This book imagines the inner life of a scientific genius, mother, wife and lover in both verse and prose poems; an immersion in Marie Curie's life.

Prometheus the god stole fire from heaven and bestowed it on humans. In punishment, Zeus chained him to a rock, where an eagle clawed unceasingly at his liver, until Herakles freed him. For the Greeks, the myth of Prometheus's release reflected a primordial law of existence and the fate of humankind. Carl Kerényi examines the story of Prometheus and the very process of mythmaking as a reflection of the archetypal function and seeks to discover how this primitive tale was invested with a universal fatality, first in the Greek imagination, and then in the Western tradition of Romantic poetry. Kerényi traces the evolving myth from Hesiod and Aeschylus, and in its epic treatment by Goethe and Shelley; he moves on to consider the myth from the perspective of Jungian psychology, as the archetype of human daring signifying the transformation of suffering into the mystery of the sacrifice.

While passing through the Caucasus Mountains, Valka the Wolf Slayer encounters the hero, Heracles of Thebes. He battles Heracles several times, each fight resulting in a draw. After they free Prometheus from the chains binding him to a mountain peak, the three men decide to continue on together. Valka is with Heracles when he battles the Stymphalian Birds, wrestles the giant, Antaios, fights the man-killing Amazons, steals the Golden Apples of the Hesperides, and descends with him to the Underworld to bring back the demon-dog, Cerberus. In a dramatic finale, Valka accompanies Heracles to his funeral pyre, and lights the fire upon which the hero will ascend to Olympus.

How had I let myself, god of love, fall so hard for another being? I knew the power of love, its consequences, and now I was my own victim. After a painful separation, Callie and Archer deserve a relaxing reunion. Instead, they’re on the run from Zeus, forced into hiding with their extended family, and dealing with a slew of problems. As if Lucien’s recent prophecy of doom and betrayal isn’t puzzling enough, Callie’s illness comes with even more unbelievable powers. Hindered by her traumatic past, Athena goes on a self-appointed quest for the one god who can save them. From the warm waters of the Caribbean to the cold mountain peaks of Iceland, the gods uncover shuddering truths they can hardly bear. Can they meet their fate head-on, knowing lives could be lost? In this reinvention of Cupid and Psyche, experience an electrifying series where familial and romantic bonds are at war, and knowledge could mean the end of everything…or a new beginning. Authors 4 Authors Content Rating This title has been rated 17+, appropriate for older teens and adults, and contains: -Frequent implied sex -Graphic violence -Strong language -Death of a parent For more information on our rating system, please, visit the Authors 4 Authors Publishing website.

Shelley's Music: Fantasy, Authority and the Object Voice regards music images and allusions to music in Shelley's writing as evidence that Shelley sought to infuse the masculine word with the music of feminine expression. Set within his configuration of hetero-erotic relationships, this agenda reveals Shelley's desire to remain eternally present in his poetry. In the end, Shelley fails to achieve this goal, because he failed to overcome an even stronger desire to preserve male authority. Shelley's Music demonstrates that the main body of Shelley's writing consists of a fantasy aimed at unifying the word, traditionally associated with masculine power and authority, with voice and music, traditionally associated with the power and mystery of feminine expression. This particular fantasy extends an even more fundamental desire to integrate the "object voice" with one's own subjectivity. Structured along the lines of sexual difference and providing the coordinates for Shelley's construction of heterosexual and hetero-erotic correspondence, this phantasmic movement reveals Shelley's desire to make his voice eternally present in the written word. As Zizek reminds us, however, all fantasy inevitably exposes the very horror it means to conceal. For Shelley, what plagues the desire to merge word, voice and music is the prospect of losing both the poet's authority and the subjectivity upon which it relies. Recycling throughout his writing, Shelley's fantasy, then, generates deadlock and instability each time it finds renewed expression. Shelley's Music argues that this division paradoxically becomes Shelley's ultimate goal, because it maintains desire by creating a steady state of suspension that finally preserves for Shelley his authority and his humanity.

Hermie and Hestie never asked to be demigods. Unlike others of their kind, they aren't interested in going on quests and being the center of a world-changing prophecy. But when Zeus learns of Apollo's vision--of the twins finding Prometheus, Zeus's number one enemy--the hunt for Prometheus begins. Zeus and his allies want to bind Prometheus and to kill the twins before their threat of a revolution becomes a possibility. If Hermie and Hestie don't find the Titan first, they have no chance of fulfilling their destiny or of surviving Zeus's threat against them. "This book blew me away. . . .I couldn't put this down for a second."--Southernmermaid85, Goodreads Reviewer ★★★★★ "I have a love for mythology and this book satisfies completely. Sacrifices, backstabbing, and mistakes make this book captivating in every sense."----Brittany Rios ★★★★★ "I still can't believe how I stumbled upon this series! Fall in love with it every time I read a new one!!!"--Jamie ★★★★★ "Eva Pohler hits it out of the park again with her continued story following the gods and goddesses of the Underworld and Mount Olympus."--MoonLitShadowz ★★★★★ Grab your copy to continue the exciting adventure today! Related authors: C. Gockel, Anthea Sharp, Susan Kaye Quinn, Cassandra Clare, Chanda Hahn, Quinn Loftis, Kim Richardson, S.T. Bende, Karen Lynch. Kimberly Loth, Richelle Mead, M. Lynn, Allie Burton, Ashley McLeo, Frost Kay, Cameo Renea, Elise Kova, Nicole Zoltack, A.L. Knorr, Kay L. Moody, Melissa Craven, Laura Thalassa, Rose Garcia, Holly Hook, Robin D. Mahle, Elle Madison, Raye Wagner, Elisa S. Amore, and Rick Riordan. Search terms: Greek mythology, Greek mythology romance, mythology, Greek gods and goddesses, paranormal romance, young adult fiction, teen fiction, clean young adult fiction, the Underworld, Hades and Persephone, teen fiction books, urban fantasy, myth retellings, fantasy, young adult fantasy, gods and monsters, mythological beasts, swords and sorcery, magic, adventure.

This analysis of the relationship between science and totalitarian rule in one of the most technically advanced countries in the East bloc examines professional autonomy under dictatorship and the place of technology in Communist ideology. In Cold War-era East Germany, the German tradition of science-based technology merged with a socialist system that made technological progress central to its ideology. Technology became an important part of East German socialist identity--crucial to how Communists saw their system and how citizens saw their state. In Red Prometheus, Dolores Augustine examines the relationship between a dictatorial system and the scientific and engineering communities in East Germany from the end of the Second World War through the 1980s. Drawing on newly opened archives and extensive interviews, Augustine looks in detail at individual scientists' interactions with the East German system, examining the effectiveness of their resistance against the party's totalitarian impulses. She explains why many German scientists and engineers who were deported to the Soviet Union after World War II returned to East Germany rather than defecting to the capitalist West, traces scientists' attempts to hold on to some aspects of professional autonomy, and describes challenges to their professional identity on the factory floor. Augustine examines the quality of science and technology produced under Communist rule, looking at failed research projects and clashing cultures of innovation. She looks at technological myth-building in science fiction and propaganda. She explores individual career strategies, including the role played by gender in high-tech professions, and the ways that both enterprises and individuals responded to increasing state and party control of research during the 1980s. We cannot understand the economic choices made by East Germany, Augustine argues, unless we understand the cultural values reflected in the East German belief in technology as indispensable to progress and industrial development.

Gregory Maertz has written extensively on Romantic and Modern literature, art, and ideas. In these nine related essays, he investigates the expression of Romanticism in literature, philosophy, and cultural politics from the Renaissance to Modernism. The comparative essays in Part One examine the affinity between the religious logic of Sir Thomas Browne and Søren Kierkegaard; Tolstoy’s enduring attraction to Schopenhauer’s thought; Rilke’s debts to the sculptor Rodin; the identification of an early novel by William Godwin as the chief precursor text to Mary Shelley’s Frankenstein; and the corresponding literary projects of Osip Mandelstam, Rilke, and David Jones. In Part Two the essays are clustered around the literary activity of writers and philosophers associated with radicalism in Britain and transcendentalism in America: a reconsideration of the life of William Godwin; the central role played by English radicals in the transmission of German literature; Godwin’s innovations in travel fiction; and the crystallization of authorial identity around the influence of Goethe in the work of women writers such as Mary Wollstonecraft, Margaret Fuller, and George Eliot.