Early modernity rediscovered tragedy in the dramas and the theoretical writings of the ancient Greeks and Romans. Attempting to make new tragic fictions, writers like Shakespeare, Webster, Hardy, Corneille, and Racine created a dramatic form that would probably have been unrecognizable to the ancient Athenians. Tragedy and the Return of the Dead recovers a model of the tragic that fits ancient tragedies, early modern tragedies, as well as contemporary narratives and films no longer called “tragic” but which perpetuate the same elements. Authoritative, wide-ranging, and thought provoking, Tragedy and the Return of the Dead uncovers a set of interlocking plots of family violence that stretch from Greek antiquity up to the popular culture of today. Casting aside the elite, idealist view that tragedy manifests the conflict between two equal goods or the human struggle against the divine, John D. Lyons looks closely at tragedy’s staging of gory and painful deaths, ignominious burials, and the haunting return of ghosts. Through this adjusted lens Le Cid, Hamlet, Frankenstein, The Spanish Tragedy, Romeo and Juliet, Phèdre, Macbeth, and other early modern works appear in a striking new light. These works are at the center of a panorama that stretches from Aeschylus’s Agamemnon to Hitchcock’s Psycho and are placed against the background of the Gothic novel, Freud’s “uncanny,” and Burke’s “sublime.” Lyons demonstrates how tragedy under other names, such as “Gothic fiction” and “thrillers,” is far from dead and continues as a vital part of popular culture.
Should I Not Return is the story of a young east coast climber, who joins his brother in Alaska to climb Mount McKinley. What set their climb apart from those before it, and even those afterward, was a disaster of such magnitude that it became know as North America's worst mountaineering tragedy. Prior to July of 1967 only four men had ever perished on Denali, and then, in one fell swoop, Denali--like Melville s, Great White Whale, Moby Dick--indiscriminately took the lives of seven men. The brothers survive one danger after another: a terrible train accident, a near drowning in the McKinley River, an encounter with a large grizzly, a 60 foot plunge into a gaping crevasse, swept away by a massive avalanche, and finally a climactic escape from the terror of 100 mph winds while descending from the summit. Should I Not Return is a one of a kind cliffhanger packed with danger, survival under the worst conditions, and heroism on the Last Frontier s most treasured trophy--the icy slopes of Denali, North America s tallest mountain--Mount McKinley.
What would happen if the United States abolished the death penalty and emptied its Death Rows? If killers were released from prison? What would they do with their second chance to live? Would they kill again? Back From The Dead is the story of 589 former death row inmates who, through a lottery of fate, were given a second chance at life in 1972 when the death penalty was abolished; it returned to the United States four years later. During the years she represented Walter Williams on Texas’ Death Row, Cheever always wondered what would happen if his death sentence was reversed and he was eventually released from prison. Would he have killed again? Two years after Williams’ execution, Cheever was determined to find the answer. Leaving her young family and comfortable life in suburbia, she traveled across the U.S. and into the lives and homes of former Death Row inmates, armed only with a tape recorder, notepad, a cell phone that didn’t always work, and a lot of faith. In Back from the Dead , Cheever describes her own journey and reveals these tales of second chances: of tragedy and failure, racism and injustice, and redemption and rehabilitation. Visit www.backfromthedeadusa.com to find out more. Back From the Dead is an excellent choice for your Book Reading Group or School Group. On the website www.backfromthedeadusa.com there are questions for group discussion, as well as an 'interview with the Author'. Joan Cheever will chat by speakerphone with any group that chooses Back From the Dead. Now you have the chance to ask your questions directly to the author. Why did Joan Cheever write this book? What was she looking for? Did she find it? How did she research Back From the Dead? What difficulties did she encounter? What was it like, interviewing and meeting former Death Row inmates? How did she leave her little children to do this? What was she feeling while on the road with The Class of '72? What was the most surprising thing she learned in writing about the men whose return address had once been: Death Row USA. A chat with the author is FREE – just get a group of readers together and make sure you have a speakerphone and Joan Cheever will do the rest! How to Make a Request for a Telephone Conversation with the Author Your request for a speakerphone chat with Joan Cheever can be made through the form on this page: http://www.backfromthedeadusa.com/book_groups_form.html Here are the guidelines: • Chats are scheduled between 9 AM Central and 8 PM Central time. (All time requests must be converted to Central Time.) • You'll be asked to provide a choice of dates and times. The more dates you can provide, the easier it will be to schedule a chat. The time you request should be 30 minutes to an hour after your group begins meeting so your group has some time to settle in first. • Leave a comment to let Joan know how you found out about the book and why you chose it for your group. Also, tell Joan a little bit about your book group – what other books you’ve been reading, the range of ages in the group, where you are from etc. • Chats are not limited only to readers of Back From the Dead in the United States. As long as it can be scheduled within the hours listed above, Joan welcomes a conversation with readers across the globe. • And if a chat is not possible, Joan is working on setting up an online 'Instant Message' discussion so that readers can ask the questions they have AND get an immediate response online during your meeting! The Chat Details Once you’ve made your request, we will be back in touch with you, usually within a few days. Together we will determine the date and time for the chat. You will need access to a speaker telephone. Joan recommends giving it a trial run beforehand by having someone in your group dial in to that phone from outside. Make sure that you can hear her clearly—and that she can hear you from a good distance away. Plan for Joan to call you 30 minutes to an hour after your group gets together. At that point you will have begun your discussion about Back From the Dead and Joan will be able to answer the questions from the author’s perspective! At the appointed time, Joan will call in and for the next 30 - 45 minutes, you can put your feet up, relax and find out more about Back From the Dead, the author, her research and any news updates.
A Psychoanalytic Perspective on Tragedy, Theater and Death shines a spotlight on what theater, and especially tragedy, tells us about our ontological selves, by exploring both Euripides’ Bacchae and the work of Tadeusz Kantor. Focusing on the theatrical tradition of the West, the book examines Euripides’ Bacchae, a tragedy about the nature of tragedy, suggesting that the tragic can be defined as an ontological duality rooted in the early experience of the infant’s separation from mother, with whom s/he had, until then, formed a fused Unit. The traumatic rupture of this primal Unit is inscribed in the unconscious as death. The book then considers the defining binary structure of the theatrical setting – (spectator/spectated or fantasy/reality) – before arguing that in staging our ontological dividedness, theater shows its relation to death to be organic. The book concludes by examining in detail the principal works of Polish theater director Tadeusz Kantor, whose search for theater’s identity was, essentially, a search for human identity. Erudite and far-reaching, A Psychoanalytic Perspective on Tragedy, Theater and Death will interest psychoanalysts as well as students, scholars and researchers across the dramatic arts wishing to draw on psychoanalytic ideas.
Tragedy in Transition is an innovative and exciting introduction to the theory and practice of tragedy. Looks at a broad range of topics in the field of tragedy in literature, from ancient to contemporary times Explores the links between writers from different times and cultures Focuses on the reception of classical texts in subsequent literatures, and discusses their treatment in a range of media Surveys the lasting influence of the most resonant narratives in tragedy Contemplates exciting and unexpected combinations of text and topic among them the relationship between tragedy and childhood, science fiction, and the role of the gods
Drawing on comprehensive analyses of all of Sophocles' plays, on structuralist anthropology, and on other extensive work on myth and tragedy, Charles Segal examines Sophocles both as a great dramatic poet and as a serious thinker. He shows how Sophoclean tragedy reflects the human condition in its constant and tragic struggle for order and civilized life against the ever-present threat of savagery and chaotic violence, both within society and within the individual. Tragedy and Civilization begins with a study of these themes and then proceeds to detailed discussions of each of the seven plays. For this edition Segal also provides a new preface discussing recent developments in the study of Sophocles.
Mrs. Louise Mallard, afflicted with a heart condition, reflects on the death of her husband from the safety of her locked room. Originally published in Vogue magazine, “The Story of an Hour” was retitled as “The Dream of an Hour,” when it was published amid much controversy under its new title a year later in St. Louis Life. “The Story of an Hour” was adapted to film in The Joy That Kills by director Tina Rathbone, which was part of a PBS anthology called American Playhouse. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
Fifth-century Greek tragedy contains some of the most fascinating and important stage-ghosts in Western literature, whether the talkative Persian king Darius, who is evoked from the Underworld in Aeschylus’ Persians, or the murdered Trojan prince Polydorus, who seeks burial for his exposed corpse in Euripides’ Hecuba. These manifest figures can tell us a vast amount about the abilities of the tragic dead, particularly in relation to the nature, extent and limitations of their interaction with the living through, for example, ghost-raising ceremonies and dreams. Beyond these manifest dead, tragedy presents a wealth of invisible dead whose anger and desire for revenge bubble up from the Underworld, and whose honour and dishonour occupy the minds and influence the actions of the living. Combining both these manifest and invisible dead, this book examines harmful interaction between the living and the dead, i.e. how the living can harm the dead, and how the dead can harm the living. This includes discussions on the extent to which the dead are aware of and can react to honourable or dishonourable treatment by the living, the social stratification of the Underworld, the consequences of corpse exposure and mutilation for both the living and the dead, and how the dead can use and collaborate with avenging agents, such as the gods, the living and the Erinyes.
