Make it to resemble a man Sans emotions of any kind Ignorant of pain and pleasure Cold: bereft of heart and soul One to kill at my command. From 'PANDORA'

This practical dictionary of the Latin language contains over 100,000 entries in a concise, easy-to-use format. The direction of the translation is from Latin to English. It offers a broad vocabulary from all areas and can be used as a classic reference work.

One thousand microfictions from the popular website Memorable Fancies (at www.terencekuch.com) - literary, weird, imaginative, mordant, unexpected.

Blundering about Sorrento and its environs in search of culture, the author unwittingly resists his wifes never ending attempts to civilise him. From the heights of Vesuvius, to the ruins of Pompeii and Herculaneum, along the beautiful Amalfi coast and, of course, not forgetting Sorrento itself, the authors propensity to get himself into cringe-making embarrassing situations reaches new heights and plunges even deeper depths as he embarks on the second week of his holiday to Italy, and takes up from where the first book, An Italian Journey, stopped. Ubiquitous Dutchmen, domineering drivers, pestilential teenage girls, a mafioso maitre d, not to mention a glamorous older woman these are just some of the colourful characters whom the gods send to cross the authors path and severely try his patience, whilst his own bungling incompetencies result in an hilarious narrative as he attempts to extricate himself from yet another fine mess he has got himself into. With a fine eye for detail and his penchant for the off-beat and the peculiar, the writer describes not only the people and events, but also the places he visits. You may have visited Sorrento before, but youve never seen it quite like this!

A woman must come to terms with the childhood secret she carries with her about the tragic fire that killed her mother. Reissue.

In How to Kill a Dragon Calvert Watkins follows the continuum of poetic formulae in Indo-European languages, from Old Hittite to medieval Irish. He uses the comparative method to reconstruct traditional poetic formulae of considerable complexity that stretch as far back as the original common language. Thus, Watkins reveals the antiquity and tenacity of the Indo-European poetic tradition. Watkins begins this study with an introduction to the field of comparative Indo-European poetics; he explores the Saussurian notions of synchrony and diachrony, and locates the various Indo-European traditions and ideologies of the spoken word. Further, his overview presents case studies on the forms of verbal art, with selected texts drawn from Indic, Iranian, Greek, Latin, Hittite, Armenian, Celtic, and Germanic languages. In the remainder of the book, Watkins examines in detail the structure of the dragon/serpent-slaying myths, which recur in various guises throughout the Indo-European poetic tradition. He finds the "signature" formula for the myth--the divine hero who slays the serpent or overcomes adversaries--occurs in the same linguistic form in a wide range of sources and over millennia, including Old and Middle Iranian holy books, Greek epic, Celtic and Germanic sagas, down to Armenian oral folk epic of the last century. Watkins argues that this formula is the vehicle for the central theme of a proto-text, and a central part of the symbolic culture of speakers of the Proto-Indo-European language: the relation of humans to their universe, the values and expectations of their society. Therefore, he further argues, poetry was a social necessity for Indo- European society, where the poet could confer on patrons what they and their culture valued above all else: "imperishable fame."