"The present volume grew out of a conference, "Tracking Hermes/Mercury," held at the University of Virginia in the Spring of 2014."--Page 1.

Of all the divinities of classical antiquity, the Greek Hermes (Mercury in his Roman alter ego) is the most versatile, enigmatic, complex, and ambiguous. The runt of the Olympian litter, he is the god of lies and tricks, yet is also kindly towards mankind and a bringer of luck. His functions embrace both the marking of boundaries and their transgression, but also extend to commerce, lucre, and theft, as well as rhetoric and practical jokes. In another guise, he plays the role of mediator between all realms of human and divine activity, embracing heaven, earth, and the netherworld. Pursuing this elusive divinity requires a truly multidisciplinary approach, reflecting his prismatic nature, and the twenty contributions to this volume draw on a wide range of fields to achieve this, from Greek and Roman literature (epic, lyric, and drama), epigraphy, cult, and religion, to vase painting and sculpture. In offering an overview of the myriad aspects of Hermes/Mercury-including his origins, patronage of the gymnasium, and relation to other trickster figures-the volume attempts to track the god's footprints across the many domains in which he partakes. Moreover, in keeping with his deep connection to exchange, commerce, and dialogue, it aims to exemplify and further encourage discourse between Latinists and Hellenists, as well as between scholars of literary and material cultures.

Divine Names are a key component in the communication between humans and gods in Antiquity. Their complexity derives not only from the impressive number of onomastic elements available to describe and target specific divine powers, but also from their capacity to be combined within distinctive configurations of gods. The volume collects 36 essays pertaining to many different contexts - Egypt, Anatolia, Levant, Mesopotamia, Greece, Rome - which address the multiple functions and wide scope of divine onomastics. Scrutinized in a diachronic and comparative perspective, divine names shed light on how polytheisms and monotheisms work as complex systems of divine and human agents embedded in an historical framework. Names imply knowledge and play a decisive role in rituals; they move between cities and regions, and can be translated; they interact with images and reflect the intrinsic plurality of divine beings. This vivid exploration of divine names pays attention to the balance between tradition and innovation, flexibility and constraints, to the material and conceptual parameters of onomastic practices, to cross-cultural contexts and local idiosyncrasies, in a word to human strategies for shaping the gods through their names.

In this groundbreaking book, renowned global economist David McWilliams unlocks the mysteries and the awesome power of money: what it is, how it works, and why it matters. The story of money is the story of our desires, our genius, and our downfalls. Money is power—and power beguiles. Nothing we’ve invented as a species has defined our own evolution so thoroughly and changed the direction of our planet’s history so dramatically. Money has shaped the very essence of what it means to be human. We can’t hope to understand ourselves without it. And yet despite money’s primacy, most of us don’t truly understand it. As economist David McWilliams states, money is everything. “Money defines the relationship between worker and employer, buyer and seller, merchant and producer. But not only that: it also defines the bond between the governed and the governor, the state and the citizen. Money unlocks pleasure, puts a price on desire, art and creativity. It motivates us to strive, achieve, invent and take risks. Money also brings out humanity’s darker side, invoking greed, envy, hatred, violence and, of course, colonialism.” Money isn’t just paper or coins or virtual currency. Money is humanity. Leading economics expert, David McWilliams answers these questions and more in Money, an epic, breathlessly entertaining journey across the world through the present and the past, from the birthplace of money in ancient Babylon to the beginning of trade along the silk road to China, from Marrakech markets to Wall Street and the dawn of cryptocurrency. By tracking its history, McWilliams uncovers our relationship with money, transforming our perspective on its impact on the world right now. McWilliams is no dusty economist; he is a communicator at the highest level, a highly telegenic and marketable expert who is as comfortable in front of a large audience talking about his favourite subject as he is appearing on podcasts, social media, and even in stand-up comedy. He’s been called Ireland’s most important economist and is ranked among the leading economists working today. The story of money is the story of earth’s most inventive, destructive, and dangerous animal: Homo sapiens. It is our story.

This book highlights the relevance of the grand traditions of the humanities as an untapped resource for business-world problems. In a time where the humanities are viewed as in decline or in threat of collapse altogether, this book enacts and extends the best of the humanities toward prevailing challenges within the complex realities of our current cultural moment. The book presents how the humanities can contribute to humanizing business and management. It explores and discusses various ways to integrate the views and approaches of the humanities in business and management research, practice, and education responding to the unprecedented challenges of the Anthropocene. The relations between humanities and social sciences is also discussed, as models and theories of business and management are based on insights of social sciences. The book is an outcome of the “Humanities for Business” project of Princeton University Faith and Work Initiative, the European SPES Institute, Leuven, and the Business Ethics Center of Corvinus University of Budapest. It is of great value to researchers, students, policy makers and research institutions interested in using humanities for renewing and humanizing business and management.

The essays collected in this volume examine manifestations of our sublime cosmos in ancient literature and its reception. Individual themes include religious mystery; calendrical and cyclical thinking as ordering principles of human experience; divine birth and the manifold nature of divinity (both awesome and terrifying); contemplation of the sky and meteorological (ir)regularity; fears associated with overpowering natural and anthropogenic events; and the aspirations and limitations of human expression. In texts ranging from Homer to Keats, the volume's chapters apply diverse critical methods and approaches that engage with sublimity in various aesthetic, agential and metaphysical aspects. The ancient texts – epic, dramatic, historiographic and lyric – treated here are rooted in a remote world where, within a framework of (perceived) celestial order, literature, myth and science still communicated profoundly, a tradition that continued in literary receptions of these ancient works. This volume honours the intellectual legacy of Thomas D. Worthen, a scholar whose expertise and insights cut across multiple disciplines, and who influenced and inspired students and colleagues at the University of Arizona, USA, for over three decades. Beyond clarifying temporally and culturally distant contemplations of the human universe, these essays aim to inform the continuing sense of wonder and horror at the sublime heights and depths of our ever-changing cosmos.

Ancient Greek comedy relied primarily on its text and words for the fulfilment of its humorous effects and aesthetic goals. In the wake of a rich tradition of previous scholarship, this volume explores a variety of linguistic materials and stylistic artifices exploited by the Greek comic poets, from vocabulary and figures of speech (metaphors, similes, rhyme) to types of joke, obscenity, and the mechanisms of parody. Most of the chapters focus on Aristophanes and Old Comedy, which offers the richest arsenal of such techniques, but the less ploughed fields of Middle and New Comedy are also explored. Emphasis is placed on practical criticism and textual readings, on the examination of particular artifices of speech and the analysis of individual passages. The main purpose is to highlight the use of language for the achievement of the aesthetic, artistic, and intellectual purposes of ancient comedy, in particular for the generation of humour and comic effect, the delineation of characters, the transmission of ideological messages, and the construction of poetic meaning. The volume will be useful to scholars of ancient drama, linguists, students of humour, and scholars of Classical literature in general.