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What is the nature of power in Racinian tragedy? This study looks beyond the conventional pageant of political power in the plays by exploring tensions inherent in the very concept of power, with each chapter elucidating how Racine's power relationships are concentrated in the question of language.
In two of his most celebrated plays, Britannicus and Bérénice, Racine depicts the tragedies of characters trapped by the ideals, desires, and cruelties of ancient Rome. This international collection of essays deploys cutting-edge research to illuminate the plays and their contexts.
In Bajazet and Mithridate Racine depicts the tragedies of characters who either wield tyrannic power or are subjected to tyranny. This international collection of essays deploys cutting-edge research to illuminate the plays and their contexts. The contributors to this volume examine Racine’s stagecraft, his exploration of space, sound and silence, his language, and the psychology of those who exercise power or who attempt to maintain their freedom in the face of oppression. The reception and reworking of his plays by contemporaries and subsequent generations round off this wide-ranging study.
This book provides a lively introduction to the work of Roland Barthes, one of the twentieth century's most important literary and cultural theorists. The book covers all aspects of Barthes's writings including his work on literary theory, mass communications, the theatre and politics. Moriarty argues that Barthes's writing must not be seen as an unchanging body of thought, and that we should study his ideas in the contexts within which they were formulated, debated and developed.
Plutarch of Chaeronea is one of the great story-tellers of antiquity, a writer whose ability to create unforgettable scenes matches the grandeur of his subject matter. The heroes of his Lives were the great men of antiquity, often greatly flawed, but with tragic depth and epic stature.
'This is an extraordinary book, brilliantly conceived and beautifully written. Its approach to the well-worn subject of tragic drama is quite fresh. While Goodkin draws on the best of traditional scholarship in philosophy, classical philology, and literary criticism, he argues with an intellectual style that is entirely his own. Every reader will be stimulated in his own particular way-so great is the range and power of this book-to extend the book's argument toward or from his own area of interest.'-William Levitan, Princeton University