A “brilliant” examination of American complacency and how it puts the nation’s—and the world’s—security at risk (The Wall Street Journal). The ancient Greeks hard-wired a tragic sensibility into their culture. By looking disaster squarely in the face, by understanding just how badly things could spiral out of control, they sought to create a communal sense of responsibility and courage—to spur citizens and their leaders to take the difficult actions necessary to avert such a fate. Today, after more than seventy years of great-power peace and a quarter-century of unrivaled global leadership, Americans have lost their sense of tragedy. They have forgotten that the descent into violence and war has been all too common throughout human history. This amnesia has become most pronounced just as Americans and the global order they created are coming under graver threat than at any time in decades. In a forceful argument that brims with historical sensibility and policy insights, two distinguished historians argue that a tragic sensibility is necessary if America and its allies are to address the dangers that menace the international order today. Tragedy may be commonplace, Brands and Edel argue, but it is not inevitable—so long as we regain an appreciation of the world’s tragic nature before it is too late. “Literate and lucid—sure to interest to readers of Fukuyama, Huntington, and similar authors as well as students of modern realpolitik.” —Kirkus Reviews

DigiCat Publishing presents to you this special edition of "Tragedy" by Ashley Horace Thorndike. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

This introduction to Greek tragedy, the origin of much of our modern drama, is the work of a remarkable scholar who is also a practical man of theater. The author of magisterial studies of Ibsen, Strindberg, Chekhov and Shaw, and of symbolism in the theater from the nineteenth century to our times, Maurice Valency has written for the stage and for television, and he translated, adapted and collaborated in producing two great Broadway successes–Giraudoux's the Mad Woman of Chaillot and Durrenmatt's The Visit.

Reviews of Allan Andrade's book, S.S. Leopoldville December 24, 1944 published in 1997 Thanks to the publication of this book and the publicity that it has received on regional and national television programs, Americans can now understand what had been a hidden tragedy. The book, in conjunction with the monument and memorials at Ft. Benning, helps ensure that the gallantry and sacrifices of the men of the 66th Infantry Division will no longer be unrecognized as they had been in the past. Dr. Steve Grove, USMA Historian, West Point, New York Allan Andrade's book is an excellent story of human courage in the face of a horrible tragedy. His book gives the reader an idea of what it must have been like to be aboard a sinking ship in the English Channel on Christmas Eve 1944. His extensive interviews with survivors tell how human error played a role in the death of so many U.S. soldiers and how lucky some survivors were to be in the right place at the right time. It was heartbreaking to read how the government lied to so many families who only wanted to know the truth about the fate of their loved one. It truly was a hard book to put down. Joseph P. Napsha, Reporter, Tribune - Review, Greensburg, Pennsylvania Through careful piecing together of survivors' accounts, of photos and wartime letters of both survivors and victims, Andrade weaves a heartbreaking narrative from the beginning of the calamity to its bitter conclusion. In this book, strangers otherwise lost to history are redeemed from the shadows. Ghosts speak in tender love letters of dreams and hopes, of their undying affection for dear ones. They stare gallantly from faded photos, their soldiers' hats jauntily cocked, their eyesanxious. They pose stiffly in family portraits, young kids clinging to their knees. Lovely wives with soft, 1940s hairdos, hug their babies. In the book, we learn firsthand of heroic rescues, desperate acts, brutal deaths, incomprehensible suffering and grief. The History Channel video of the event focuses on the military cover up.. Yet, it does not come close to conveying the gripping horror, pathos and heroism found in Andrade's book. Lynn Ascrizzi, Reporter, Kennebec Journal, Augusta, Maine

Twentieth century critics have definite ideas about tragedy. They maintain that in a true tragedy, fate must feel the resistance of the tragic hero's moral freedom before finally crushing him, thus generating our ambivalent sense of terrible waste coupled with spiritual consolation. Yet far from being a timeless truth, this account of tragedy only emerged in the wake of the French Revolution. What Was Tragedy? demonstrates that this account of the tragic, which has been hegemonic from the early nineteenth century to the present despite all the twists and turns of critical fashion in the twentieth century, obscured an earlier poetics of tragedy that evolved from 1515 to 1795. By reconstructing that poetics, Blair Hoxby makes sense of plays that are "merely pathetic, not truly tragic," of operas with happy endings, of Christian tragedies, and of other plays that advertised themselves as tragedies to early modern audiences and yet have subsequently been denied the palm of tragedy by critics. In doing so, Hoxby not only illuminates masterpieces by Shakespeare, Calderón, Corneille, Racine, Milton, and Mozart, he also revivifies a vast repertoire of tragic drama and opera that has been relegated to obscurity by critical developments since 1800. He suggests how many of these plays might be reclaimed as living works of theater. And by reconstructing a lost conception of tragedy both ancient and modern, he illuminates the hidden assumptions and peculiar blind-spots of the idealist critical tradition that runs from Schelling, Schlegel, and Hegel, through Wagner, Nietzsche, and Freud, up to modern post-structuralism.

This unique anthology presents the important historical essays on tragedy, ranging from antiquity to the present, divided into historical periods and arranged chronologically. Across its span, it traces the development of theories and philosophies of tragedy, enabling readers to consider the ways in which different varieties of environmentalist, feminist, leftist and postcolonial thought have transformed the status of tragedy, and the idea of the tragic, for recent generations of artists, critics and thinkers. Students of literature and theatre will find this collection an invaluable and accessible guide to writing from Plato and Aristotle through to Freud, Nietzsche, Schopenhauer and 21st century theorists. Ideas of tragedy and the tragic have been central to the understanding of culture for the past two millennia. Writers and thinkers from Plato through to Martha Nussbaum have analyzed the genre of tragedy to probe the most fundamental of questions about ethics, pleasure and responsibility in the world. Does tragedy demand that we enjoy witnessing the pain of others? Does it suggest that suffering is inevitable? Is human sexuality tragic? Is tragedy even possible in a world of rolling news on a digitally connected planet, where atrocity and trauma from around the globe are matters of daily information? In order to illustrate the different ways that writers have approached the answers to such questions, this Reader collects together a comprehensive selection of canonical writings on tragedy from antiquity to the present day arranged in six sections, each featuring an introduction providing concise and informed historical and theoretical frameworks for the texts.

In this volume, tragedy in antiquity is examined synoptically, from its misty origins in archaic Greece, through its central position in the civic life of ancient Athens and its performances across the Greek-speaking world, to its new and very different instantiations in Republican and Imperial Roman contexts. Lively, original essays by eminent scholars trace the shifting dramatic forms, performance environments, and social meanings of tragedy as it was repeatedly reinvented. Tragedy was consistently seen as the most serious of all dramatic genres; these essays trace a sequence of different visions of what the most serious kind of dramatic story might be, and the most appropriate ways of telling those stories on stage. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual, and myth; politics of city and nation; society and family, and gender and sexuality.

The Politics and Poetics of Contemporary English Tragedy is a detailed study of the idea of the tragic in the political plays of David Hare, Howard Barker, Edward Bond, Caryl Churchill, Mark Ravenhill, Sarah Kane, and Jez Butterworth. Through an in-depth analysis of over sixty of their works, Sean Carney argues that their dramatic exploration of tragic experience is an integral part of their ongoing politics. This approach allows for a comprehensive rather than selective study of both the politics and poetics of their work. Carney's attention to the tragic enables him to find a common discourse among the canonical English playwrights of an older generation and representatives of the nineties generation, challenging the idea that there is a sharp generational break between these groups. Finally, Carney demonstrates that tragic experience is often denied by the social discourse of Englishness, and that these playwrights make a crucial critical intervention by dramatizing the tragic.

A re-creation of the deliberations, actions, and deceptions that brought two decades of post-World War II confidence to an end, this book offers an insight into the Vietnam War at home and abroad - and into American foreign policy in the 1960s.