In ordinary life an Athenian woman was allowed no accomplishments beyond leading a quiet, exemplary existence as wife and mother. In Greek tragedy, however, women die violently and, through violence, master their fate. Through her reading of these texts, Loraux elicits an array of insights into Greek attitudes toward death, sexuality, and gender.

Early on a May morning in 1988, Laurie Dann, a thirty-year-old, profoundly unhappy product of the wealthy North Shore suburb of Chicago, loaded her father's car with a cache of handguns, incendiary chemicals, and arsenic-laced food. Driven by fear and hate, she was going to make something terrible happen. Before the end of the day, Dann had blazed a murderous trail of poison, fire, and bullets through the unsuspecting town of Winnetka, Illinois, and other North Shore suburbs. She murdered an eight-year-old boy and critically wounded 5 other children inside an elementary school. It finally took a massed force of armed police to end the killing. The shocking story of innocence destroyed by a rich young babysitter inexplicably gone mad made headlines all across the nation and inspired at least two psychotic killers to follow her example. What lead her to do it? Could she have been stopped? The case raised a host of agonizing questions that have remained unanswered—until now. In this book, three Chicago Tribune reporters who covered the Laurie Dann tragedy have pulled together all the available police evidence, unearthed valuable psychiatric information, and interviewed at length scores of people who knew Dann, many of whom had never before spoken to the media about this case. Despite clear and ominous warning signs, a young woman of beauty and privilege was allowed to deteriorate and go slowly berserk—and no one stopped her. Her parents, her doctors, and the police officers who knew her pathological behavior all failed her at critical times. By its passivity and silence, a community comfortable and quiet on the surface, yet reluctant to admit its underlying flaws, became an unwitting accomplice to the final rampage of Laurie Dann. MURDER OF INNOCENCE is a searing portrayal of a family—and a society—unable to cope, and of a young woman who wanted all too desperately only to be loved.

Based on five years of investigative reporting and research into forensic psychology and criminology, Erased presents an original profile of a widespread and previously unrecognized type of murder: not a “hot-blooded,” spur-of-the-moment crime of passion, as domestic homicide is commonly viewed, but a cold-blooded, carefully planned and methodically executed form of “erasure.” These crimes are often committed by men with no criminal record or history of violence whatsoever, men leading functional and often successful lives until the moment they kill the women, and sometimes children, they claimed to love. A surprising number go on to kill a second or even third wife or girlfriend, often in exactly the same way. In more than fifty chilling case studies, Marilee Strong examines the strange and complex psychology that drives these killers—from the murder a century ago that inspired the novel An American Tragedy to Scott Peterson, Mark Hacking, Jeffrey MacDonald, Ira Einhorn, Charles Stuart, Robert Durst, Michael White, Barton Corbin, and many others. Erased also looks at how these men manipulate the legal system and exploit loopholes in missing persons procedures and death investigation, exposing how easy it can be to get away with murder.

This book constitutes a new direction for feminist studies in English Renaissance drama. While feminist scholars have long celebrated heroic females in comedies, many have overlooked female tragic heroism, reading it instead as evidence of pervasive misogyny on the part of Shakespeare and his contemporaries. Displacing prevailing arguments of "victim feminism," the contributors to this volume engage a wide range of feminist theories, and argue that female protagonists in tragedies - Jocasta, Juliet, Cleopatra, Mariam, Webster's Duchess and White Devil, among others - are heroic in precisely the same ways as their more notorious masculine counterparts.

Greek Tragic Women on Shakespearean Stages argues that ancient Greek plays exerted a powerful and uncharted influence on early modern England's dramatic landscape. Drawing on original research to challenge longstanding assumptions about Greek texts' invisibility, the book shows not only that the plays were more prominent than we have believed, but that early modern readers and audiences responded powerfully to specific plays and themes. The Greek plays most popular in the period were not male-centered dramas such as Sophocles' Oedipus, but tragedies by Euripides that focused on raging bereaved mothers and sacrificial virgin daughters, especially Hecuba and Iphigenia. Because tragedy was firmly linked with its Greek origin in the period's writings, these iconic female figures acquired a privileged status as synecdoches for the tragic theater and its ability to conjure sympathetic emotions in audiences. When Hamlet reflects on the moving power of tragic performance, he turns to the most prominent of these figures: 'What's Hecuba to him, or he to Hecuba/ That he should weep for her?' Through readings of plays by Shakespeare and his contemporary dramatists, this book argues that newly visible Greek plays, identified with the origins of theatrical performance and represented by passionate female figures, challenged early modern writers to reimagine the affective possibilities of tragedy, comedy, and the emerging genre of tragicomedy.

Scholars have come to realize that we can and need to speak of a twin birth of Christianity and Judaism, not a genealogy in which one is parent to the other. In this book, the author develops a revised understanding of the interactions between nascent Christianity and nascent Judaism in late antiquity.

The laments of captive women found in extant Athenian tragedy constitute a fundamentally subversive aspect of Greek drama. In performances supported by and intended for the male citizens of Athens, the songs of the captive women at the Dionysia gave a voice to classes who otherwise would have been marginalized and silenced in Athenian society: women, foreigners, and the enslaved. The Captive Woman's Lament in Greek Tragedy addresses the possible meanings ancient audiences might have attached to these songs. Casey Dué challenges long-held assumptions about the opposition between Greeks and barbarians in Greek thought by suggesting that, in viewing the plight of the captive women, Athenian audiences extended pity to those least like themselves. Dué asserts that tragic playwrights often used the lament to create an empathetic link that blurred the line between Greek and barbarian. After a brief overview of the role of lamentation in both modern and classical traditions, Dué focuses on the dramatic portrayal of women captured in the Trojan War, tracing their portrayal through time from the Homeric epics to Euripides' Athenian stage. The author shows how these laments evolved in their significance with the growth of the Athenian Empire. She concludes that while the Athenian polis may have created a merciless empire outside the theater, inside the theater they found themselves confronted by the essential similarities between themselves and those they sought to conquer.

This book focuses on expressions of the tragic in Spanish cinema. Its main premise is that elements from the classical and modern tragic tradition persist and permeate many of the cultural works created in Spain, especially the films on which the book centers this study. The inscrutability and indolence of the gods, the mutability of fortune, the recurrent narratives of fall and redemption, the unavoidable clash between ethical forces, the tension between free will and fate, the violent resolution of both internal and external conflicts, and the overwhelming feelings of guilt that haunt the tragic heroine/hero are consistent aspects that traverse Spanish cinema as a response to universal queries about human suffering and death.