In The Smile of Tragedy, Daniel Ahern examines Nietzsche’s attitude toward what he called “the tragic age of the Greeks,” showing it to be the foundation not only for his attack upon the birth of philosophy during the Socratic era but also for his overall critique of Western culture. Through an interpretation of “Dionysian pessimism,” Ahern clarifies the ways in which Nietzsche sees ethics and aesthetics as inseparable and how their theoretical separation is at the root of Western nihilism. Ahern explains why Nietzsche, in creating this precursor to a new aesthetics, rejects Aristotle’s medicinal interpretation of tragic art and concentrates on Apollinian cruelty as a form of intoxication without which there can be no art. Ahern shows that Nietzsche saw the human body as the vessel through which virtue and art are possible, as the path to an interpretation of “selflessness,” as the means to determining an order of rank among human beings, and as the site where ethics and aesthetics coincide.

This book portrays an ominous story of a father who lost his 15-year-old son, James to suicide, and tells of his journey in depression, self-examination, persistence and hope. Follow along as motivational speaker, Joe Hopfer offers insight into the problems that everyone must address in life.

"What matters about a play is not the extent to which it is like any other play, but the way in which it is different," writes Thomas G. Rosenmeyer. "This is, I suggest, how the ancient audiences received the performances.... My purpose, then, in writing these essays is twofold: ... to devote enough space to the discussion of each play to allow its special tone and texture to emerge without hindrance and at leisure ... and to include in one collection analyses of plays so different from one another that the accent will come to rest on the variety of the tragic experience rather than on any one narrowly defined norm." Greek tragedy is a vehicle for many different ideas and many different intentions. From the wealth of material that has come down to us the author has chosen six plays for analysis. He reminds us that the plays were written to be seen and heard, and only secondarily to be studied. The listeners expected each play to have a specific objective, and to exhibit its own mood. These the author attempts to recover for us, by listening to what each play, in its own right, has to say. His principal concern is with the tragic diction and the tragic ideas, designed to release certain massive responses in the large theater-going group of ancient Athens. In exploring the characters and the situations of the plays he has chosen, the author transports his reader to the world of fifth-century B.C. Greece, and establishes the relevance of that world to our own experience. The essays are not introductory in nature. No space is given, for instance, to basic information about the playwrights, the history of Greek drama, or the special features of the Attic stage. Yet the book addresses itself to classicists and nonclassicists alike. The outgrowth of a series of lectures to nonspecialists, its particular appeal is to students of literature and the history of Western thought. Parallels are drawn between the writings of the philosophers and the tragedies, and attention is paid to certain popular Greek beliefs that colored the tragic formulations. Ultimately, however, the approach is not historical but critical; it is the author's intention to demonstrate the beauty and the craftsmanship of the plays under discussion.

This classic work of creative criticism from German philosopher Friedrich Nietzsche argues that ancient Greek drama represents the highest form of art ever produced. In the first section of the book, Nietzsche presents an in-depth analysis of Athenian tragedy and its many merits. In the second section, Nietzsche contrasts the refinement of classical tragedy with what he regards as the cultural wasteland of the nineteenth-century.

An advanced critical introduction to Greek tragedy for those who do not read Greek. Combines the best contemporary scholarly analysis of the classics with a wide knowledge of contemporary literary studies in discussing the masterpieces of Athenian drama.

“A charming, thoughtful book, one that makes a powerful case for smiles as ‘social acts with consequences.’ ”—Boston Sunday Globe When someone smiles, the effects are often positive: a glum mood lifts; an apology is accepted; a deal is struck; a flirtation begins. But change the circumstances or the cast of a smile, and the terms shift: a rival grins to get under your skin; a bully’s smirk unsettles his mark. Marianne LaFrance, called the world’s expert on smiles, investigates the familiar grin and finds that it is not quite as simple as it first appears. LaFrance shows how the smile says much more than we realize—or care to admit: not just cheerful expressions, smiles are social acts with serious consequences. Drawing on her research conducted at Yale University and Boston College as well as the latest studies in psychology, medicine, anthropology, biology, and computer science, LaFrance explores the compelling science behind the smile. Who shows more fake smiles, popular kids or unpopular kids? Is it good or bad when a bereaved person smiles? These are some of the questions answered in this groundbreaking and insightful work. To read it is to learn just how much the smile influences our lives and our relationships.

Exposes the core of tragic absolutes in German Romantic and Idealist philosophy.