Aphrodisia Ii

On 26 August 1974, Michel Foucault completed work on Discipline and Punish, and on that very same day began writing the first volume of The History of Sexuality. A little under ten years later, on 25 June 1984, shortly after the second and third volumes were published, he was dead. This decade is one of the most fascinating of his career. It begins with the initiation of the sexuality project, and ends with its enforced and premature closure. Yet in 1974 he had something very different in mind for The History of Sexuality than the way things were left in 1984. Foucault originally planned a thematically organised series of six volumes, but wrote little of what he promised and published none of them. Instead over the course of the next decade he took his work in very different directions, studying, lecturing and writing about historical periods stretching back to antiquity. This book offers a detailed intellectual history of both the abandoned thematic project and the more properly historical version left incomplete at his death. It draws on all Foucault’s writings in this period, his courses at the Collège de France and lectures elsewhere, as well as material archived in France and California to provide a comprehensive overview and synthetic account of Foucault’s last decade.

The Seleukid kingdom was one of the greatest states of the ancient world, stretching from Greece to India; it is also one of the least known. This reference work lists all the people whose names are known who lived in that kingdom, classifying them into rulers, officials and subjects, and in each case noting their activity. In addition all the foreigners whose lives affected the Seleukid state are listed. The Gazetteer lists the places which were included in the kingdom, classified as regions, including provinces and peoples, or settlements, whether cities or villages, with a description of their place in its history. In addition the institutions of the kingdom, the social and political glue which made it work, are noted and briefly described.

A rare marinal about disguised identities and loves among the Greco-Roman deities under the Mediterranean Sea. Percy described Aphrodisia as an experiment in a new genre he was inventing, the marinal, designed to contrast the pastoral set on land in the countryside. Beyond this setting, this comedy focuses on taking to an extreme the popular European trope of disguises by having most of the main characters reveal themselves to have an identity other than the one they present themselves as. Arion relates a sad story that is an original translation of a segment out of Bartas’ Weeks about him being a poor singer who was captured by pirates, but in the conclusion, Arion reveals himself to actually be Jupiter, the King of the gods in Roman mythology. And Talus pretends to be an engineer and Vulcan’s (god of fire) son, when he is really Neptune (god of water). In standard published plots from the Renaissance, these revelations prove to have been necessary to further the goals of the characters, but in this censored story, the disguises cause lifetimes of misery and prevent all who are disguised from achieving their romantic and power goals. Percy has designed a plot that subversively shows how common pseudonyms and fraudulent identities are in British society, as it confesses the Workshop’s role in selling ghostwriting services. On the surface, the story is dense with innovative love entanglements, and the mythological misadventures of complex and stumbling characters. The preparations for Empress Cytherea’s arrival and the Aphrodisia feast in her honor also showcases realistic details about what a day might have been like when the aristocratic Percy family prepared for James I’s visit to their Sion House on June 8, 1603, just before James was crowned. “Fascinating study of disguise, identity, self-fashioning, metamorphosis, and authorship. *****” —LibraryThing, Early Reviewers, Charles Alan Ralston Plot and Staging Text Terms, References, Questions, Exercises

The work of Michel Foucault has been extremely influential in fields as varied as philosophy, history, cultural studies, sociology and sexuality studies. In his later work, Foucault turned to the question of ethics. Working back through history, through the Christian interrogation of desire to the origins of the self in the texts of classical Greece, Foucault attempted to conceive of ethics as an art of the self, as an aesthetics of existence and as a practice of liberty. Foucault and the Art of Ethics argues that Foucault's exploration of the history of sexuality and his reinterpretation of the critical philosophical tradition combine to frame a new approach both to the way we understand the tasks of philosophy and to the way we live our lives. The book is essential reading for all those working at the intersection of contemporary debates in philosophy, ethics, politics and cultural studies.

Contains index of artists.

A rare marinal about disguised identities and loves among the Greco-Roman deities under the Mediterranean Sea.Percy described Aphrodisia as an experiment in a new genre he was inventing, the marinal, designed to contrast the pastoral set on land in the countryside. Beyond this setting, this comedy focuses on taking to an extreme the popular European trope of disguises by having most of the main characters reveal themselves to have an identity other than the one they present themselves as. Arion relates a sad story that is an original translation of a segment out of Bartas' Weeks about him being a poor singer who was captured by pirates, but in the conclusion, Arion reveals himself to actually be Jupiter, the King of the gods in Roman mythology. And Talus pretends to be an engineer and Vulcan's (god of fire) son, when he is really Neptune (god of water). In standard published plots from the Renaissance, these revelations prove to have been necessary to further the goals of the characters, but in this censored story, the disguises cause lifetimes of misery and prevent all who are disguised from achieving their romantic and power goals. Percy has designed a plot that subversively shows how common pseudonyms and fraudulent identities are in British society, as it confesses the Workshop's role in selling ghostwriting services. On the surface, the story is dense with innovative love entanglements, and the mythological misadventures of complex and stumbling characters. The preparations for Empress Cytherea's arrival and the Aphrodisia feast in her honor also showcases realistic details about what a day might have been like when the aristocratic Percy family prepared for James I's visit to their Sion House on June 8, 1603, just before James was crowned.

In this lexicon, Tal Ilan collects all the information on names of Jews in lands west of Palestine, in which Greek and Latin was spoken, and on the people who bore them between 330 BCE, a date which marks the Hellenistic conquest of East, and 650 CE, approximately the date when the Muslim conquest of East and the southern Mediterranean basin was completed. The corpus includes names from literary sources, but those mentioned in epigraphic and papyrological documents form the vast majority of the database. This lexicon is an onomasticon in as far as it is a collection of all the recorded names used by the Jews of the western Diaspora in the above-mentioned period. Tal Ilan discusses the provenance of the names and explains them etymologically, given the many possible sources of influence for the names at that time. In addition she shows the division between the use of biblical names and the use of Greek, Latin and other foreign names, and points out the most popular names. This book is also a prosopography since Ilan analyzes the identity of the persons mentioned therein. The lexicon is accompanied by a lengthy and comprehensive introduction that scrutinizes the main trends in name giving current at the time. A large part of it is devoted to the question of how one can identify a Jew in a mostly non-Jewish society.