Tragedy is the art-form created to confront the most difficult experiences we face: death, loss, injustice, thwarted passion, despair. From ancient Greek theatre up to the most recent plays, playwrights have found, in tragic drama, a means to seek explanation for disaster. But tragedy is also a word we continually encounter in the media, to denote an event which is simply devastating in its emotional power. This introduction explores the relationship between tragic experience and tragic representation. After giving an overview of the tragic theatre canon - including chapters on the Greeks, Shakespeare, Ibsen, Chekhov, post-colonial drama, and Beckett - it also looks at the contribution which philosophers have brought to this subject, before ranging across other art-forms and areas of debate. The book is unique in its chronological range, and brings a wide spectrum of examples, from both literature and life, into the discussion of this emotional and frequently controversial subject.
Through iconic architectural buildings and urban spaces, Arrechea plays with and entices the viewer to question issues of control, power, surveillance and one's role within these categories. Arrechea'
‘Pedersen bends words like no-one else. There’s a naughtiness, an innocence and surprising vulnerability in this collection. It’s poetry to intoxicate. Just sublime.’ Juno Dawson‘Every page of The Cat Prince brought me gladsome joy. Pedersen has the astonishing power of finding the astonishing in every moment that deserves a raised glass’ Daljit Nagra‘This laser focused collection of poetry by Michael Pedersen will gut you like a fish and smash your heart in. Searingly specific, exquisite and requisite. I relished reading every tiny morsel of it’ Shirley Manson‘Open-hearted, gut-wrenching and yet elegiac, these poems pack a hefty emotional punch. Michael Pederson’s poems display a huge vocabulary for love, love in all its many forms and guises. These poems chart the journey from boyhood to manhood, the highs and the lows, the losses and the gains, always working their way towards an essential, emotional truth’ Jackie Kay‘If the alphabet is a piano keyboard then Michael Pedersen plays i
In this 1998 book, Celia Daileader explores the paradoxes of eroticism on the stage in early modern England, where women and their bodies (represented by boy actors) were materially absent and yet symbolically central. Her starting point is the theoretical and theatrical problem of sexual acts that take place offstage, which is a paradigm for the limits of the visible in Renaissance theatre. The space that lies offstage becomes an imaginary realm, encompassing both spiritual and erotic transcendence. In accounting for its power, Daileader looks to the suppression of religious drama in England and the resulting secularization of the stage. Focusing on the link between absence and desire, and discussing a wide range of drama from Corpus Christi plays to Shakespeare, her argument draws together questions about sexuality and the sacred, in the bodies - of Christ and of woman - that are banished from the early modern English stage.
In this 1998 book, Celia Daileader explores the paradoxes of eroticism on the stage in early modern England, where women and their bodies (represented by boy actors) were materially absent and yet symbolically central. Her starting point is the theoretical and theatrical problem of sexual acts that take place offstage, which is a paradigm for the limits of the visible in Renaissance theatre. The space that lies offstage becomes an imaginary realm, encompassing both spiritual and erotic transcendence. In accounting for its power, Daileader looks to the suppression of religious drama in England and the resulting secularization of the stage. Focusing on the link between absence and desire, and discussing a wide range of drama from Corpus Christi plays to Shakespeare, her argument draws together questions about sexuality and the sacred, in the bodies - of Christ and of woman - that are banished from the early modern English stage.
Investigating the financial fraud and misguided power plays that brought down the telecom industryOnce the foundation of the Dow and NASDAQ, the telecom industry has eaten up more capital than any oth
Broadway’s most respected (and feared) commentator pulls back the curtain on its stars, its producers, and its mega-hits to reveal all the shocking drama, intrigue, and power plays that happened off s
The place is Salem, Massachusetts, in 1692, an enclave of rigid piety huddled on the edge of a wilderness. Its inhabitants believe unquestioningly in their own sanctity. But in Arthur Miller's edgy masterpiece, that very belief will have poisonous consequences when a vengeful teenager accuses a rival of witchcraft?and then when those accusations multiply to consume the entire village. First produced in 1953, at a time when America was convulsed by a new epidemic of witchhunting, The Crucible brilliantly explores the threshold between individual guilt and mass hysteria, personal spite and collective evil. It is a play that is not only relentlessly suspenseful and vastly moving but that compels readers to fathom their hearts and consciences in ways that only the greatest theater ever can. "A drama of emotional power and impact" ?New York Post
Investigating the financial fraud and misguided power plays that brought down the telecom industryOnce the foundation of the Dow and NASDAQ, the telecom industry has eaten up more capital than any oth
Machiavelliana is the first comprehensive study of the uses and abuses made of Niccolò Machiavelli’s name in management, primatology, leadership, power, as well as in novels, plays, commercial enterpr
Branded by critics from Aristophanes to Nietzsche as sophistic, iconoclastic, and sensationalistic, Euripides has long been held responsible for the demise of Greek tragedy. Despite this reputation, his drama has a fundamentally conservative character. It conveys nostalgia for an idealized age that still respected the gods and traditional codes of conduct. Using deconstructionist and feminist theory, this book investigates the theme of the lost voice of truth and justice in four Euripidean tragedies. The plays' unstable mix of longing for a transcendent voice of truth and skeptical analysis not only epitomizes the discursive practice of Euripides' era but also speaks to our postmodern condition. The book sheds light on the source of the playwright's tragic power and enduring appeal, revealing the surprising relevance of his works for our own day.
The purpose of this book is to explore what role ethical discourse plays in public and private international law. The book seeks (1) to delineate the role of ethical investigation in creating, sustaining, challenging and changing international law and (2) to open up a conversation between two related disciplines - public and private international law - that frequently labor in different vineyards. By examining the role of ethical discourse in international law's public and private dimensions, this volume will hopefully open new avenues for cross-disciplinary exchange in these important fields and related disciplines. The chapters in this book show that there is a way to engage the ethical dimension of international law without seeking to use ethics as raw politics and the will to power.
Why did theatre audiences laugh in Shakespeare's day? Why do they still laugh now? What did Shakespeare do with the conventions of comedy that he inherited, so that his plays continue to amuse and move audiences? What do his comedies have to say about love, sex, gender, power, family, community, and class? What place have pain, cruelty, and even death in a comedy? Why all those puns? In a survey that travels from Shakespeare's earliest experiments in farce and courtly love-stories to the great romantic comedies of his middle years and the mould-breaking experiments of his last decade's work, this book addresses these vital questions. Organised thematically, and covering all Shakespeare's comedies from the beginning to the end of his career, it provides readers with a map of the playwright's comic styles, showing how he built on comedic conventions as he further enriched the possibilities of the genre.
Branded by critics from Aristophanes to Nietzsche as sophistic, iconoclastic, and sensationalistic, Euripides has long been held responsible for the demise of Greek tragedy. Despite this reputation, his drama has a fundamentally conservative character. It conveys nostalgia for an idealized age that still respected the gods and traditional codes of conduct. Using deconstructionist and feminist theory, this book investigates the theme of the lost voice of truth and justice in four Euripidean tragedies. The plays' unstable mix of longing for a transcendent voice of truth and skeptical analysis not only epitomizes the discursive practice of Euripides' era but also speaks to our postmodern condition. The book sheds light on the source of the playwright's tragic power and enduring appeal, revealing the surprising relevance of his works for our own day.
Why did theatre audiences laugh in Shakespeare's day? Why do they still laugh now? What did Shakespeare do with the conventions of comedy that he inherited, so that his plays continue to amuse and move audiences? What do his comedies have to say about love, sex, gender, power, family, community, and class? What place have pain, cruelty, and even death in a comedy? Why all those puns? In a survey that travels from Shakespeare's earliest experiments in farce and courtly love-stories to the great romantic comedies of his middle years and the mould-breaking experiments of his last decade's work, this book addresses these vital questions. Organised thematically, and covering all Shakespeare's comedies from the beginning to the end of his career, it provides readers with a map of the playwright's comic styles, showing how he built on comedic conventions as he further enriched the possibilities of the genre.
Jonathan Gil Harris examines the origins of modern discourses of social pathology in Elizabethan and Jacobean medical and political writing. Plays, pamphlets and political treatises of this period display an increasingly xenophobic tendency to attribute England's ills to 'foreign bodies' such as Jews, Catholics and witches, as well as treat their allegedly 'poisonous' features for the health of the body politic. Harris argues that this tendency resonates with two of the distinctive paradigms of Paracelsus' pharmacy which also includes the notion that poison has a medicinal power. The emergence of these paradigms in early modern English political thought signals a decisive shift from Galenic humoral tradition towards twentieth-century politico-medical discourses of 'infection' and 'containment', which, like their early modern predecessors, make mysterious the domestic origins of social conflict and the operations of political authority.
Just war theory focuses primarily on bodily harm, such as killing, maiming, and torture, while other harms are often largely overlooked. At the same time, contemporary international conflicts increasingly involve the use of unarmed tactics, employing 'softer' alternatives or supplements to kinetic power that have not been sufficiently addressed by the ethics of war or international law. Soft war tactics include cyber-warfare and economic sanctions, media warfare, and propaganda, as well as non-violent resistance as it plays out in civil disobedience, boycotts, and 'lawfare.' While the just war tradition has much to say about 'hard' war - bullets, bombs, and bayonets - it is virtually silent on the subject of 'soft' war. Soft War: The Ethics of Unarmed Conflict illuminates this neglected aspect of international conflict.
The crucial role language plays in constituting our reality, and in achieving political influence and control, has long been known in scholarship. However, appreciation of the role of language in understanding our social realities and power relations has not been fully translated to education or even to research beyond linguistically focussed academic strands. Bringing together well-established scholars from a range of disciplines, this book demonstrates why language awareness and discourse consciousness should be considered a key skill in business and professional life, and looks closely at language in areas such as entrepreneurship, leadership, human resource management, medical, financial, or business communication, ecology, media, and politics. The authors demonstrate how the understanding of the minutiae of language use in a variety of professional contexts leads to knowledge that will empower future generations of professionals and enable them to develop a self-reflexive, critica
