The aim of this book is to elucidate the back-ground and growth of private farm-tenancy as it existed in Italy during the Roman Empire. The emphasis is on the period from the second century B.C. into the first century A.D. The problem is approached by means of a combination of methods. For one thing the traditional sources are studied anew, among other things in a terminological analysis of the word colonus. In addition, to a greater extent that has been customary use is made of legal sources and of comparative data from agricultural history and economics.

A founding member of the acclaimed New York-based company Mabou Mines, Breuer's gifts as a writer and director have have made him a mainstay of the theatrical avant-garde.

This book aims to offer a contemporary literary interpretation of the play, including a readable discussion of its underlying historical, religious, moral, social, and mythical issues. Also, it discusses the most recent interpretative scholarship on the play, the main intertextual affiliations with earlier Thebes-related tragedies, especially focusing on Sophocles’ Antigone and Oedipus Tyrannus, and the literature and performance reception of the play; it contains an up-to-date bibliography and detailed indices. The book won the Academy of Athens Great Award for the Best Monograph in Classical Philology for 2008.

The future: a dying Earth has been abandoned, the poor and weak left behind. While Earth's elite survivors colonized Mars, its outcasts--the miscreants, criminals, fringe-dwellers, crackpot scientists, and sociopaths--fled inward, to Venus ("a place fit for scumbags"). Three generations later, the denizens of Venus, strengthened by hardship forged in brutality and hellish conditions, are thriving. Attracted by the successful launch of Venus's second floating "cloud city," the corporate fascists of the Mars Council launch an insurgency for control of Venus... but Braxton, the third generation leader of this colony of outlaws, will fight to save his family dynasty. Previously published in Dark Horse Presents, this is the collection--and continuation--of Ken Pisani and Arturo Lauria's highly praised sci-fi drama Colonus. "COLONUS quenches its audience's thirst for intelligent science fiction via a cocktail of killer art, grounded characters, and unique world building--finished off with a splash of subversion." -Nicole Perlman, Guardians of the Galaxy screenwriter "Loved it! COLONUS is another fresh take on what the future holds for mankind. This is the kind of sci-fi I live for." --Jimmy Palmiotti, Harley Quinn, Painkiller Jane "A hell of a story with echoes of Arthur C. Clarke and Greek tragedy, one that gives us an image of our own times." --Denny O'Neil, Batman, Green Lantern/Green Arrow "Big, expansive, filled with a rich curiosity of distant worlds and people, all of which become vehicles for examining humanity in its barest form." --Michael Moreci, Hoax Hunters, Roche Limit "Bada bing! A mob war in space! Bad ass and righteous--even Tony's crew would not f*ck with these guys!" --Joe Gannascoli, The Sopranos "Total Recall on steroids. If Frank Miller and Mike Mignola had a love child, his name would be Arturo Lauria. I'm drooling for the next chapter." --Monkeys Fighting Robots "5 out of 5 stars! Pisani creates a world that is so immediately believable that it's almost too scary to read. And speaking of horrific, Lauria's artwork is amazing and terrifying and compelling all in one." --comicbooked.com "High concept...but also effortless. FANTASTIC premise, an incredible, brilliant allegory on the growth of nations into power. Arturo Lauria's artwork is striking a bold." --The Beat: Comics Culture "A great balance of sci-fi, a touch of horror, and a perfect dash of quirk. Gritty...with just the right amount of deadpan humor mixed in." --Comics Grinder "Arturo Lauria has created a future full of hard edges, sharp angles, and hard contrast. It's strange, but...beautiful (granted, in a dark, terrifying way)." --All Geek to Me "Fun, smart sci-fi with a striking visual style. We need more sci-fi like COLONUS in comics!" -Fred Van Lente, X-Men Noir, Spider-man, Archer & Armstrong "An intergalactic good time." -expertcomics.com

While Greek tragedies are often studied as works of literature, they are less frequently examined as products of the social and political environment in which they were created. Rarely, too, are the visual and spatial aspects of these plays given careful consideration. In this detailed and innovative book, Lowell Edmunds combines two readings of Oedipus at Colonus to arrive at a new way of looking at Greek tragedy. Edmunds sets forth a semiotic theory of theatrical space, and then applies this theory to the visual and spatial dimensions of Oedipus at Colonus. The book includes an Appendix on the life of Sophocles and the reception of Oedipus at Colonus. Edmunds's unique approach to Oedipus at Colonus makes this an important book for students and scholars of semiotics, Greek tragedy, and theatrical performance.

In this book, Roger Travis brings together poetics and psychology to study the tragic chorus in Sophocles' Oedipus at Colonus. Beginning from Quintilian's definition of allegory as extended metaphor, Travis argues that in Oedipus at Colonus the chorus of old men forms an allegorical relationship with the aged Oedipus, which depends in turn upon the chorus's own likeness to the Athenian audience. The play relates Oedipus allegorically to the audience through the tragic chorus and transforms Oedipus' relation to the body of his mother Jocasta into a new relation to the land of Attica. Corresponding readings of Aeschylus' Suppliants and Euripides' Bacchea further explore the chorus's role in expressing the relation of the individual to the maternal body. Employing a flexible combination of Lacanian and object-relations psychoanalytic theory, Travis investigates the tragic text's conception of the problems of human existence. The introduction provides a useful survey of the advantages and disadvantages of various psychological approaches to tragedy, making this an important volume for students and scholars alike.

Oedipus at Colonus follows Oedipus Rex and Antigone in the trilogy of Greek dramas about the king of Thebes and his unhappy family. David Mulroy's translation combines scrupulous scholarship and textual accuracy with a fresh verse style, and his introduction and notes deepen the reader's understanding of the play and the politics of Sophocles' Athens.

In his final play, Sophocles returns to the ever-popular character of Oedipus, the blind outcast of Thebes, the ultimate symbol of human reversal, whose fall he had so memorably treated in the 'Oedipus Tyrannus'. In this play, Sophocles brings the aged Oedipus to Athens, where he seeks succour and finds refuge, despite the threatening arrival of his kinsman Creon, who tries to tempt and then force the old man back under Theban control. Oedipus' resistance shows a fierceness in no way dimmed by incapacity, but he also refuses to aid his repentant son, Polyneices, in his coming attack on Thebes, manifesting once more the passion and harshness which mark his character so thoroughly. His mysterious death at the end of the play, witnessed only by Theseus himself, seems the sole fitting end for such an exceptional and problematic figure, transforming Oedipus into one of the 'powerful dead' whose beneficence towards Athens heralds a positive future for the city. This useful companion provides background, context, a synopsis and detailed analysis of the play.

A Study Guide for Lee Breuer's "The Gospel at Colonus", excerpted from Gale's acclaimed Drama for Students.This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama for Students for all of your research needs.

The story of King Lear seems to fill in the blank space separating the end of Oedipus Tyrannus and the beginning of Oedipus at Colonus. In both Oedipus at Colonus and the latter part of King Lear we are presented with an old man who was once a King and, following his expulsion from his kingdom on account of a crime or of an error, is turned into a ‘no-thing’. This happens in the time of the division of the kingdom, which is also the time of the genesis of intraspecific conflict and, consequently, of the end of the dynasty. This collection of essays offers a range of perspectives on the many common concerns of these two plays, from the relation between fathers and sons/daughters to madness and wisdom, from sinning and suffering to ‘being’ and ‘non-being’ in human and divine time. It also offers an overarching critical frame that interrogates questions of ‘source’ and ‘reception’, probing into the possible exchangeability of perspectives in a game of mirrors that challenges ideas of origin.