Nagy Plays 1

"Young playwrights don't come much hotter than Phyllis Nagy" (Daily Telegraph) Includes her three Royal Court -performed plays Weldon Rising "Here is the best new play I have seen in many months...This play is exciting because it is well written, unusually constructed and morally serious." (Financial Times); in Butterfly Kiss "Nagy captures the texture of a life and writes short, vivid, often disturbingly erotic scenes...it's a play that leaves me proclaiming Nagy a writer of real talent" (Guardian), Disappeared (winner of the Mobil Prize,1995) "A piece that gets right under your skin...There's no neat solution to Nagy's conundrum, just a fog of fear, despair, and most remarkably of all, a final mirage of escape. Spine-tingling stuff" (Daily Telegraph) The Strip, "kaleidoscopic and hugely accomplished dissection of fate, love and chance" (Independent) "Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)

"Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Alistair Macaulay, Financial Times) Weldon Rising: Downtown New York. The temperature is soaring. In the meat-packing district, Natty Weldon's lover is casually butchered by a homicidal homophobe. The witnesses do not intervene. Natty flees in terror, two lesbians watch from their apartment window and a flamboyant transvestite prostitute cowers in the street below. But life changes for them after the murder. Disappeared: Sarah Casey, a travel agent who has never been anywhere, meets the mysterious Elston Rupp in a bar in New York's Hell's Kitchen. They walk out together and she is never seen again. Was she murdered, has she escaped from the city of loners, or has she simply vanished? Nagy is "the laconic laureate of this spiritual wasteland" (Paul Taylor, Independent)

Imre Nagy is a compelling figure both in life and in death_one whose actions stimulated consequences in Hungary that continue into the present. Providing a summary review of Hungarian Cold War history, Benziger examines the ways in which the memory of the martyred prime minister and the story of the 1956 Revolution influenced political socialization in Hungary. The book begins with Nagy's 1989 funeral and the role memorialization played in the politics of transition, continuing with a review of the important personages and events that informed Nagy's life and afterlife, and it concludes in the tumultuous politics following the establishment of the Republic in 1989. Readers interested in Central and Eastern Europe will find this book useful as it expands the literature on history and memory, and transition politics in the region.

This book is an elementary introduction to non-classical spectral theory. Mter the basic definitions and a reduction to the study of the functional model the discussion will be centered around the simplest variant of such a model which, formally speaking, comprises only the class of contraction operators with a one dimensional rank of non-unitarity (rank(I - T*T) = rank(I - TT*) = 1). The main emphasis is on the technical side of the subject, the book being mostly devoted to a development of the analytical machinery of spectral theory rather than to this discipline itself. The functional model of Sz. -Nagy and Foia§ re duces the study of general operators to an investigation of the . compression T=PSIK of the shift operator S, Sf = zf, onto coinvariant subspaces (i. e. subspaces in variant with respect to the adjoint shift S*). In the main body of the book (the "Lectures" in the proper meaning of the word) this operator acts on the Hardy space H2 and is itself a part of the operator of multiplication by the independent variable in the space L2 (in the case at hand L2 means L2(lf), If being the unit circle), this operator again being fundamental for classical spectral theory.

This book investigates the representation of rape in British and Irish theatre since the second wave of the Women’s Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present women’s personal experiences on stage.