together with the overview in the Introduction, present the first integrated reading of Book I as an organic structure.

"You can run and leave a place behind, but you can't leave behind what is running inside of you." A woman and a man, nearly destroyed by extreme violence, hatred and despair, follow a rare and unexpected path, and discover extreme forgiveness, love and hope. Three fisherman pull a near lifeless woman from the sea; having suffered unimaginable loss, Patricia's life is empty and her only motivation to go on is to bring the one responsible to justice. Always on the verge of running, a man hides from his guilt in Kigali, terrified of his anonymity being compromised and his past uncovered. Shining a light on the remarkable, untold stories of reconciliation in Rwanda since the genocide in 1994, Kill the Devil is a love story between a survivor and a perpetrator of genocide in a lesson for our times and for all time...

Light from a Nearby Window introduces a new generation of poets who have become a driving force in Mexican literature today.

Until quite recently, contemporary Mexican poetry has been little-known and virtually unavailable to English-speaking readers. This bilingual anthology includes twenty-one poets--twelve men and nine women--all of who have received national and international recognition. In poems about sexuality and spirituality, politics and marginalization, history and tradition, urban and rural life, they write about the unique experience of being Mexican at the end of the millennium.

Juvenal Acosta was born in Mexico City in 1961. He studied economics in Mexico City, and philosophy in Michoacan, where he lived, miraculously, as a poet. He is the author of the award-winning Diciendo unas palabras negras and Paper of Live Flesh. He lives in Berkeley, California.