Sirens & Muses: A Novel

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Elysium Gates - Historical Pegasus". Archived from the original on 2009-06-16 . Retrieved 2010-02-26. Schafer, Edward H. (September 1930). "The Physiologus of Bern: A Survival of Alexandrian Style in a Ninth Century". The Art Bulletin. 12 (3). Fig. 22 and p. 249. JSTOR 3050780.

ONE OF THE MOST ANTICIPATED BOOKS OF THE YEAR: Vanity Fair, BuzzFeed, The Millions, Bustle, Electric Lit, Autostraddle, Lambda Literary Holford-Strevens (2006), p.31: There were "those who introduced the mermaid into the Latin Physiologus and the bestiaries thence derived". Some surviving Classical period examples had already depicted the siren as mermaid-like. [7] The sirens are depicted as mermaids or "tritonesses" in examples dating to the 3rd century BC, including an earthenware bowl found in Athens [19] [21] and a terracotta oil lamp possibly from the Roman period. [7] Antonia Angress is so talented, and her depiction of young artists—with their egos and inspirations and ambitions—is unforgettably impressive. Read. This. Book.” —Julie Schumacher, author of Dear Committee Members and The Shakespeare RequirementAccording to Hesiod, Theogony 507–511, Clymene, one of the Oceanids, the daughters of Oceanus and Tethys, at Hesiod, Theogony 351, was the mother by Iapetus of Atlas, Menoetius, Prometheus, and Epimetheus, while according to Apollodorus, 1.2.3, another Oceanid, Asia was their mother by Iapetus. Take a moment to look closely at this object. If you are in the Museum, walk around the object and observe it from different angles. Four artists are drawn into a web of rivalry and desire at an elite art school and on the streets of New York in this “gripping, provocative, and supremely entertaining” (BuzzFeed) debut “Captures the ache-inducing quality of art and desire . . . a deeply relatable and profoundly enjoyable read, one drenched in prismatic color and light.”–Kristen Arnett, New York Times bestselling author of With Teeth It’s 2011: America is in a deep recession and Occupy Wall Street is escalating. But at the elite Wrynn College of Art, students paint and sculpt in a rarefied bubble. Louisa Arceneaux is a thoughtful, observant nineteen-year-old when she transfers to Wrynn as a scholarship student, but she soon finds herself adrift in an environment that prizes novelty over beauty. Complicating matters is Louisa’s unexpected attraction to her charismatic roommate, Karina Piontek, the preternaturally gifted but mercurial daughter of wealthy art collectors. Gradually, Louisa and Karina are drawn into an intense sensual and artistic relationship, one that forces them to confront their deepest desires and fears. But Karina also can’t shake her fascination with Preston Utley, a senior and anti-capitalist Internet provocateur, who is publicly feuding with visiting professor and political painter Robert Berger–a once-controversial figurehead seeking to regain relevance. When Preston concocts an explosive hoax, the fates of all four artists are upended as each is unexpectedly thrust into the cutthroat New York art world. Now all must struggle to find new identities in art, in society, and among each other. In the process, they must find either their most authentic terms of life–of success, failure, and joy–or risk losing themselves altogether. With a canny, critical eye, Sirens and Muses overturns notions of class, money, art, youth, and a generation’s fight to own their future. Sirens and Muses by Antonia Angress – eBook Details Chisholm, Hugh, ed. (1911). "Muses, The". Encyclopædia Britannica. Vol.19 (11thed.). Cambridge University Press. pp.59–60. Illustrating the siren as a pure mermaid became commonplace in the "second family" bestiaries, and she was shown holding a musical instrument in the classical tradition, but also sometimes holding apparently an eel-fish. [80] An example of the siren-mermaid holding such a fish is found in one of the earlier codices in this group, dated the late 12th century. [f] [69] (As bird-like)

It is explained that the siren's "other part" may be "like fish or like bird" in Guillaume le clerc's Old French verse bestiary (1210 or 1211), [100] [95] as well as Philippe de Thaun's Anglo-Norman verse bestiary (c. 1121–1139). [101] [97] Derivative literature [ edit ] Donna Tartt’s The Secret History meets Meg Wolitzer’s The Interestings in this entrancing portrait of 3 young artists who meet at an elite college at the height of the Occupy movement. Angress so deftly portrays the splendor and squalor of trying to create something great in the face of rampant capitalism, of love and lust in the face of tooth-and-claw competition.” —Electric Lit The siren is allegorically described as a beautiful courtesan or prostitute, who sings pleasant melody to men, and is symbolic vice of Pleasure in the preaching of Clement of Alexandria (2nd century). [59] Later writers such as Ambrose (4th century) reiterated the notion that the siren stood as symbol or allegory for worldly temptations. [60] and not an endorsement of the Greek myth. William Hansen, William F. Hansen, Classical Mythology: A Guide to the Mythical World of the Greeks and Romans, Oxford University Press, 2005, p.307 Sirens & Muses captivated me with its well-drawn, complex characters and vivid descriptions and settings . . . a gorgeously rich and thoughtful novel.” —Annie Hartnett, author of Rabbit Cake and Unlikely Animals

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The siren was illustrated as a woman-fish (mermaid) in the Bern Physiologus dated to the mid 9th century, even though this contradicted the accompanying text which described it as avian. [24] An English-made Latin bestiary dated 1220–1250 also depicted a group of sirens as mermaids with fishtails swimming in the sea, even though the text stated they resembled winged fowl ( volatilis habet figuram) down to their feet. [78] [e] Susan Scheinberg, in reporting other Hellenic maiden triads in "The Bee Maidens of the Homeric Hymn to Hermes", references Diodorus, Plutarch and Pausanias - Harvard Studies in Classical Philology, 83 (1979:1–28), p. 2. The Muses had several temples and shrines in ancient Greece, their two main cult centres being Mount Helikon in Boiotia and Pieria in Makedonia. As a writer and artist myself, there comes an acute interest into how that plays out in a fictional world. I like novels that center this with female characters especially as a person who identifies as a woman, which is why I probably gravitated to this book in particular. It follows four characters, two who are women, and two who are men. All of their lives intersect in different ways while attending this art school where there are a lot of issues, including classism and privilege.

PDF / EPUB File Name: Sirens_and_muses_-_Antonia_Angress.pdf, Sirens_and_muses_-_Antonia_Angress.epub Sarcophagus with the contest between the Muses and the Sirens [Roman; in the Villa Nero, Rome]" (10.104) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (February 2009) It’s2011:America is in a deep recession and Occupy Wall Street is escalating. But at the elite Wrynn College of Art, students paint and sculpt in a rarefied bubble. Louisa Arceneaux is a thoughtful, observant nineteen-year-old when she transfers to Wrynn as a scholarship student, but she soon finds herself adrift in an environment that prizes novelty over beauty. Complicating matters is Louisa’s unexpected attraction to her charismatic roommate, Karina Piontek, the preternaturally gifted but mercurial daughter of wealthy art collectors. Gradually, Louisa and Karina are drawn into an intense sensual and artistic relationship, one that forces them to confront their deepest desires and fears. But Karina also can’t shake her fascination with Preston Utley, a senior and anti-capitalist Internet provocateur, who is publicly feuding with visiting professor and political painter Robert Berger—a once-controversial figureheadseekingto regain relevance.Sexy and smart . . . confident and captivating . . . breathtaking . . . propulsive and immersive . . . structurally ambitious and wonderfully crafted.” — Autostraddle The word Muses ( Ancient Greek: Μοῦσαι, romanized: Moûsai) perhaps came from the o-grade of the Proto-Indo-European root * men- (the basic meaning of which is 'put in mind' in verb formations with transitive function and 'have in mind' in those with intransitive function), [2] or from root * men- ('to tower, mountain') since all the most important cult-centres of the Muses were on mountains or hills. [3] R. S. P. Beekes rejects the latter etymology and suggests that a Pre-Greek origin is also possible. [4] Number and names [ edit ] Gustave Moreau: Hesiod and the Muse (1891)— Musée d'Orsay, Paris Apollo and the Muses on Mount Parnassus, c. 1650, by Johann Christoph Storer. Held at National Gallery of Art Orchard, Andy. "Etext: Liber monstrorum (fr the Beowulf Manuscript)". members.shaw.ca. Archived from the original on 2005-01-18. The nervous sailors agreed to tie up their captain. No sooner were the ropes knotted than Odysseus heard voices, unimaginably high and clear, calling to him.

Iconography [ edit ] Classical iconography [ edit ] Moaning siren statuette from Myrina, first century BC Ovid, Metamorphoses 5.677–78: "Now their previous eloquence also remained in the birds, as well as their strident chattering and their great zeal for speaking." See also Antoninus Liberalis 9. The earliest known records of the Muses come from Boeotia (Boeotian muses). Some ancient authorities regarded the Muses as of Thracian origin. [5] In Thrace, a tradition of three original Muses persisted. [6]In Ovid's Metamorphoses, Urania, one of the Muses recounts their contest with the Pierides to Athena in the following excerpts: [8] Brilliant . . . This narrative is intricate, moving, and often funny, and its scenes are beautifully crafted. . . . A wonderful book.” —Charles Baxter, author of The Sun Collective