For twenty-five years Tom Wicker wrote for The New York Times with passion and intelligence, educating a generation of readers on important social and political issues of the day. In Tragic Failure, this keen observer assesses the failure of racial integration in America. Thirty years after the landmark achievements of the civil rights movement in the 1960s, racial equality has made little progress and has, in fact, suffered setbacks as issues such as affirmative action, welfare reform, crime, and unemployment have made race the subtext for bitter political debate. Here, Mr. Wicker examines the current state of race relations and proposes some bold solutions-including major political realignment-to the disturbing and complex problems of race in America.
This is the first study considering the reception of Greek tragedy and the transformation of the tragic idea in Hellenistic poetry. The focus is on third-century Alexandria, where the Ptolemies fostered tragedy as a theatrical form for public entertainment and as an official genre cultivated by the Pleiad, whereas the scholars of the Museum were commissioned to edit and comment on the classical tragic texts. More importantly, the notion of the tragic was adapted to the literary trends of the era. Released from the strict rules established by Aristotle about what makes a good tragedy, the major poets of the Alexandrian avant-garde struggled to transform the tragic idea and integrate it into non-dramatic genres. Tragic Failures traces the incorporation of the tragic idea in the poetry of Callimachus and Theocritus, in Apollonius’ epic Argonautica, in the iambic Alexandra, in late Hellenistic poetry and in Parthenius’ Erotika Pathemata. It offers a fascinating insight into the new conception of the tragic dilemmas in the context of Alexandrian aesthetics.
Long recognized as a core book in any study of Japanese culture and literature, The Nobility of Failure examines the lives and deaths of nine historical individuals who faced overwhelming odds, and, realizing they were doomed, accepted their fate--to be killed in battle or by execution, to wither in exile, or to escape through ritual suicide. Morris then turns his attention to the kamikaze pilots of World War II, who gave their lives in defense of their nation in the full realization that their deaths would have little effect on the course of the war. Through detail, crystal-clear prose and unmatched narrative sweep and brilliance, Professor Morris takes you into the innermost hearts of the Japanese people.
A “brilliant” examination of American complacency and how it puts the nation’s—and the world’s—security at risk (The Wall Street Journal). The ancient Greeks hard-wired a tragic sensibility into their culture. By looking disaster squarely in the face, by understanding just how badly things could spiral out of control, they sought to create a communal sense of responsibility and courage—to spur citizens and their leaders to take the difficult actions necessary to avert such a fate. Today, after more than seventy years of great-power peace and a quarter-century of unrivaled global leadership, Americans have lost their sense of tragedy. They have forgotten that the descent into violence and war has been all too common throughout human history. This amnesia has become most pronounced just as Americans and the global order they created are coming under graver threat than at any time in decades. In a forceful argument that brims with historical sensibility and policy insights, two distinguished historians argue that a tragic sensibility is necessary if America and its allies are to address the dangers that menace the international order today. Tragedy may be commonplace, Brands and Edel argue, but it is not inevitable—so long as we regain an appreciation of the world’s tragic nature before it is too late. “Literate and lucid—sure to interest to readers of Fukuyama, Huntington, and similar authors as well as students of modern realpolitik.” —Kirkus Reviews
NEW YORK TIMES BUSINESS BEST SELLER • A suspenseful behind-the-scenes look at the dysfunction that contributed to one of the worst tragedies in modern aviation: the 2018 and 2019 crashes of the Boeing 737 MAX. An "authoritative, gripping and finely detailed narrative that charts the decline of one of the great American companies" (New York Times Book Review), from the award-winning reporter for Bloomberg. Boeing is a century-old titan of industry. It played a major role in the early days of commercial flight, World War II bombing missions, and moon landings. The planemaker remains a cornerstone of the U.S. economy, as well as a linchpin in the awesome routine of modern air travel. But in 2018 and 2019, two crashes of the Boeing 737 MAX 8 killed 346 people. The crashes exposed a shocking pattern of malfeasance, leading to the biggest crisis in the company’s history—and one of the costliest corporate scandals ever. How did things go so horribly wrong at Boeing? Flying Blind is the definitive exposé of the disasters that transfixed the world. Drawing from exclusive interviews with current and former employees of Boeing and the FAA; industry executives and analysts; and family members of the victims, it reveals how a broken corporate culture paved the way for catastrophe. It shows how in the race to beat the competition and reward top executives, Boeing skimped on testing, pressured employees to meet unrealistic deadlines, and convinced regulators to put planes into service without properly equipping them or their pilots for flight. It examines how the company, once a treasured American innovator, became obsessed with the bottom line, putting shareholders over customers, employees, and communities. By Bloomberg investigative journalist Peter Robison, who covered Boeing as a beat reporter during the company’s fateful merger with McDonnell Douglas in the late ‘90s, this is the story of a business gone wildly off course. At once riveting and disturbing, it shows how an iconic company fell prey to a win-at-all-costs mentality, threatening an industry and endangering countless lives.
Literary scholars largely agree that the Romantic period altered the definition of tragedy, but they have confined their analyses to Western European authors. Maksim Hanukai introduces a new, illuminating figure to this narrative, arguing that Russia’s national poet, Alexander Pushkin, can be understood as a tragic Romantic poet, although in a different mold than his Western counterparts. Many of Pushkin’s works move seamlessly between the closed world of traditional tragedy and the open world of Romantic tragic drama, and yet they follow neither the cathartic program prescribed by Aristotle nor the redemptive mythologies of the Romantics. Instead, the idiosyncratic and artistically mercurial Pushkin seized upon the newly unstable tragic mode to develop multiple, overlapping tragic visions. Providing new, innovative readings of such masterpieces as The Gypsies, Boris Godunov, The Little Tragedies, and The Bronze Horseman, Hanukai sheds light on an unexplored aspect of Pushkin’s work, while also challenging reigning theories about the fate of tragedy in the Romantic period.
This book provides a novel way of looking at translational phenomena in contemporary performances of Attic tragedies via the formidable work of three directors, each of whom bears the aesthetic imprint of Samuel Beckett: Theodoros Terzopoulos, Şahika Tekand and Tadashi Suzuki. Through a discerningly transdisciplinary approach, translation becomes re(trans)formed into a mode of physical action, its mimetic nature reworked according to the individual directors’ responses to Attic tragedies. As such, the highly complex notion of mimesis comes into prominence as a thematic thread, divulging the specific ways in which the pathos epitomised in the works of Aeschylus, Sophocles and Euripides is reawakened on the contemporary stage. By employing mimesis as a conceptual motor under the overarching rubric of the art of tragic theatre, the monograph appeals to a wide range of scholarly readers and practitioners across the terrains of Translation Studies, Theatre Studies, Classical Reception, Comparative Literature and Beckett Studies.
To Samuel Taylor Coleridge, tragedy was not solely a literary mode, but a philosophy to interpret the history that unfolded around him. Tragic Coleridge explores the tragic vision of existence that Coleridge derived from Classical drama, Shakespeare, Milton and contemporary German thought. Coleridge viewed the hardships of the Romantic period, like the catastrophes of Greek tragedy, as stages in a process of humanity’s overall purification. Offering new readings of canonical poems, as well as neglected plays and critical works, Chris Murray elaborates Coleridge’s tragic vision in relation to a range of thinkers, from Plato and Aristotle to George Steiner and Raymond Williams. He draws comparisons with the works of Blake, the Shelleys, and Keats to explore the factors that shaped Coleridge’s conception of tragedy, including the origins of sacrifice, developments in Classical scholarship, theories of inspiration and the author’s quest for civic status. With cycles of catastrophe and catharsis everywhere in his works, Coleridge depicted the world as a site of tragic purgation, and wrote himself into it as an embattled sage qualified to mediate the vicissitudes of his age.
John T. Hogan’s The Tragedy of the Athenian Ideal in Thucydides and Plato assesses the roles of Pericles, Alcibiades, and Nicias in Athens’ defeat in Thucydides’ Peloponnesian War. Comparing Thucydides’ presentation of political leadership with ideas in Plato’s Statesman as well as Laches, Charmides, Meno, Symposium, Republic, Phaedo, Sophist, and Laws, it concludes that Plato and Thucydides reveal Pericles as lacking the political discipline (sophrosune) to plan a successful war against Sparta. Hogan argues that in his presentation of the collapse in the Corcyraean revolution of moral standards in political discourse, Thucydides shows how revolution destroys the morality implied in basic personal and political language. This reveals a general collapse in underlying prudential measurements needed for sound moral judgment. Furthermore, Hogan argues that the Statesman’s outline of the political leader serves as a paradigm for understanding the weaknesses of Pericles, Alcibiades, and Nicias in terms that parallel Thucydides’ direct and implied conclusions, which in Pericles’ case he highlights with dramatic irony. Hogan shows that Pericles failed both to develop a sufficiently robust practice of Athenian democratic rule and to set up a viable system for succession.
