Sirens & Muses: A Novel

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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 In Renaissance and Neoclassical art, the dissemination of emblem books such as Cesare Ripa's Iconologia (1593 and many further editions) helped standardize the depiction of the Muses in sculpture and painting, so they could be distinguished by certain props. These props, or emblems, became readily identifiable by the viewer, enabling one immediately to recognize the Muse and the art with which she had become associated. Here again, Calliope (epic poetry) carries a writing tablet; Clio (history) carries a scroll and books; Euterpe (song and elegiac poetry) carries a double-pipe, the aulos; Erato (lyric poetry) is often seen with a lyre and a crown of roses; Melpomene (tragedy) is often seen with a tragic mask; Polyhymnia (sacred poetry) is often seen with a pensive expression; Terpsichore (choral dance and song) is often seen dancing and carrying a lyre; Thalia (comedy) is often seen with a comic mask; and Urania (astronomy) carries a pair of compasses and the celestial globe. Detailed record for Royal 2 B VII (Queen Mary Psalter)". British Library . Retrieved 2022-09-06. , fol. 96v

Siegfried de Rachewiltz, De Sirenibus: An Inquiry into Sirens from Homer to Shakespeare, 1987: chs: "Some notes on posthomeric sirens; Christian sirens; Boccaccio's siren and her legacy; The Sirens' mirror; The siren as emblem the emblem as siren; Shakespeare's siren tears; brief survey of siren scholarship; the siren in folklore; bibliography" The early Christian euhemerist interpretation of mythologized human beings received a long-lasting boost from the Etymologiae by Isidore of Seville (c. 560–636):

The Pierides were the daughters of Pierus, king of Emathia [3] in Macedon, by Antiope [4] of Pieria or Euippe [5] of Paionia. The sisters were also called Emathides, named after their paternal uncle Emathus. [6] In other sources, they are recounted to be seven in number and named them as Achelois, [7] Neilo, Tritone, Asopo, Heptapora, Tipoplo, and Rhodia. In Aeschylus, Prometheus Bound 18, 211, 873 (Sommerstein, pp. 444–445 n. 2, 446–447 n. 24, 538–539 n. 113) Prometheus is made to be the son of Themis. Classical writers set Apollo as their leader, Apollon Mousēgetēs ('Apollo Muse-leader'). [19] In one myth, the Muses judged a contest between Apollo and Marsyas. They also gathered the pieces of the dead body of Orpheus, son of Calliope, and buried them in Leivithra. In a later myth, Thamyris challenged them to a singing contest. They won and punished Thamyris by blinding him and robbing him of his singing ability. Tandjung, Beverly (11 May 2018). "The Enchantress of the Medieval Bestiary". Getty Museum . Retrieved 2022-09-06. A] winning debut . . . Angress nimbly embodies each of her characters, allowing her exceptional storytelling abilities to shine. . . . [ Sirens & Muses] is a standout.” — Publishers Weekly (starred review)

Mittman, Asa Simon; Dendle, Peter J (2016). The Ashgate research companion to monsters and the monstrous. London: Routledge. p.352. ISBN 9781351894326. OCLC 1021205658. However, the classical understanding of the Muses tripled their triad and established a set of nine goddesses, who embody the arts and inspire creation with their graces through remembered and improvised song and mime, writing, traditional music, and dance. It was not until Hellenistic times that the following systematic set of functions became associated with them, and even then some variation persisted both in their names and in their attributes:

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Thus the comb and mirror, which are now emblematic of mermaids across Europe, derive from the bestiaries that describe the siren as a vain creature requiring those accoutrements. [95] [96] Verse bestiaries [ edit ] Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library. Often Muse-worship was associated with the hero-cults of poets: the tombs of Archilochus on Thasos and of Hesiod and Thamyris in Boeotia all played host to festivals in which poetic recitations accompanied sacrifices to the Muses. The Library of Alexandria and its circle of scholars formed around a mousaion (i.e., ' museum' or shrine of the Muses) close to the tomb of Alexander the Great. Many Enlightenment figures sought to re-establish a "Cult of the Muses" in the 18th century. A famous Masonic lodge in pre-Revolutionary Paris was called Les Neuf Soeurs ('The Nine Sisters', that is, the Nine Muses); Voltaire, Benjamin Franklin, Danton, and other influential Enlightenment figures attended it. As a side-effect of this movement the word museum (originally, 'cult place of the Muses') came to refer to a place for the public display of knowledge. The sirens were the children of Achelous and Melpomene or Terpsichore. Kleopheme was the daughter of Erato and Malos. Hyacinth was the son of Clio, according to an unpopular account. In Delphi too three Muses were worshipped, but with other names: Nete, Mese, and Hypate, which are assigned as the names of the three chords of the ancient musical instrument, the lyre. [11]

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.

Sirens and Muses

Powerful, elegant, and mesmerizing . . . a writer to watch.” —Margaret Wilkerson Sexton, author of The Revisioners Apollonius of Rhodes, Argonautica 4.892; Nonnus, Dionysiaca 13.309; Tzetzes, Chiliades, 1.14, line 338 & 348 We know of all the sorrows in the wide land […]; we know all things that come to pass on the fruitful earth.” 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 Requirement Siren song" redirects here. For other uses, see Siren's Song (disambiguation). Attic funerary statue of a siren, playing on a tortoiseshell lyre, c. 370 BC

Chisholm, Hugh, ed. (1911). "Muses, The". Encyclopædia Britannica. Vol.19 (11thed.). Cambridge University Press. pp.59–60. Antonia Angress has written [an] exceedingly good debut novel, a shrewd and expertly sustained rumination on what it takes to be a self-supporting artist and whether it's even worth it. . . . gripping . . . [A] dazzler of a debut novel.” —Shelf AwarenessFINALIST FOR THE MINNESOTA BOOK AWARD • ONE OF THE BEST BOOKS OF THE YEAR: Glamour, PopSugar, Debutiful Marcus Tullius Cicero, Nature of the Gods from the Treatises of M.T. Cicero translated by Charles Duke Yonge (1812-1891), Bohn edition of 1878. Online version at the Topos Text Project. According to Pausanias, who wrote in the later second century AD, there were originally three Muses, worshipped on Mount Helicon in Boeotia: Aoide ('song' or 'tune'), Melete ('practice' or 'occasion'), and Mneme ('memory'). [10] Together, these three form the complete picture of the preconditions of poetic art in cult practice.