Dominant views about sex have in most churches been distorted by centuries of negative accretions and become travesties of what we find in the Bible. - Dr. Reidulf Molvaer In this book Dr. Reidulf Molvaer attempts to recapture the joyful, cheerful abandon in legitimate sexual relationships that we see in the Bible-yes, the Bible From the Song of Solomon in the Old Testament to Saint Paul's advice on intimacy in the New Testament, you are presented with the real meanings of these ancient texts and learn why the Church has interpreted the Song as an allegory rather than as a description of the joyous sexual experience it truly is. Could there be any greater glorification of sex than to let ideal love between man and woman illustrate the union between the devout and the divine? Dr. Molvaer demystifies fairytale images of the Virgin Mary, compares biblical sexual ethics to various cultures and discusses tales of eccentrics who have been elevated to sainthood. This book rediscovers what has been misrepresented for generations and encourages Christians and others to think afresh about one of the greatest and most disputed acts of devotion found in the Holy Bible. Dr. Reidulf Molvaer attended university in Oslo, Norway, and received his Ph.D. from London University, England. He spent 20 years in development work for churches and the U.N. in Africa and was a senior researcher in Oslo until his retirement. Publisher's website: http: //www.eloquentbooks.com/TwoMakingOne.htm

Ten papers, which originated from a session at the meetings of the American Philological Association held in 1997, draw on a wide range of archaeological, literary and historical sources to reinterpret the significance, or otherwise, of relationships between women in ancient Greece, Rome and Egypt. Subjects include: imaging the woman's world from the Bronze Age frescoes of Akrotiri; Sappho; evidence from Attic vase painting; Classical Attic tombstones; Ovid; Lucian; 5th-century AD Egypt. Contributors are drawn from the fields of archaeology, the classics and queer studies and reflect current trends in gender studies.

Cosa, a small Roman town, has been excavated since 1948 by the American Academy in Rome. This new volume presents the surviving sculpture and furniture in marble and other stones and examines their nature and uses. These artifacts provide an insight into not just life in a small Roman town but also its embellishment mainly from the late Republic and through the early Empire to the time of Hadrian. While public statuary is not well preserved, stone and marble material from the private sphere are well represented; domestic sculpture and furniture from the third century BCE to the first CE form by far the largest category of objects. The presence of these materials in both public and private spheres sheds light on the wealth of the town and individual families. The comparative briefness of Cosa’s life means that this material is more easily comprehensible as a whole for the entire town as excavated, compared for instance to the much larger cities of Pompeii and Herculaneum.

This volume aims at providing both students and scholars with a series of discussions of the long tradition of reading and writing the erotic, seen from a number of different perspectives.

The Ciris has received a certain amount of scholarly attention during the twentieth century, but on the whole has failed to meet with an adequate appreciation. This book aims to vindicate the Ciris, mainly by exploring its use of pre-Virgilian poetic texts largely ignored in previous scholarship. The core of the book consists of a discursive literary commentary, divided into chapters that examine consecutively the poem's main narrative units. Viewing allusion and allegory as intrinsic features of poetic composition rather than mere artistic devices, the book explores, among more prominent intertexts, Apollonius' Argonautica and Callimachus' Hecale, Lucretius and Catullus 64. Allusions are also suggested to Homer and Empedocles, Theocritus, Moschus, and Bion, Nicander and Euphorion, Choerilus of Samos and Asius of Samos, Ennius and Cicero. Through its intricate web of references to poetic intertexts, the Ciris, it is argued, creates an implicit allegorical pattern with an original poetological message. Allusion and Allegory is thus the first book-length study to offer a coherent literary interpretation of this controversial poem.

For Dante and Petrarch, posthumous love was a powerful conviction. Like many of their contemporaries, both poets envisioned their encounters with their beloved in heaven—Dante with Beatrice, Petrarch with Laura. But as Ramie Targoff reveals in this elegant study, English love poetry of the Renaissance brought a startling reversal of this tradition: human love became definitively mortal. Exploring the boundaries that Renaissance English poets drew between earthly and heavenly existence, Targoff seeks to understand this shift and its consequences for English poetry. Targoff shows that medieval notions of the somewhat flexible boundaries between love in this world and in the next were hardened by Protestant reformers, who envisioned a total break between the two. Tracing the narrative of this rupture, she focuses on central episodes in poetic history in which poets developed rich and compelling compensations for the lack of posthumous love—from Thomas Wyatt’s translations of Petrarch’s love sonnets and the Elizabethan sonnet series of Shakespeare and Spencer to the carpe diem poems of the seventeenth century. Targoff’s centerpiece is Romeo and Juliet, where she considers how Shakespeare’s reworking of the Italian story stripped away any expectation that the doomed teenagers would reunite in heaven. Casting new light on these familiar works of poetry and drama, this book ultimately demonstrates that the negation of posthumous love brought forth a new mode of poetics that derived its emotional and aesthetic power from its insistence upon love’s mortal limits.

Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500-1700 examines the related themes of lovemaking and image-making in the visual arts of Europe, China, Japan, and Persia. The term ‘reflexive’ is here used to refer to images that invite reflection not only on their form, function, and meaning, but also on their genesis and mode of production. Early modern artists often fashioned reflexive images and effigies of this kind, that appraise love by exploring the lineaments of the pictorial or sculptural image, and complementarily, appraise the pictorial or sculptural image by exploring the nature of love. Hence the book’s epigraph—ut pictura amor—‘as is a picture, so is love’.

Latin poets and prose writers of the classical period and later used - and withheld - names subtly and to important effect. Here, in eleven new essays, an eminent international cast explore themes which include 'speaking' names, often involving bilingual Latin/Greek play; the ways in which persons and objects are named in contexts of invective or endearment; the significant suppression or changing of names; the religious and historical significances of names; the uses of names in literary catalogues; names as devices to structure a group of shorter poems.