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Based on previously unavailable archival documents and oral accounts from people who were there, Petacco reveals the events and exposes the Italian government's mishandling - and then official silence on - the situation.
The Reagan Administration pushed hard for NASA to launch shuttle mission 51L, before it was ready. 73 seconds into the launch, the shuttle exploded, killing seven and leaving a nation traumatized. Richard Cook, lead resource analyst at NASA for the Solid Rocket Boosters, was the first to warn of possible catastrophic failure. His memo, detailing astronaut concerns and warnings from the shuttle builders at Morton Thiokol, was ignored by top NASA officials and members of the Reagan administration. In the aftermath, NASA launched an investigation to "discover" the cause of the disaster. Though within NASA there was absolute certainty about the O-ring failure, they began a cover-up by publicly proclaiming that the cause was unknown. A Reagan administration Commission perpetrated the same lie. When Cook realized that the Commission was not interested in the truth, he leaked the original documents to the New York Times, setting off a cascade of disclosures, including revelations by Morton Thiokol engineers that they had tried to stop the launch.--From publisher description.
Twentieth century critics have definite ideas about tragedy. They maintain that in a true tragedy, fate must feel the resistance of the tragic hero's moral freedom before finally crushing him, thus generating our ambivalent sense of terrible waste coupled with spiritual consolation. Yet far from being a timeless truth, this account of tragedy only emerged in the wake of the French Revolution. What Was Tragedy? demonstrates that this account of the tragic, which has been hegemonic from the early nineteenth century to the present despite all the twists and turns of critical fashion in the twentieth century, obscured an earlier poetics of tragedy that evolved from 1515 to 1795. By reconstructing that poetics, Blair Hoxby makes sense of plays that are "merely pathetic, not truly tragic," of operas with happy endings, of Christian tragedies, and of other plays that advertised themselves as tragedies to early modern audiences and yet have subsequently been denied the palm of tragedy by critics. In doing so, Hoxby not only illuminates masterpieces by Shakespeare, Calderón, Corneille, Racine, Milton, and Mozart, he also revivifies a vast repertoire of tragic drama and opera that has been relegated to obscurity by critical developments since 1800. He suggests how many of these plays might be reclaimed as living works of theater. And by reconstructing a lost conception of tragedy both ancient and modern, he illuminates the hidden assumptions and peculiar blind-spots of the idealist critical tradition that runs from Schelling, Schlegel, and Hegel, through Wagner, Nietzsche, and Freud, up to modern post-structuralism.
A versatile missive written from the intersections of gender, disability, trauma, and survival. “Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse’s poetry demands more of language and those who wield it. “I’m still learning not to let a stranger speak / me into a funeral.” Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse—elegant, vicious, “a one-girl armageddon” draped in crushed velvet—teaches us that fragility is not synonymous with flaw.
Twenty years ago, Jerry Sittser lost his daughter, wife, and mother in a car accident. He chronicled that tragic experience in A Grace Disguised, a book that has become a classic on the topic of grief and loss. Now he asks: How do we live meaningfully, even fruitfully, in this world and at the same time long for heaven? How do we respond to the paradox of being a new creature in Christ even though we don’t always feel or act like one? How can we trust God is involved in our story when our circumstances seem to say he isn’t? While A Grace Disguised explored how the soul grows through loss, A Grace Revealed brings the story of Sittser’s family full circle, revealing God’s redeeming work in the midst of circumstances that could easily have destroyed them. As Sittser reminds us, our lives tell a good story after all. A Grace Revealed will helps us understand and trust that God is writing a beautiful story in our own lives.
In academia, the effects of the “cultural turn” have been felt deeply. In everyday life, tenets from cultural politics have influenced how people behave or regard their options for action, such as the reconfiguration of social movements, protests, and praxis in general.
Explores how the Titanic disaster became an icon for a variety of groups, including suffragists and their opponents, radicals, reformers, capitalists, critics of technology, racists, and xenophobes.