This book tells the story of the early modern astronomer Johannes Kepler’s Somnium, which has been regarded by science historians and literary critics alike as the first true example of science fiction. Kepler began writing his complex and heavily-footnoted tale of a fictional Icelandic astronomer as an undergraduate and added to it throughout his life. The Somnium fuses supernatural and scientific models of the cosmos through a satirical defense of Copernicanism that features witches, lunar inhabitants, and a daemon who speaks in the empirical language of modern science. Swinford’s looks at the ways that Kepler’s Somnium is influenced by the cosmic dream, a literary genre that enjoyed considerable popularity among medieval authors, including Geoffrey Chaucer, Dante, John of Salisbury, Macrobius, and Alan of Lille. He examines the generic conventions of the cosmic dream, also studying the poetic and theological sensibilities underlying the categories of dreams formulated by Macrobius and Artemidorus that were widely used to interpret specific symbols in dreams and to assess their overall reliability. Swinford develops a key claim about the form of the Somnium as it relates to early science: Kepler relies on a genre that is closely connected to a Ptolemaic, or earth-centered, model of the cosmos as a way of explaining and justifying a model of the cosmos that does not posit the same connections between the individual and the divine that are so important for the Ptolemaic model. In effect, Kepler uses the cosmic dream to describe a universe that cannot lay claim to the same correspondences between an individual’s dream and the order of the cosmos understood within the rules of the genre itself. To that end, Kepler’s Somnium is the first example of science fiction, but the last example of Neoplatonic allegory.

Centuries.... By studying together pagan and Christian dreams, Cox Miller hopes to reach a better understanding of some fundamental patterns of late antique culture. DLGuy G. Stroumsa, The Journal of Religion A fluent and discursive text.... This is an adventurous exploration of a range of material which deserves to be more widely known.DLGillian Clark, The Classical Review.

The &"classical,&" Steven Shankman argues, should not be confused with a particular historical period of Western antiquity, although it may owe its original articulation to the literary and philosophical explorations of ancient Greek authors. Shankman's book searches for and attempts to formulate the shape of the continuing presence&—as embodied in particular literary works mainly from Western antiquity and the neoclassical and modern periods&—of what the author calls a &"classical&" understanding of literature. For Shankman, literature, defined from a classical perspective, is a coherent, compelling, and rationally defensible representation that resists being reduced either to the mere recording of material reality or to the bare exemplification of an abstract philosophical precept. He derives his definition largely from his reading of Greek literature from Homer through Plato, from the history of literary criticism, and from the Greco-Roman tradition in English, American, and French literature. Shankman reveals unsuspected yet convincing connections among authors of such widely disparate times and places. His idea of the &"classic&" that authorizes these connections is presented as normative, thus making possible the evaluation of literary works and, in turn, forthright discussion of what constitutes the &"literary&" as distinct from other kinds of discourse. Shankman's study runs counter to a strong tendency of contemporary criticism that argues precisely against any distinct category of the &"literary.&" He offers a series of interpretations that cumulatively advance theoretical discussion by challenging scholars to rethink the critical paradigms of postmodernism. At the center of the book is a discussion of the quintessentially classic Val&éry poem Le Cimeti&ère marin and the classic qualities it shares with Pindar's third Pythian ode, from which Val&éry derives the epigraph for his poem.

All great stories can change our lives, and practically none is more transformational than Homer’s The Odyssey, which had a power so great that it launched Greek civilization and has influenced the West ever since. In this fresh approach to self-realization, human potentials leader Jean Houston provides empowering experiential exercises at every key stage of Homer’s epic to make The Odyssey our own journey. As we set sail with Odysseus, together we endure loss and suffering, the search for the divine Beloved, and the joy of finally arriving home. "Tapping the power of these archetypes," says Houston, "helps us effect healing in areas that have kept us immobilized and anguished. By raising our own tragic dimension to a mythic level, we awaken to a larger, nobler life."

Did alien astronauts visit the ancient earth or were the real "aliens" the ancient humans themselves? People today imagine that ancient humans were just like us, but at a more primitive stage of development. In fact, ancient humans were nothing like us. They had incredible abilities - superpowers - that we have now lost. We discarded them in the course of becoming modern, conscious humans, but these superpowers still lie latent in all of us, and can be recovered in the right circumstances. The ancient humans were the Prometheans, bridging the gap to the gods, and supremely well-versed in carrying the divine fire. They knew the secrets of the gods. Isn't it time to regain all of their lost knowledge and power?

Takes up the tale of Aeneas near the point where Homer's Illiad had left him. Urged by the gods to fulfill hsi destiny, Aeneas leads the dispossessed survivors of Troy through countless trials and adventures, and visits they underworld before his final defeat of the indigenous Italian tribes, led by Turnus, enables him to establish a new kingdom in central Italy.