The renowned master of mythology is at his warm, accessible, and brilliant best in this illustrated collection of thirteen lectures covering mythological development around the world.

This book explores the appropriation and transformation of classical mythology by French culture from the mid-twelfth century to about 1430. Each of the five chapters focuses on a specific moment in this process and asks: What were the purposes of transforming classical myth? Which techniques did poets use to integrate classical subject matter into their own texts? Was a special interpretive tradition created for vernacular texts? In Chapter 1, the author shows how Latin epic texts were reoriented for political purposes in the twelfth-century Anglo-Norman realm, gaining new depth by the addition of Ovidian elements that evoked threats of a disorder different from the struggles of classical epic. Chapter 2 analyzes the complex use of myth in the thirteenth-century Roman de la Rose, which offers new conjunctions and interpretations of myths related to language, artistic expression, and sexuality. Chapter 3 focuses on the interpretive techniques and vocabulary of the fourteenth-century Ovide moralisé, such as "allegory," "fable," and istoire, arguing that the Christianization of the Metamorphoses created a "new Ovid" in the form of a fourteenth-century friar. Chapter 4 reveals that, although Guillaume de Machaut questioned the usefulness of mythic fables, he turned to them to invoke artistic consolation and ward off threats to his poetic voice. It also describes how Jean Froissart produced new myths by combining existing fables with newly invented elements in an attempt to dramatize the poetic creativity of his age. Finally, Chapter 5 demonstrates how Christine de Pizan offered the full range of medieval possibilities for myth: playing with the mythographic tradition, inscribing herself into Ovidian myths, offering historical explanations, rewriting myths from a pro-woman stance, and finally creating mythic universes of her own.

Greek myths have long been admired as beautiful, thrilling stories but dismissed as serious objects of belief. For centuries scholars have held that Greek epics, tragedies, and the other compelling works handed down to us obscure the “real” myths that supposedly inspired them. Instead of joining in this pursuit of hidden meanings, Sarah Iles Johnston argues that the very nature of myths as stories—as gripping tales starring vivid characters—enabled them to do their most important work: to create and sustain belief in the gods and heroes who formed the basis of Greek religion. By drawing on work in narratology, sociology, and folklore studies, and by comparing Greek myths not only to the myths of other cultures but also to fairy tales, ghost stories, fantasy works, modern novels, and television series, The Story of Myth reveals the subtle yet powerful ways in which these ancient Greek tales forged enduring bonds between their characters and their audiences, created coherent story-worlds, and made it possible to believe in extraordinary gods. Johnston captures what makes Greek myths distinctively Greek, but simultaneously brings these myths into a broader conversation about how the stories told by all cultures affect our shared view of the cosmos and the creatures who inhabit it.

The Greek myths are amongst the best stories ever told, passed down through millennia and inspiring writers and artists as varied as Shakespeare, Michelangelo, James Joyce and Walt Disney. They are embedded deeply in the traditions, tales and cultural DNA of the West. You'll fall in love with Zeus, marvel at the birth of Athena, wince at Cronus and Gaia's revenge on Ouranos, weep with King Midas and hunt with the beautiful and ferocious Artemis. Spellbinding, informative and moving, Stephen Fry's Mythos perfectly captures these stories for the modern age - in all their rich and deeply human relevance.

The Anatomy of Myth is a comprehensive study of the methods of interpreting authoritative myths from the Presocratic philosophers to the Neoplatonists and their adoption by the Church Fathers.

There is more material available on Herakles than any other Greek god or hero. His story has many more episodes than those of other heroes, concerning his life and death as well as his battles with myriad monsters and other opponents. In literature, he appears in our earliest Greek epic and lyric poetry, is reinvented for the tragic and comic stage, and later finds his way into such unlikely areas as philosophical writing and love poetry. In art, his exploits are amongst the earliest identifiable mythological scenes, and his easily-recognisable figure with lionskin and club was a familiar sight throughout antiquity in sculpture, vase-painting and other media. He was held up as an ancestor and role-model for both Greek and Roman rulers, and widely worshipped as a god, his unusual status as a hero-god being reinforced by the story of his apotheosis. Often referred to by his Roman name Hercules, he has continued to fascinate writers and artists right up to the present day. In Herakles, Emma Stafford has successfully tackled the ‘Herculean task’ of surveying both the ancient sources and the extensive modern scholarship in order to present a hugely accessible account of this important mythical figure. Covering both Greek and Roman material, the book highlights areas of consensus and dissent, indicating avenues for further study on both details and broader issues. Easy to read, Herakles is perfectly suited to students of classics and related disciplines, and of interest to anyone looking for an insight into ancient Greece’s most popular hero.

From the creator of Myths Retold comes a hilarious collection of Greek, Norse, Chinese and even Sumerian myths retold in their purest, bawdiest forms! All our lives, we’ve been fed watered-down, PC versions of the classic myths. In reality, mythology is more screwed up than a schizophrenic shaman doing hits of unidentified…wait, it all makes sense now. In Zeus Grants Stupid Wishes, Cory O’Brien, creator of Myths RETOLD!, sets the stories straight. These are rude, crude, totally sacred texts told the way they were meant to be told: loudly, and with lots of four-letter words. Did you know? Cronus liked to eat babies. Narcissus probably should have just learned to masturbate. Odin got construction discounts with bestiality. Isis had bad taste in jewelry. Ganesh was the very definition of an unplanned pregnancy. And Abraham was totally cool about stabbing his kid in the face. Still skeptical? Here are a few more gems to consider: • Zeus once stuffed an unborn fetus inside his thigh to save its life after he exploded its mother by being too good in bed. • The entire Egyptian universe was saved because Sekhmet just got too hammered to keep murdering everyone. • The Hindu universe is run by a married couple who only stop murdering in order to throw sweet dance parties…on the corpses of their enemies. • The Norse goddess Freyja once consented to a four-dwarf gangbang in exchange for one shiny necklace. And there’s more dysfunctional goodness where that came from.