In the spring of 1922, several months after completing Siddhartha, Hermann Hesse wrote a fairy tale that was also a love story, inspired by the woman who was to become his second wife. That story, Pictor's Metamorphoses, is the centerpiece of this anthology of Hesse's luminous short fiction. Based on The Arabian Nights and the work of the Brothers Grimm, the nineteen stories collected here represent a half century of Hesse's short writings. They display the full range of Hesse's lifetime fascination with fantasy--as dream, fairy tale, satire, or allegory.

The origins of selected instances of metamorphosis in Germanic literature are traced from their roots in Ovid's Metamorphoses, grouped roughly on an 'ascending evolutionary scale' (invertebrates, birds, animals, and mermaids). Whilst a broad range of mythological, legendary, fairytale and folktale traditions have played an appreciable part, Ovid's Metamorphoses is still an important comparative analysis and reference point for nineteenth- and twentieth-century German-language narratives of transformations. Metamorphosis is most often used as an index of crisis: an existential crisis of the subject or a crisis in a society's moral, social or cultural values. Specifically selected texts for analysis include Jeremias Gotthelf's Die schwarze Spinne (1842) with the terrifying metamorphoses of Christine into a black spider, the metamorphosis of Gregor Samsa in Kafka's Die Verwandlung (1915), ambiguous metamorphoses in E. T. A. Hoffmann's Der goldne Topf (1814), Hermann Hesse's Piktors Verwandlungen (1925), Der Steppenwolf (1927) and Christoph Ransmayr's Die letzte Welt (1988). Other mythical metamorphoses are examined in texts by Bachmann, Fouqué, Fontane, Goethe, Nietzsche, Nelly Sachs, Thomas Mann and Wagner, and these and many others confirm that metamorphosis is used historically, scientifically, for religious purposes; to highlight identity, sexuality, a dream state, or for metaphoric, metonymic or allegorical reasons.

A Companion to Ovid is a comprehensive overview of one of the most influential poets of classical antiquity. Features more than 30 newly commissioned chapters by noted scholars writing in their areas of specialization Illuminates various aspects of Ovid's work, such as production, genre, and style Presents interpretive essays on key poems and collections of poems Includes detailed discussions of Ovid's primary literary influences and his reception in English literature Provides a chronology of key literary and historical events during Ovid's lifetime

Identifies and explores Roman modes of poetry as received by twentieth- and twenty-first-century Anglo-American, German, and French poets.

A Handbook to the Reception of Ovid presents more than 30 original essays written by leading scholars revealing the rich diversity of critical engagement with Ovid’s poetry that spans the Western tradition from antiquity to the present day. Offers innovative perspectives on Ovid’s poetry and its reception from antiquity to the present day Features contributions from more than 30 leading scholars in the Humanities. Introduces familiar and unfamiliar figures in the history of Ovidian reception. Demonstrates the enduring and transformative power of Ovid’s poetry into modern times.

The editors invited selected authors who had participated in or observed developments in biochemistry and molecular biology, particularly in the second half of this century, to record their personal recollections of the times and circumstances in which they worked. Having been given free reign, both content and style of the contruibutions reflect the flavour of the personality of the author. The book reflects the explosive development of biochemistry and molecular biology and related sciences that had led to the almost unique situation of these fields coming of age at a time when their founding fathers, or their scientific children, were alive and well. The contributions in this volume encompass a wide variety of experiences in many different countries and in very different fields of biochemistry.