By D. María Trimble
The 1st booklet within the Amáne of Teravinea sequence. whilst a hero emerges within the state of Teravinea, he frequently rises from the ranks of the dragon riders. some time past, just one lady has healthy the profile. before ... Fifteen-year-old Amáne reveals herself witness to the hatching of a dragon egg. The painful linking ceremony creates a bond among the 2 that can't be damaged. She and her dragon, Eshshah, develop into the single dragon and rider in a state that when abounded with the attractive creatures and their riders. Amáne and Eshshah are thrown right into a clash that they don't but comprehend. something is definite — the destiny of the dominion rests upon their shoulders...
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Additional resources for Amáne of Teravinea (The Chosen One, Book 1)
Cf. Graham, 1984, 302. 40. 1. Cf. Meister, 1984, 396-97. 41. 4 (C 179). Cf. Graham, 1984, 302-4. 42. Schaps, 1979, 73. 43. Cf. Graham, 1984, 304-10. 44. , 311-12. 45. , 304-6. 46. Coldstream, 1977, 78-80. 2 Female Representations and Interpreting the Odyssey Seth L Schein The representation and description of a variety of females—human women, goddesses, and monsters—are among the most striking features of the Odyssey. For the most part, women and the goddess Athena are described or represented by the voice of the poem's (implied) narrator; other goddesses and nonhuman females occur mainly in the stories told in the first person by Odysseus, sometimes in secondary narrative by characters whom Odysseus quotes and whose accounts, as in the case of Kirke's description of the Sirens, he seems to accept.
It is noteworthy that whereas the diction and content of the Sirens' song are Iliadic, the dangerous pleasure it offers is distinctively Odyssean because it is fundamentally sexual. 326 for the "enchanting" effect of her own metamorphosing drugs). 9 Thus, through their singing and their landscape, the Sirens menace Odysseus sexually, even though they do not explicitly invite him into a sexual relationship like Kirke and Kalypso and seem to tempt him with knowledge rather than with sexuality. By contrast, the human females whom the poem describes Odysseus as meeting—Nausikaa, Arete, and especially Penelope—are invariably helpful.
23 This Siren askos must have been made for a funerary context. 27 This juxtaposition of small man with large bird woman brings to mind the name vase of the Siren Painter (plate 47), a stamnos in the British Museum of ca. 28 Significantly, this famous image intentionally retains three old-fashioned, armless, woman-headed Sirens so big that they dwarf the bound Odysseus and his deafened crew. 89-97, 248-49), for example, that other dangerous beings encountered by Odysseus were also giants. 29 The big Siren, on the British Museum's stamnos, who plunges head down from her rocky perch, is unique (plate 47).