This book discusses how Greek and South Italian vase paintings of the musical contest between Apollo and Marsyas became the model for Etruscan representations of Cacus ambushed by the Vibennae brothers, two Etruscan heroes of the sixth century B.C. The study demonstrates that the Etruscans knowingly adapted Greek iconographic forms to represent their own legends. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Phrygian flute-player Marsyas, characterised in Greek and Roman art as a satyr or silenos, was one of the protagonists in a popular mythological tradition which featured him, Athena and Apolloin the discovery, rejection and defeat of the flutes. Rawson here presents a detailed examination of the Roman iconography of Marsyas compositions, and a definitive catalogue of representations of the myth in Roman art.

Fascism and Modernist Literature in Norway illuminates the connections between literature and politics in interwar Europe. Focusing on the works of Nobel Prize-winning novelist Knut Hamsun and modernist poets Asmund Sveen and Rolf Jacobsen, all of whom collaborated with the Nazi regime during the occupation of Norway in World War II, and those of the anti-fascist novelist and critic Sigurd Hoel, Dean Krouk reveals key aspects of the modernist literary imagination in Norway. In their writings, Hamsun, Sveen, and Jacobsen expressed their discontent with twentieth-century European modernity, which they perceived as overly rationalized or nihilistic. Krouk explains how fascism offered these writers a seductive utopian vision that intersected with the countercultural and avant-garde aspects of their literary works, while Hoel’s critical analysis of Nazism extended to a questioning of all patriarchal forms of authority. Krouk’s readings of their works serve as a timely reminder to us all of the dangers of fascism.