This volume offers comprehensive analyses and new translations of Kalidasa's three extant plays: "Sakuntala and the Ring of Recollection," "Urvasi Won by Valor," and "Malavika and Agnimitra."
Theater of Memory honors the life and work of celebrated poet Mark Perlberg (1929 2008), featuring poems from his four previous books The Burning Field, The Feel of the Sun, The Impossible Toystore, a
Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an i
Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an i
From this renowned philosopher comes a debut work of fiction, at once a brilliant precis of the history of philosophy, a semiautobiographical meditation on the absurd relationship between knowledge an
Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces presen
An engaging, funny, and tender memoir from a man of ninety years: of growing up poor in a Brooklyn and Ireland that now exist only in memory, and of serving in the China/Burma/India theater during Wor
An engaging, funny, and tender memoir from a man of ninety years: of growing up poor in a Brooklyn and Ireland that now exist only in memory, and of serving in the China/Burma/India theater during Wor
To see through the eyes of essayist and dramaturge Jan Kott is to gain in knowledge not just of the theater but also of human culture. Since his Shakespeare Our Contemporary appeared in English in 196
Memory, Allegory, and Testimony in South American Theater traces the shaping of a resistant identity in memory, its direct expression in testimony, and its indirect elaboration in two different kinds
Moving away from the verbal and thematic repetitions that have dominated Homeric studies and exploiting the insights of cognitive psychology, this highly innovative and accessible study focuses on the visual poetics of the Iliad as the narrative is envisioned by the poet and rendered visible. It does so through a close analysis of the often-neglected 'Battle Books'. They here emerge as a coherently visualized narrative sequence rather than as a random series of combats, and this approach reveals, for instance, the significance of Sarpedon's attack on the Achaean Wall and Patroclus' path to destruction. In addition, Professor Strauss Clay suggests new ways of approaching ancient narratives: not only with one's ear, but also with one's eyes. She further argues that the loci system of mnemonics, usually attributed to Simonides, is already fully exploited by the Iliad poet to keep track of his cast of characters and to organize his narrative.
Memory, Allegory, and Testimony in South American Theater traces the shaping of a resistant identity in memory, its direct expression in testimony, and its indirect elaboration in two different kinds
The Hollandsche Schouwburg is a former theater in Amsterdam where, during the Nazi occupation of the Netherlands, tens of thousands of Jews were assembled before being deported to transit and concentr
Since the late 1960s, drama by Pacific Island playwrights has flourished throughout Oceania. Although many Pacific Island cultures have a broad range of highly developed indigenous performance forms—i
Spanning a quarter of a century, the essays in this book rehearse, in the movement of memory and cross-reflection, an extensive career in theater. The work of Herbert Blau-his directing, writing, and
This book establishes first, that melancholy serves as an important focal point in the interpretation of Benjamin's early work, and second, that Benjamin's approach to melancholy releases it from its
Roman comedy evolved early in the war-torn 200s BCE. Troupes of lower-class and slave actors traveled through a militarized landscape full of displaced persons and the newly enslaved; together, the actors made comedy to address mixed-class, hybrid, multilingual audiences. Surveying the whole of the Plautine corpus, where slaves are central figures, and the extant fragments of early comedy, this book is grounded in the history of slavery and integrates theories of resistant speech, humor, and performance. Part I shows how actors joked about what people feared - natal alienation, beatings, sexual abuse, hard labor, hunger, poverty - and how street-theater forms confronted debt, violence, and war loss. Part II catalogues the onstage expression of what people desired: revenge, honor, free will, legal personhood, family, marriage, sex, food, free speech; a way home, through memory; and manumission, or escape - all complicated by the actors' maleness. Comedy starts with anger.
