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Euripides is a notoriously problematic and controversial playwright whose innovations, according to Nietzsche, brought Greek tragedy to an early death. Dunn here argues that the infamous and artificial endings in Euripides deny the viewer access to a stable or authoritative reading of the play, while innovations in plot and ending opened tragedy up to a medley of comic, parodic, and narrative impulses. Part One explores the dramatic and metadramatic uses of novel closing gestures, such as aetiology, closing prophecy, exit lines of the chorus, and deus ex machina. Part Two shows how experimentation in plot and ending reinforce one another in Hippolytus, Trojan Women, and Heracles. Part Three argues that in three late plays, Helen, Orestes, and Phoenician Women, Euripides devises radically new and untragic ways of representing and understanding human experience. Tragedy's End is the first comprehensive study of closure in classical literature, and will be of interest to a range of students and scholars.
Maddie Neumann died the day she pulled away from her parents' house determined to make her dreams come true. She wasn't the perfect little princess she'd been raised to be, all she wanted to do was rock. Everything Maddie was tucked away in a box to allow for her re-birth as Rain Maxwell; a badass rocker who answered to no one and lived by her own set of rules.Rain's world is shattered with one phone call from her estranged family. No sooner does she get home than everything she thought she knew about her life starts changing.Colton Bradford knew there was something special about Rain the moment they first met. Unfortunately, she had a hard and fast rule about dating a bandmate so he was stuck in the friends zone. When Rain is going through her own personal hell, will Colton finally be able to make her see how he feels and convince her to take a chance on love?
Winner of the Stubbendieck Great Plains Distinguished Book Prize 2019 selection for the One Book One Nebraska and All Iowa state reading programs "Genoways gives the reader a kitchen-table view of the vagaries, complexities, and frustrations of modern farming…Insightful and empathetic." —Milwaukee Journal Sentinel The family farm lies at the heart of our national identity, and yet its future is in peril. Rick Hammond grew up on a farm, and for forty years he has raised cattle and crops on his wife’s fifth-generation homestead in Nebraska, in hopes of passing it on to their four children. But as the handoff nears, their family farm—and their entire way of life—are under siege on many fronts, from shifting trade policies, to encroaching pipelines, to climate change. Following the Hammonds from harvest to harvest, Ted Genoways explores the rapidly changing world of small, traditional farming operations. He creates a vivid, nuanced portrait of a radical new landscape and one family’s fight to preserve their legacy and the life they love.
Stephen K. Levine's new book explores the nature of traumatic experience and the therapeutic role of the arts and arts therapies in responding to it. It suggests that by re-imagining painful and tragic experiences through art-making, we may release their fixity and negative hold on our lives and resist the temptation to assume the role of the victim. Among the many concerns that the book addresses is the damage done by the tendency to adopt stock methods of understanding and superficial explanations for the depths, complexities, wonders, and exasperations of human experience. The book explores the chaos and fragmentation inherent in both art and human existence and the ways in which memory and imagination can find meaning by acknowledging this chaos and embodying it in appropriate forms. The book builds on the important theories of Stephen K. Levine's previous book, Poiesis: The Language of Psychology and the Speech of the Soul, also published by Jessica Kingsley Publishers. It challenges dominant psychological perspectives on trauma and provides a new framework for arts therapists, psychotherapists, psychologists and social scientists to understand the effectiveness of the arts therapies in responding to human suffering.

The Works of Beaumont and Fletcher: The maid's tragedy; Philaster; A king and no king; The scornful lady; Custom of the country; The elder brother; The Spanish curate; Wit without money; The beggars' bush; The humurous lieutenant; The faithful shepehrdess; The mad lover; The loyal subject; Rule a wife and have a wife; The laws of Candy; The false one; The little French lawyer; Valentinan; Monsieur Thomas; The chances; The bloody brother; The wild-goose chase; A wife for a month; The pilgrim; The captain

Francis Beaumont

Published: 1866

Total Pages: 738


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The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Naomi Weiss demonstrates that Euripides’ allusions to music-making are not just metatheatrical flourishes or gestures towards musical and religious practices external to the drama but closely interwoven with the dramatic plot. Situating Euripides’ experimentation with the dramaturgical effects of mousike within a broader cultural context, she shows how much of his novelty lies in his reinvention of traditional lyric styles and motifs for the tragic stage. If we wish to understand better the trajectories of this most important ancient art form, The Music of Tragedy argues, we must pay closer attention to the role played by both music and text.