FROM BEGINNING TO END Why "rituals"? My thinking was set in motion by those who, knowing I was a parish minister for many years, have asked me for advice about ceremonies and celebrations. They wanted words to use at graduations, funerals, and the welcoming of children. They inquired about grace at family meals, the reaffirmation of wedding vows, and ways to heal wounds suffered in personal conflict. People requested help with the rituals of solitude, such as meditation, prayer, and contemplation. . . . Rituals do not always involve words, occasions, officials, or an audience. Rituals are often silent, solitary, and self-contained. The most powerful rites of passage are reflective--when you look back on your life again and again, paying attention to the rivers you have crossed and the gates you have opened and walked on through, the thresholds you have passed over. I see ritual when people sit together silently by an open fire. Remembering. As human beings have remembered for thousands and thousands of years. FULGHUM

A collection of essays, by leading international scholars, on the history of the Greek theatre, and on the wider context of festival culture in which theatrical activity took place in the Greek world. The emphasis is on the documentary material - inscriptions, archaeological remains and monuments - which provides so much of our 'hard' evidence for the activities of the theatre. Much of the important material discussed here is unknown except to specialists, and these studies offer access to its interpretation to a wider audience. They cover a wide range of time and place, from the earliest days of the Greek theatre to the Roman period, with special emphasis on the neglected Hellenistic period, which is especially rich in documentary evidence.

The twelfth-century French poet Chrétien de Troyes is a major figure in European literature. His courtly romances fathered the Arthurian tradition and influenced countless other poets in England as well as on the continent. Yet because of the difficulty of capturing his swift-moving style in translation, English-speaking audiences are largely unfamiliar with the pleasures of reading his poems. Now, for the first time, an experienced translator of medieval verse who is himself a poet provides a translation of Chrétien’s major poem, Yvain, in verse that fully and satisfyingly captures the movement, the sense, and the spirit of the Old French original. Yvain is a courtly romance with a moral tenor; it is ironic and sometimes bawdy; the poetry is crisp and vivid. In addition, the psychological and the socio-historical perceptions of the poem are of profound literary and historical importance, for it evokes the emotions and the values of a flourishing, vibrant medieval past.

I have a dog. An inconvenient dog. When I wake up, my dog is inconvenient. When I'm getting dressed, my dog is inconvenient. And when I'm making tunnels, my dog is SUPER inconvenient. But sometimes, an inconvenient dog can be big and warm and cuddly. Sometimes, an inconvenient dog can be the most comforting friend in the whole wide world.

The ink and stylus tablets discovered at the Roman fort of Vindolanda are a unique historical resource but are extremely difficult to read. This book details the development of what appears to be the first system constructed to aid experts in the process of reading an ancient document, exploring the use of techniques from Artificial Intelligence.

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