Departing from a refreshing look at the ideas of Antonin Artaud, this book provides a thorough analysis of how both Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing these playwrights, De Vos minutely points out how both in their own way struggle with coming to terms with Artaud. A key concept in Lacanian psychoanalytic theories, desire lies at the root of the Theatre of Cruelty; Kane and Beckett prove that desire and cruelty are inextricably linked to one another, but that they appear in radically different disguises. Relying on Kane and Beckett, this book not only sheds a light on the precise intentions behind Artaud's project, it also maps out the structural parallels and dichotomies between the Theatre of Cruelty and the literary genre of tragedy.
The concluding volume of a prestigious documentary edition; This, the sixteenth and final volume of The Papers of Henry Laurens, covers the last ten years of the statesman's life. During this period, Henry Laurens spent a hectic twenty-two months as a peace commissioner traveling between Paris and London, conferring with British ministers and his colleagues on the peace commission. At the same time, Laurens was coping with the grief of losing his eldest son, John Laurens, in battle, family conflicts over a proposed marriage between his elder daughter and a French fortune hunter, and his own poor health. This mixture of public and private concerns continued throughout his stay in Europe, as the commissioners attempted to negotiate a final peace treaty and a trade agreement with former allies and foes. In January 1785, Laurens returned to South Carolina, where he devoted the remainder of his life to personal affairs. Despite encouragement to return to public service, Laurens remained a private citizen with an active interest in the progress of his state, In his later years he recommended an end to the importation of slaves and diversification of the economy. Laurens died on December
This study deals with the semantics of the Semitic root NQM (vengeance, revenge, avenge) and sketches an outline of the place and function of the disputed theme of vengeance in the Old Testament preaching with regard to God.
This volume offers an innovative analysis of Roman political culture in Italy from the first to the sixth century AD on the basis of seven case studies. Its main contention is that, during the period in which Italy was subject to single rule, political culture took on a specific form, being the product of the continued existence of two traditional political institutions: the senate in the city of Rome and the local city councils in the rest of Italy. Under single rule, the position of both institutions was increasingly weakened and they became part of a much wider institutional landscape, although the fact that they continued to function until the end of the sixth century AD must imply that they retained meaning for their members, even while society as a whole was undergoing radical changes. As their powers and prerogatives shrank considerably, their significance became social rather than political as they allowed elites to enact and negotiate their own position in society. However, the tension between the participatory nature of these institutions and the restriction of their power generated complex social dynamics: on the one hand, participants became locked in mutual expectations about each other's behaviour and were compelled to enact particular social roles, while on the other hand they retained a degree of agency. They were encapsulated in an honorific language and in a set of conventions that regulated their behaviour, but that at the same time offered them room for manoeuvre: this degree of autonomy provides a compelling basis on which to challenge the prevailing view among historians that deliberative and participatory politics effectively ended with the institution of the Roman monarchy under Augustus.
Departing from a refreshing look at the ideas of Antonin Artaud, this book provides a thorough analysis of how both Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing these playwrights, De Vos minutely points out how both in their own way struggle with coming to terms with Artaud. A key concept in Lacanian psychoanalytic theories, desire lies at the root of the Theatre of Cruelty; Kane and Beckett prove that desire and cruelty are inextricably linked to one another, but that they appear in radically different disguises. Relying on Kane and Beckett, this book not only sheds a light on the precise intentions behind Artaud's project, it also maps out the structural parallels and dichotomies between the Theatre of Cruelty and the literary genre of tragedy.
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