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Collins Latin Language and Roman Culture
by CollinsAs straightforward and easy to follow as a Roman road, this is the most accessible guide to both the language and the literature of one of the greatest empires the world has known.
Hobbitus Ille: The Latin Hobbit
by J. R. TolkienAfter 75 years, The Hobbit translated for the first time into Latin. Fascinating for Latin learners and for Tolkien fans of all ages.
In the Shadow of Vesuvius: Life, Letters And Natural History In The Shadows Of Vesuvius
by Daisy DunnAsh spewed into the sky. All eyes were on Vesuvius. Pliny the Elder sailed towards the phenomenon. A teenage Pliny the Younger waited. His uncle did not come back.
Medieval Latin: Second Edition
by Joseph PucciK. P. Harrington's Mediaeval Latin, the standard medieval Latin anthology used in the United States since its initial publication in 1925, has now been completely revised and updated for today's students and teachers by Joseph Pucci. This new edition of the classic anthology retains its breadth of coverage, but increases its depth by adding fourteen new selections, doubling the coverage of women writers, and expanding a quarter of the original selections. The new edition also includes a substantive grammatical introduction by Alison Goddard Elliott. To help place the selections within their wider historical, social, and political contexts, Pucci has written extensive introductory essays for each of the new edition's five parts. Headnotes to individual selections have been recast as interpretive essays, and the original bibliographic paragraphs have been expanded. Reprinted from the best modern editions, the selections have been extensively glossed with grammatical notes geared toward students of classical Latin who may be reading medieval Latin for the first time. Includes thirty-two full-page plates (with accompanying captions) depicting medieval manuscript and book production.
Medieval Latin: Second Edition
by Joseph PucciK. P. Harrington's Mediaeval Latin, the standard medieval Latin anthology used in the United States since its initial publication in 1925, has now been completely revised and updated for today's students and teachers by Joseph Pucci. This new edition of the classic anthology retains its breadth of coverage, but increases its depth by adding fourteen new selections, doubling the coverage of women writers, and expanding a quarter of the original selections. The new edition also includes a substantive grammatical introduction by Alison Goddard Elliott. To help place the selections within their wider historical, social, and political contexts, Pucci has written extensive introductory essays for each of the new edition's five parts. Headnotes to individual selections have been recast as interpretive essays, and the original bibliographic paragraphs have been expanded. Reprinted from the best modern editions, the selections have been extensively glossed with grammatical notes geared toward students of classical Latin who may be reading medieval Latin for the first time. Includes thirty-two full-page plates (with accompanying captions) depicting medieval manuscript and book production.
Medieval Latin: Second Edition
by Joseph PucciK. P. Harrington's Mediaeval Latin, the standard medieval Latin anthology used in the United States since its initial publication in 1925, has now been completely revised and updated for today's students and teachers by Joseph Pucci. This new edition of the classic anthology retains its breadth of coverage, but increases its depth by adding fourteen new selections, doubling the coverage of women writers, and expanding a quarter of the original selections. The new edition also includes a substantive grammatical introduction by Alison Goddard Elliott. To help place the selections within their wider historical, social, and political contexts, Pucci has written extensive introductory essays for each of the new edition's five parts. Headnotes to individual selections have been recast as interpretive essays, and the original bibliographic paragraphs have been expanded. Reprinted from the best modern editions, the selections have been extensively glossed with grammatical notes geared toward students of classical Latin who may be reading medieval Latin for the first time. Includes thirty-two full-page plates (with accompanying captions) depicting medieval manuscript and book production.
Messa da Requiem: Critical Edition Study Score (The Works of Giuseppe Verdi, Series III: Sacred Music)
by Giuseppe VerdiThe Works of Giuseppe Verdi is the first critical edition of the composer’s oeuvre. Together with his operas, the series presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works. This edition of Messa da Requiem is based on Verdi’s autograph score and other original sources. The appendices include two pieces from the compositional history of the Requiem: an early version of the Libera me, composed in 1869 as part of a collaborative work planned as a memorial to Rossini; and the Liber scriptus, which in the original score of the Manzoni memorial Requiem was composed as a fugue for chorus. The introduction to the score traces the complex compositional and performance histories of the Requiem and discusses the work’s problems of instrumentation and notation, while the critical commentary gives a full description of the sources and an account of all editorial decisions.
Messa da Requiem: Critical Edition Study Score (The Works of Giuseppe Verdi, Series III: Sacred Music)
by Giuseppe VerdiThe Works of Giuseppe Verdi is the first critical edition of the composer’s oeuvre. Together with his operas, the series presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works. This edition of Messa da Requiem is based on Verdi’s autograph score and other original sources. The appendices include two pieces from the compositional history of the Requiem: an early version of the Libera me, composed in 1869 as part of a collaborative work planned as a memorial to Rossini; and the Liber scriptus, which in the original score of the Manzoni memorial Requiem was composed as a fugue for chorus. The introduction to the score traces the complex compositional and performance histories of the Requiem and discusses the work’s problems of instrumentation and notation, while the critical commentary gives a full description of the sources and an account of all editorial decisions.
So You Really Want To Learn Latin Book II Answer Book (So You Really Want To Learn Latin)
by N.R.R. Oulton
A Taste of Ancient Rome
by Ilaria Gozzini GiacosaFrom appetizers to desserts, the rustic to the refined, here are more than two hundred recipes from ancient Rome tested and updated for today's tastes. With its intriguing sweet-sour flavor combinations, its lavish use of fresh herbs and fragrant spices, and its base in whole grains and fruits and vegetables, the cuisine of Rome will be a revelation to serious cooks ready to create new dishes in the spirit of an ancient culture.
Unity, Truth and the Liar: The Modern Relevance of Medieval Solutions to the Liar Paradox (Logic, Epistemology, and the Unity of Science #8)
by Shahid Rahman Tero Tulenheimo Emmanuel GenotAndinmy haste, I said: “Allmenare Liars” 1 —Psalms 116:11 The Original Lie Philosophical analysis often reveals and seldom solves paradoxes. To quote Stephen Read: A paradox arises when an unacceptable conclusion is supported by a plausible argument from apparently acceptable premises. [...] So three di?erent reactions to the paradoxes are possible: to show that the r- soning is fallacious; or that the premises are not true after all; or that 2 the conclusion can in fact be accepted. There are sometimes elaborate ways to endorse a paradoxical conc- sion. One might be prepared to concede that indeed there are a number of grains that make a heap, but no possibility to know this number. However, some paradoxes are more threatening than others; showing the conclusiontobeacceptableisnotaseriousoption,iftheacceptanceleads to triviality. Among semantic paradoxes, the Liar (in any of its versions) 3 o?ers as its conclusion a bullet no one would be willing to bite. One of the most famous versions of the Liar Paradox was proposed by Epimenides, though its attribution to the Cretan poet and philosopher has only a relatively recent history. It seems indeed that Epimenides was mentioned neither in ancient nor in medieval treatments of the Liar 1 Jewish Publication Society translation. 2 Read [1].
