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Troy has fallen. It’s the end of war and the beginning of something else. Something worse. As the cries die down after the final battle, there are reckonings to be made. Humiliated by her defeat and imprisoned by the charismatic victor Agamemnon, the great queen Hecuba must wash the blood of her buried sons from her hands and lead her daughters forward into a world they no longer recognize. Agamemnon has slaughtered his own daughter to win this war. But now another sacrifice is demanded…In a world where human instinct has been ravaged by violence, is everything as it seems in the hearts of the winners and those they have defeated?
Fiction transports us. We inhabit new worlds in our imagination, adopt perspectives not our own, and even respond emotionally to persons and events that we know are not real. The very nature of our emotional engagement with fiction, says E. M. Dadlez, attests to the possibility of its moral significance, just as the nature of our imaginative engagement makes us collaborators in the creation of the worlds we imagine. This book engages contemporary debate over the seeming irrationality or inauthenticity of our emotional response to fiction, examining the many positions taken in this debate and arguing that we can understand the relation between cognition and emotion without devaluing our emotional responses to fiction. It takes Hamlet's famous query as the first step in an analytic philosophical inquiry and, by considering some of the answers that derive from that question, arrives at a set of necessary conditions for an emotional response to fiction. What Hamlet's player feels for Hecuba, proposes Dadlez, is no more illusory than what we feel for Hamlet; that the actor weeps for Hecuba reflects both our capacity to envision and understand a seemingly limitless variety of human situations&—to empathize with others&—and the capacity of fiction to facilitate such understanding. What's Hecuba to Him? is an enticingly written work that opens an entire philosophical arena to literary scholars and illuminates the significance that literature has for our moral life.
Warm, engaging, intelligent and witty, this vivid narrative, first published in 1946, describes the struggles and triumphs of the Gate's early years, when MacLiammoir and Edwards brought international theatre to Dublin audiences with a series of innovative and experimental productions and designs directed with extraordinary panache.
"Though Carl Schmitt is best known for his legal and political theory, his 1956 Hamlet or Hecuba provides an innovative and insightful analysis of Shakespeare's tragedy in terms of the historical situation of its creation. Schmitt argues that the significance of Shakespeare's work hinges on its ability to integrate history in the form of the taboo of the queen and the deformation of the figure of the avenger. He uses this interpretation to develop a theory of myth and politics that serves as a cultural foundation for his concept of political representation. More than literary criticism or historical analysis, Schmitt's book lays out a comprehensive theory of the relationship between aesthetics and politics that responds to alternative ideas developed by Walter Benjamin and Theodor W. Adorno. Jennifer R. Rust and Julia Reinhard Lupton's introduction places Schmitt's work in the context of contemporary Renaissance studies, and David Pan's afterword analyzes the links to Schmitt's political theory. Presented in its entirety in an authorized translation, Hamlet or Hecuba is essential reading for scholars of Shakespeare and Schmitt alike."--Publisher's website.
The translators of this new edition have focused their attention on tonal texture, resulting in a subtle and highly evocative translation of the unjustifiable sacrifice of Hecuba's daughter, Poyxena, and the consequent destruction of Hecuba's character.
Three timeless masterpieces of dramatic literature by Euripides are available in this volume. Featuring stunning central roles for women in particular; classically trained actors will find these tragic tales of vengeance full of passionate speeches and scenes for use in the classroom or in full production. These adaptations are in rhymed verse to create a close approximation of the rhythms and poetry of the original Greek texts.
Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art. Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater. Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.