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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
This fresh translation revives the politics and power at play in
classical mythology’s foremost source Centuries of conservative
translators have robbed the Metamorphoses of its subversive force.
In this boldly lyrical translation, C. Luke Soucy revives the
magnum opus of Rome’s most clever and creative poet, faithfully
matching the epic’s wit and style while confronting the
sexuality, violence, and politics so many previous translations
have glossed over.  Soucy’s powerful version breathes new
life into Ovid's mythic world, where canonical power dynamics are
challenged from below to drain heroes of their heroism, give
victims their say, and reveal an earth holier than heaven.
Incorporating the latest scholarship alongside annotations,
illustrations, and glossary, this edition brings fresh insights to
both returning and new readers.
"The first taste I had for books came to me from my pleasure in the
fables of the Metamorphoses of Ovid. For at about seven or eight
years of age I would steal away from any other pleasure to read
them, inasmuch as this language was my mother tongue, and it was
the easiest book I knew and the best suited by its content to my
tender age." -Michel de Montaigne The Metamorphoses of Ovid (8 AD)
is an epic poem by Ovid. Published the same year the poet was sent
into exile for the rest of his life, the Metamorphoses are the
crowning achievement of the first major poet of the Roman empire.
Written in dactylic hexameter, the meter of Homer's Iliad and
Odyssey and of Virgil's Aeneid, Ovid's work is an epic poem of
transformations, of shape-shifting matter and beings bound to the
power of love. Taking as its scope the whole history of the
universe from the arrangement of order from chaos to the death of
Julius Caesar, the Metamorphoses pays heed to desire's ability to
enact long-lasting and at times irreversible change. The story
begins at the very beginning, with the creation of the cosmos out
of nothing, of order out of unimaginable chaos. Gods and goddesses
have their moment in the sun, mankind is born only to be wiped out
by an immense flood, then to rise again. Amidst countless
little-known descriptions of war, romance, and change are the
timeless tales of Perseus, Jason and Medea, Theseus and the
Minotaur, and the labors of Hercules. Icarus soars too close to the
sun. Orpheus tragically condemns Eurydice to the underworld. Troy
is built and destroyed, the immortal Achilles is killed, and Aeneas
sets sail to save his life and lay the foundations for Rome itself.
Throughout these interwoven stories of individual and epochal
change, Ovid explores the inescapability of love and death,
essential themes both shared by all and constitutive of everything
that was or ever will be. The Metamorphoses of Ovid is an intricate
masterpiece of world literature that stands the test of time just
as much as it defines it. With a beautifully designed cover and
professionally typeset manuscript, this edition of The
Metamorphoses of Ovid is a classic work of Roman literature
reimagined for modern readers.
In the late 1970s, reading research had become a true
interdisciplinary endeavour with flavours of anthropology,
artificial intelligence, cognitive psychology, educational
psychology, linguistics, neuroscience and instructional technology.
Given appropriate integration, results from these diverse
perspectives can enhance our understanding of reading behaviour
tremendously, both in its acquisition and in its skilled
functioning. Thus, the enthusiasm for such interdisciplinary
interaction had been quite intense for some time. In the years
before publication, the National Reading Conference had been doing
everything possible to accelerate this interaction. Originally
published in 1981, the chapters in this book are the fruits of that
effort. The research focuses on specifying skills in identifying
alphabetical elements and the rules that govern their combination,
on constructing models that characterize the recognition of
individual words and the interpretation of texts, and on
discovering what factors are responsible for blocking the normal
acquisition process in many children. Chapters 2 to 12 of this book
reflect these changing foci. They are nevertheless sandwiched by
two chapters that deal with the historical background and future
outlook of reading instruction.
-- Introduction with chapters on Ovid's life and suggestions on
reading the Ars Amatoria
-- Original Latin texts (based on the 1916 Teubner edition by R.
Ehwald with changes in readings, spellings, and punctuation)
-- Line-by-line notes
-- English summaries for each major section
-- Fold-out in back with basic vocabulary
This book seeks to better understand the intricate elements of
Chinese education compared to American education thus helping
educators and policy makers to craft win-win decisions in the
education encounter of the dragon and the eagle. Many educators are
pulling their hair trying to understand how to work well with new
Chinese immigrant students and their parents. To get the job done,
one has to go beyond the superficial language translation to
understanding the culture that shapes the base foundations of
learning and thinking.
"The first taste I had for books came to me from my pleasure in the
fables of the Metamorphoses of Ovid. For at about seven or eight
years of age I would steal away from any other pleasure to read
them, inasmuch as this language was my mother tongue, and it was
the easiest book I knew and the best suited by its content to my
tender age." -Michel de Montaigne The Lover's Assistant; or, New
Art of Love (1760) is an updated translation of Ovid's Ars
Amatoria; or, The Art of Love (2 AD) by English satirist Henry
Fielding. Divided into three books, Ars Amatoria; or, The Art of
Love was immensely popular-if a little controversial-in its time,
and has survived numerous charges of indecency over the centuries.
For the modern reader, it should prove a surprisingly relatable
work on intimacy from an author of the ancient world. Fielding's
translation, of the first book alone, remains true to Ovid's Latin
while updating its examples and historical context for the
contemporary English reader. At times serious, at others humorous,
The Lover's Assistant; or, New Art of Love uses a mix of
down-to-earth examples and relatable references to mythology in
order to offer salient advice for the reader longing for love.
Maintaining much of Ovid's content, Fielding replaces the context
of the poem-ancient Rome-with that of his contemporary England.
Topics include etiquette, remembering birthdays, avoiding unhealthy
jealousy, being open to older and younger lovers, and nurturing
honesty. With his wry wit and clear-eyed sense of English
aristocratic life, Fielding-who is seen as a pioneer of English
literature for his work, including the comic novel Tom Jones
(1749)-provides a loyal reinterpretation of Ovid's classic study of
romance between men and women. The Lover's Assistant; or, New Art
of Love, although frequently tongue-in-cheek, is an earnest and
effective attempt to enlighten and encourage its readers to
partake-responsibly-in one of life's greatest pleasures. With a
beautifully designed cover and professionally typeset manuscript,
this edition of Ovid's The Lover's Assistant; or, New Art of Love
is a classic work of Roman literature reimagined for modern
readers.
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