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Szántó Z: The Jews of Ptolemaic Egypt

The Jews of Ptolemaic Egypt

The History of a Diaspora Community in Light of the Papyri

A vivid and musical rendering of the poetry of Catullus, whose passionate verses have captivated readers for centuries &nbsp; “Catullus’s verses still ring true, reminding readers that the habits of the heart haven’t changed in millennia.”—Publishers Weekly &nbsp; In the fourteenth century, a manuscript surfaced in Verona that had been lost for more than a thousand years: the poems of Catullus (c. 84–c. 54 BCE), considered by many to be one of the greatest poets who ever lived. These poems, with their beauty, wit, tenderness, and heartbreak, are still as alive and moving today as they were two thousand years ago. &nbsp; They are dense, subtle, witty, ardent, fearless, deeply uncensored, nasty (sometimes), petty (sometimes), and always beautiful. It’s especially his love poems that have earned readers’ admiration over the centuries; the joy and the savage self-inflicted torments that he underwent in his “miserable, disastrous love affair” have been shaped into poems that for honesty and emotional power have few parallels in world literature. &nbsp; Stephen Mitchell, who is known for bringing ancient texts to vibrant new life, has now translated Catullus’s poems for a new generation of readers. These are the first translations of Catullus to reimagine his rhythms in English and thus to let contemporary readers hear the formal beauty of his verse as well as its content, which Robert Lowell calls “much more raw and direct than anything in English.”

Selected Poems

Catullus

Fragments of the Early Stoics

Testimonies and Fragments

The School of Chrysippus: Zeno of Tarsus and Diogenes of Babylon

A History of Modern Hebrew Literature

A Study of Aeschylus’ Oresteia

The Path from Aulis

The Lives of the Caesars

From Girl to Woman

The Persephone Myth in Young Adult Fiction

How Central European Émigrés Transformed the British Twentieth Century

The Alienation Effect

In this coming-of-age comedy, a 17-year-old virgin film nerd, Joseph Caldo, who sees himself as a real-life art film, experiences first love, first sex, and first heartbreak in the surreal setting of South Florida while trying to make sense of Shakespeare’s stupid plays.
Caldo has no real social life, unless arguing about film online counts. Having seen so many films while struggling romantically, he has formed a theory that women pick romantic partners the way they pick which movie to watch. He’s definitely not a blockbuster, a rom com, or even a horror film, he’s more of an indie art film that is unfortunately funny. He worries he’ll never find the person who will accept and love him, the way that he accepts and loves his favorite obscure films.
That is until he meets Alexia at his grandmother's retirement home. Alexia was court-ordered to do volunteer work for her DUI but it's cool, Caldo has issues too, and it feels like they have a real connection. But there's also Valerie. The new girl at Caldo's awkwardly small school. She's a straight-A student who is attending on scholarship and is assigned the difficult task to mentor him in Shakespeare's plays. The two opposites have nothing in common except for being romantics who do nothing but fail at romance.
With first jobs that go very wrong, untimely food poisoning, and fake prom dates, Caldo unintentionally reenacts Shakespearian tropes in the heart of South Florida. Humor award-winning author Christoph Paul’s Shakespeare in South Florida is a quirky romantic comedy about being 17 and falling in love.

Shakespeare in South Florida

Scientia Graeco-Arabica

This study tracks the progress of Suhrawardī’s philosophy focusing on his critique of the axial doctrine of the categories and topics related to it: predication and hylomorphism. While it’s known that he rejected hylomorphism and reduced the categories into five, it’s not known how and in which context he has achieved his positions. This is a philosophical study with an eye on the history of concepts. Each chapter detects the historical development from Aristotle through his commentators to Avicenna and critical Avicennans, and then to Suhrawardī. Suhrawardī discerns two diverging projects in the Categories: An ontological project of the ten highest genera of being, and a project of predication embodied in Aristotle’s predicative square. He discusses the latter in the Isagoge, whereas the former is discussed and reduced to five (substance, quality, quantity, relation, motion) in metaphysics. He also shifts hylomorphism from metaphysics – its Avicennan locus – to physics. Perhaps for this reason scholars never paid attention to his proper texts for the theory of body and confined themselves with the polemics of Ḥikmat al-išrāq. This is the first study of physics and general metaphysics of al-Talwīḥāt, al-Mašāriʿ, and al-Muqāwamāt.

The Jews of Ptolemaic Egypt

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