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Is "space" a thing, a container, an abstraction, a metaphor, or a social construct? This much is certain: space is part and parcel of the theater, of what it is and how it works. In The Play of Space, noted classicist-director Rush Rehm offers a strikingly original approach to the spatial parameters of Greek tragedy as performed in the open-air theater of Dionysus. Emphasizing the interplay between natural place and fictional setting, between the world visible to the audience and that evoked by individual tragedies, Rehm argues for an ecology of the ancient theater, one that "nests" fifth-century theatrical space within other significant social, political, and religious spaces of Athens. Drawing on the work of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a range of disciplines--classics, theater studies, cognitive psychology, archaeology and architectural history, cultural studies, and performance theory--to analyze the phenomenology of space and its transformations in the plays of Aeschylus, Sophocles, and Euripides. His discussion of Athenian theatrical and spatial practice challenges the contemporary view that space represents a "text" to be read, or constitutes a site of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on specific tragedies explore the spatial dynamics of homecoming ("space for returns"); the opposed constraints of exile ("eremetic space" devoid of normal community); the power of bodies in extremis to transform their theatrical environment ("space and the body"); the portrayal of characters on the margin ("space and the other"); and the tragic interactions of space and temporality ("space, time, and memory"). An appendix surveys pre-Socratic thought on space and motion, related ideas of Plato and Aristotle, and, as pertinent, later views on space developed by Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this book yields rich new insights into our oldest surviving drama.
Explains the history of Antarctica, focusing on the explorers and sailors drawn to the continent, the scientific investigations that have taken place there, and the geopolitical implications of the landmass.
When a teaspoon of soil contains millions of species, and when we pave over the earth on a daily basis, what does that mean for our future? What is the risk to our food supply, the planet's wildlife, the soil on which every life-form depends? How much undeveloped, untrodden ground do we even have left? Paul Bogard set out to answer these questions in The Ground Beneath Us, and what he discovered is astounding. From New York (where more than 118,000,000 tons of human development rest on top of Manhattan Island) to Mexico City (which sinks inches each year into the Aztec ruins beneath it), Bogard shows us the weight of our cities' footprints. And as we see hallowed ground coughing up bullets at a Civil War battlefield; long-hidden remains emerging from below the sites of concentration camps; the dangerous, alluring power of fracking; the fragility of the giant redwoods, our planet's oldest living things; the surprises hidden under a Major League ballpark's grass; and the sublime beauty of our few remaining wildest places, one truth becomes blazingly clear: The ground is the easiest resource to forget, and the last we should. Bogard's The Ground Beneath Us is deeply transporting reading that introduces farmers, geologists, ecologists, cartographers, and others in a quest to understand the importance of something too many of us take for granted: dirt. From growth and life to death and loss, and from the subsurface technologies that run our cities to the dwindling number of idyllic Edens that remain, this is the fascinating story of the ground beneath our feet.
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