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Giannisi Phoebe: Goatsong

Goatsong

“’This is the main event’ is the kind of phrase I’d like to tattoo on my arm—and my spirit . . . a thoughtful, artful, soulful meditation on life and faith and time and what really matters.” –Shauna Niequist, New York Times bestselling authorA simple mantra to change everything: discover how to encounter God in your everyday, and practice extraordinary presence in an ordinary life.What if the life we long for isn’t elsewhere but rather right here, waiting to be discovered?Joshua Luke Smith believes the greatest lie facing our generation is that the life we long for lies beyond the life that we have. We so easily learn to disdain the inconveniences and interruptions that infuse our everyday. But the real transformation happens when we look at our life as it is and dare to announce: This is the main event. With devotional depth and prophetic wisdom, and interspersed with the author's original poetry and blessings, This Is the Main Event is your invitation to awaken to the sacred in your ordinary life. The pathway is through three spiritual practices, as Joshua commends, each proclaiming a transformative truth: <ul><li>LAMENTATION: you are allowed to name your pain</li><li>CONSECRATION: you are called to let grace change you</li><li>ADORATION: you are invited to live in the wonder of God’s daily presence</li></ul>It's easy to see the bills, packed lunches, traffic jams, dentist appointments as mundanity, but then again, God comes to you in the shape of your actual life. Joshua Luke Smith writes from the raw materials of his own ordinary life—toddler tuck-ins, recovery meetings, flat tires a mile from home—to speak to yours. As you'll soon discover, every moment becomes meaningful when you recognize the God who meets you in it—a holy encounter accessed in the everyday.

A simple mantra to change everything: discover how to encounter God in your everyday, and practice extraordinary presence in an ordinary life.What if the life we long for isn’t elsewhere but rather right here, waiting to be discovered?Joshua Luke Smith believes the greatest lie facing our generation is that the life we long for lies beyond the life that we have. We so easily learn to disdain the inconveniences, interruptions, and messy mundane that infuses our everyday. But the real transformation happens when we look at our life as it is and dare to announce: This is the main event. With devotional depth and prophetic wisdom, and interspersed with the author's original poetry and blessings, This Is the Main Event is your invitation to awaken to the sacred in your ordinary life. As Joshua claims, the extraordinary life is simply the one in which we practice presence—to ourselves, to others, to God. Every moment becomes meaningful when you recognize the God who meets you in it—a holy encounter accessed in the everyday.Whether you’re packing lunches, paying bills, headed to the office or the hospital or a recovery meeting, God comes to you in the shape of your actual life. Joshua Luke Smith writes from the raw materials of his own ordinary life—toddler tuck-ins, recovery meetings, flat tires a mile from home—to speak to yours.For anyone wearied by the workaday grind, this is a book to help you receive the greatest gift you already have and to practice your own aliveness in your actual life.

Discovering the Life You Long for in the Life You Have

This Is the Main Event

Philosophical Studies in Ancient Thought

In the diptych Sophist-Statesman, Plato's interest in the potential of language both to disclose and to deceive goes hand in hand with the employment of the so-called Method of Collection and Division. This book deals with this mutual interdependence, which has never been comprehensively analyzed in scholarly literature so far. By focusing on language, we gain a deeper insight into the quite puzzling way in which Plato wants the interlocutors to inquire into the sophist and statesman. The Sophist and Statesman pursue one single project, which is to provide an answer to Socrates, who, in the prologue of the Sophist, asks whether the sophist, the statesman, and the philosopher are just as many as the corresponding names are.

In the diptych Sophist-Statesman, Plato’s interest in the potential of language both to disclose and to deceive goes hand in hand with the employment of the so-called Method of Collection and Division. This book deals with this mutual interdependence, which has never been comprehensively analyzed in scholarly literature so far. By focusing on language, we gain a deeper insight into the quite puzzling way in which Plato wants the interlocutors to inquire into the sophist and statesman. The Sophist and Statesman pursue one single project, which is to provide an answer to Socrates, who, in the prologue of the Sophist, asks whether the sophist, the statesman, and the philosopher are just as many as the corresponding names are.

The Language of Dialectic in Plato’s Sophist and Statesman

Names and Methods

Bringing together poets, visual artists and professionals editing and publishing within the genre, this collection showcases the craft, practices and influences of those creating multimodal poetry today. Pairing examples and discussions of writers' work with craft essays by them and exercises to help writers develop their own ways of combining poetry with multimedia, A Maker's Guide to Multimodal Poetry is both a catalyst for creativity and a practical guide to exploring the vast potential of multimodal literature. Beyond describing the tools and composition processes used to create their works, from how to blend different mediums, synthesize text and visuals, experiment with sound and rhythm, and embrace interactivity, poets, artists and students also outline the literary and aesthetic concepts that helped them traverse disciplines from visual arts and digital media to performance art. With exploration of a broad range of forms and methods, the essays discuss audio-modality, image-text hybrids, erasure, musical poetry and musical influence, alphanumeric translations, lyrical improvisation, neo-concrete poetry, using the archive and found poetry, mythic imaginings and the use of tactile experience. Offering a roadmap for navigating uncharted creative frontiers, this book defines the field of multimodal poetics whilst sparking a plethora of new ideas and approaches to poetry making.

Mixtures and Margins

A Writer's Guide to Multimodal Poetry

mimesis

Die Studie fragt nach der Verflechtungsgeschichte politischer und literarischer Identitätsentwürfe im kolonialen Spannungsverhältnis zwischen Portugal und Mosambik.
Durch die kontrastive Untersuchung politischer Diskurse, gesellschaftlicher Praxis und literarischer Texte wird in einem hermeneutischen Zirkel ein differenziertes Verständnis der jeweiligen Identitätskonstruktionen herausgearbeitet.
Den Kern der Arbeit bildet die Untersuchung portugiesischer und mosambikanischer Lyrikanthologien auf der zuvor erarbeiteten Folie der extraliterarisch konstruierten Identitäten mit dem Ziel herauszuarbeiten, inwiefern die Gedichte diese Identitäts(an)gebote aufgreifen, modellieren oder verwerfen. Die feine Aufschlüsselung der literarischen Selbst- und Fremdbilder ergibt ein komplexes Fresko, in dem zwischen der strukturell angelegten Feindschaft und dem Ausdruck von nationalistischen Gefühlen, auch Solidarität, Mitgefühl, grenzüberschreitende Identifikation, gemeinsame Trauer und Hoffnung auszumachen sind.
Die Studie enthält eine Zusammenführung und Operationalisierung von Identitätstheorien aus dem globalen Norden und dem globalen Süden, vermittelt breite Kenntnis über die Spätphase des portugiesischen Kolonialismus sowie über die Formierung der Befreiungsbewegung in Mosambik und analysiert detailreich ein literarisches Textkorpus, zu dem bisher noch keine Studien vorliegen.

Die Studie fragt nach der Verflechtungsgeschichte politischer und literarischer Identitätsentwürfe im kolonialen Spannungsverhältnis zwischen Portugal und Mosambik.Durch die kontrastive Untersuchung politischer Diskurse, gesellschaftlicher Praxis und literarischer Texte wird in einem hermeneutischen Zirkel ein differenziertes Verständnis der jeweiligen Identitätskonstruktionen herausgearbeitet.Den Kern der Arbeit bildet die Untersuchung portugiesischer und mosambikanischer Lyrikanthologien auf der zuvor erarbeiteten Folie der extraliterarisch konstruierten Identitäten mit dem Ziel herauszuarbeiten, inwiefern die Gedichte diese Identitäts(an)gebote aufgreifen, modellieren oder verwerfen. Die feine Aufschlüsselung der literarischen Selbst- und Fremdbilder ergibt ein komplexes Fresko, in dem zwischen der strukturell angelegten Feindschaft und dem Ausdruck von nationalistischen Gefühlen, auch Solidarität, Mitgefühl, grenzüberschreitende Identifikation, gemeinsame Trauer und Hoffnung auszumachen sind.Die Studie enthält eine Zusammenführung und Operationalisierung von Identitätstheorien aus dem globalen Norden und dem globalen Süden, vermittelt breite Kenntnis über die Spätphase des portugiesischen Kolonialismus sowie über die Formierung der Befreiungsbewegung in Mosambik und analysiert detailreich ein literarisches Textkorpus, zu dem bisher noch keine Studien vorliegen.

Kolonialismus und Unabhängigkeitskrieg in der portugiesischen und mosambikanischen Lyrik

Rosen sagen mir nichts

'Offers fascinating insights into women's worlds and desires in Greco-Roman antiquity and beyond.' Emily Hauser, Sunday Times bestselling author of Mythica'A wonderfully witty and insightful look at attitudes towards female sexual pleasure in Ancient Greece and Rome... Truly fabulous.' Elodie Harper, Sunday Times bestselling author of the Wolf Den trilogy'An eye-opening and joyful read.' Jennifer Saint, Sunday Times bestselling author of Ariadne ***Was Ovid a surprising champion of women's sexual pleasure? Or did he just want them to fake it? Where did the British Museum curators hide the most pornographic of frescoes? And what exactly was the phallic wooden object excavated in 90's Northumberland?In APHRODISIA, Dr Jean Menzies dives into the hidden history of women's sexuality in Ancient Greece and Rome. The classical world stretched across the Mediterranean for more than a millennium, its people and cultures wide and varied and its sexual proclivities equally so. Yet so often when we read about sex in antiquity it is about the men folk first and foremost: which brothels they were visiting, how they balanced wives and lovers, and what they got up to in the gymnasium. Delving into the literature, art and artefacts of the ancient world, from sex toys to seduction tips to kink, Dr Jean Menzies instead centres women and their desire. In doing so, she uncovers the many faces of women's sexuality over the course of thousands of years, and asks intriguing, and sometimes provocative questions about women, sex and desire today.***'Finally! An up close and personal look at ancient women's sex lives that doesn't treat them simply as a source of scurrilous gossip, but rather as a subject worthy of care and respect.' Dr Jane Draycott, author of Fulvia and Cleopatra's Daughter'Aphrodisia is a magnanimous triumph for the study of women in antiquity; Jean's ability to communicate this information in a witty and down-to-earth way makes this a necessary read for all people interested in sexuality and desire.' Erica Stevenson, author of The Odyssey Effect

Women, Sex and Pleasure in the Classical World

Aphrodisia

Drawn from fifty years of experimental, ground-breaking verse, this selection, in Ginberg's words 'summarizes what I deem most honest, most penetrant of my writing'. It includes the major poems 'Howl' and 'Kaddish', but also important early work, songs, uncollected poems and notes from the author that go beyond his iconic Beat Generation image. Intensely personal and incandescently brilliant, Howl and Other Poems is a core Ginsberg text, and celebrates 'Holy the supernatural extra brilliant intelligent kindness of the soul!'

Howl

Loeb Classical Library

Cult classics. Orpheus is familiar from Greek mythology as a peerless bard, the Thracian son of a Muse with superhuman musical abilities that enabled him to win the release of his young wife Eurydice from Hades, only to lose her on the way back. But he was also considered an authentic poet preceding Hesiod and Homer and on a par with Musaeus, and was credited with poems, oracles, and the foundation of rituals in a tradition that remained vital and creative from Archaic Greece through to the Roman Empire and beyond. Essentially Dionysiac, but without the violence and blood sacrifice, and with a focus on theogony, cosmogony, and the origin and destiny of souls, Orphism was at once a distinctive and an open tradition, with significant change and development over time but with features that made the works and rituals cumulatively attributed to Orpheus identifiable to followers. This tradition endowed them with a lasting coherence despite the absence of dogma or control by priests. Although Orphism departed in profound and fascinating ways from conventional accounts, it proved highly adaptable to various religious and philosophical systems, especially Pythagorean and Neoplatonist but also Judaic and Christian. This edition collects works representing the most ancient Orphic literature, excluding later mythological, scientific, and pseudo-scientific poems opportunistically attributed to him.

Orphic Collection

“Poetry in Korea has been a vaunted form—and traditionally left to men. Kim broke away from the masculine styles that came before her. . . . Kim has pursued a vernacular that’s intensely Korean yet open to the world.” —E. Tammy Kim, New YorkerFrom the legendary avant-garde poet Kim Hyesoon, a landmark collection documenting her first and only work of digital performance art to date.In March 2014, Kim Hyesoon, the grand dame of contemporary Korean poetry, began to post anonymously on the online blog of Munhakdongne, a major South Korean publisher. Rather than use her own name, Kim Hyesoon’s chosen persona for these blog posts was Lady No. Fittingly, Lady No’s writings are dissenting, combative, subversive, and ontologically feminine; formally, they defy any attempt at easy categorization. They are neither poems, nor are they prose, but a radical innovation Kim calls shisanmun—an ungovernable style that heralds her internationally acclaimed works Autobiography of Death and Phantom Pain Wings.The entries in this seminal collection, arranged chronologically and in their entirety here for the first time, are an eclectic hybrid of opinion editorials, aphorisms, recipes, daydreams, travelogues, art criticism, as well as treatises on the metaphysics of poetry and the current state of international literature. They take place in and around the world but most often they return to a country called Aerok, a frightening yet familiar mirror of contemporary Korea. First unwittingly, and then with concentrated grief, they chart the course of one of the most politically significant years in recent South Korean history: the sinking of the MV Sewol on the morning of April 16th that killed 304 people, including 250 high school students, and the reverberations of this national tragedy that culminated in the impeachment and ouster of the country’s then-sitting president. Taken together, these writings bear witness to the people’s shame, mourning, and perseverance under a corrupt administration—a painful public reckoning not dissimilar from our own.Surreal but visceral, and inflected with both humor and rage, Lady No contains perhaps the most accessible of Kim Hyesoon’s writing to date and documents her first and only work of digital performance art. Totaling 179 individual entries and featuring 34 drawings by the artist Fi Jae Li, Lady No explores the inner and outer lives of contemporary Korean women and embodies the inextricable link between social justice and literary citizenship.

From the legendary avant-garde poet Kim Hyesoon, a landmark collection documenting her first and only work of digital performance art to date.“Poetry in Korea has been a vaunted form—and traditionally left to men. Kim broke away from the masculine styles that came before her. . . . Kim has pursued a vernacular that’s intensely Korean yet open to the world.” —E. Tammy Kim, New YorkerIn March 2014, Kim Hyesoon, the grand dame of contemporary Korean poetry, began to post anonymously on the online blog of Munhakdongne, a major South Korean publisher. Rather than use her own name, Kim Hyesoon’s chosen persona for these blog posts was Lady No. Fittingly, Lady No’s writings are dissenting, combative, subversive, and ontologically feminine; formally, they defy any attempt at easy categorization. They are neither poems, nor are they prose, but a radical innovation Kim calls shisanmun—an ungovernable style that heralds her internationally acclaimed works Autobiography of Death and Phantom Pain Wings.The entries in this seminal collection, arranged chronologically and in their entirety here for the first time, are an eclectic hybrid of opinion editorials, aphorisms, recipes, daydreams, travelogues, art criticism, as well as treatises on the metaphysics of poetry and the current state of international literature. They take place in and around the world but most often they return to a country called Aerok, a frightening yet familiar mirror of contemporary Korea. First unwittingly, and then with concentrated grief, they chart the course of one of the most politically significant years in recent South Korean history: the sinking of the MV Sewol on the morning of April 16th that killed 304 people, including 250 high school students, and the reverberations of this national tragedy that culminated in the impeachment and ouster of the country’s then-sitting president. Taken together, these writings bear witness to the people’s shame, mourning, and perseverance under a corrupt administration—a painful public reckoning not dissimilar from our own. Surreal but visceral, and inflected with both humor and rage, Lady No contains perhaps the most accessible of Kim Hyesoon’s writing to date and documents her first and only work of digital performance art. Totaling 179 individual entries and featuring 34 drawings by the artist Fi Jae Li, Lady No explores the inner and outer lives of contemporary Korean women and embodies the inextricable link between social justice and literary citizenship.

Lady No

In this unique collection of essays, published writers offer an intimate view of how their work has been informed, shaped and transformed by their literary, political, philosophical or personal influences. Providing models of the critical commentaries that all students of creative writing must write, each essay from contemporary authors of fiction, creative non-fiction, poetry, scripts and digital writing demonstrates how what writers write is determined by what they have read, and what they read is then determined by what they are writing. As writers reflect on their process of moving from sources of inspiration to a finished and original piece of writing, they reveal their anxieties, passions, discoveries and motivations, offering fascinating insights into the imagination's journey. Introductory chapters explore why writers reflect on their own work, and place this practice in wider contexts, offering theoretical frameworks for understanding process, influence, and inspiration. As illuminating for aspiring writers as it is for students reflecting on their research and process as part of writing courses, Creative Writing and the Critical Commentary will change the way writers talk about and engage with other texts.

Reflection, Influence, Process

Creative Writing and the Critical Commentary

Community Formation and the Poetics of Resistance

Ungovernable Spaces

'Heartwarming, nostalgic and poignant' Lucy Clarke'Both achingly funny and poignant' Sally Page'Tender and uplifting' Kate StoreyBuy a lottery ticket¿Win your wildest dreams¿Lose everything...?One lucky ticket is about to change everything.Edie and Ron have been together for nearly fifty years, keeping each other afloat by the skin of their teeth. They've always been ordinary - until something very extraordinary happens.Winning the lottery is everything they've ever wanted - well, almost.Because for the last twenty years, Edie and Ron have been running from a secret that tore their family apart. And when you can suddenly buy everything you've ever wanted, you realise that the only thing you really want is the one thing money can't buy.Join Edie as she finally takes control. She's had enough of playing the hand she's been dealt - it's time to risk it all.

'Heartwarming, nostalgic and poignant' Lucy Clarke'Both achingly funny and poignant' Sally Page'Tender and uplifting' Kate StoreyBuy a lottery ticket?Win your wildest dreams?Lose everything...?

How to Lose the Lottery

Featuring Songs from Shakespeare, the Shakespeare Birthplace Trust celebrates the fundamental joy of the greatest dramatist in the English language. A fine new art calendar from Flame Tree. Produced in partnership with the Shakespeare Birthplace Trust, this lovely wall calendar features beautifully illustrated songs from Shakespeare's most famous plays. Intricate botanical decorations accompany each song, from the Fool's song in Twelfth Night to Ariel's songs from the Tempest, and the Fairies' Lullaby from Midsummer Night's Dream. Informative text sits alongside each work and the datepad features previous and next month’s views. Printed on FSC-certified paper, with plastic-free packaging.

Shakespeare Birthplace Trust: Songs of Shakespeare Wall Calendar 2027 (Art Calendar)

Goatsong

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