Transfiguring Tragedy

This book demonstrates Eugene O’Neill’s use of philosophy in the early period of his work and provides analyses of selected works from that era, concluding with The Hairy Ape, completed in 1921, as an illustration of the mastery he had achieved in dramatizing key concepts of philosophy. Analyses of one-act and full-length plays from 1913 to 1921 reveal the influence of the three philosophers and establish that O’Neill was fundamentally a philosophic playwright, even from his earliest dramatic sketches. Specific concepts from Schopenhauer, Stirner, and Nietzsche went into O’Neill’s shaping of character arcs, dramatic circumstances, symbology, and theme. Among them are Schopenhauer’s concept of will and representation, Stirner’s notion of possession, and Nietzsche’s principle of the Apollonian–Dionysian duality. These ideas were foundational to O’Neill’s construction of tragic irony apparent in his early period plays. The critical concepts of these three philosophers are the major pathways in this study. However, such an approach inevitably reveals other layers of spiritual influence, such as Catholicism and Eastern philosophy, which are touched on in these analyses. This book is a much-needed introduction to philosophic concepts in Eugene O’Neill’s early work and would be of great interest to students and scholars in theatre studies and philosophy.

The romantic sweep of Death and Transfiguration greets the reader immediately, from the onset of the first verse of the play to its dramatic conclusion. Set in the stunning locale of the magnificent vistas of the Swiss Alps by the Viervaldstettersee, this play takes you on a breathtaking journey into the psychological worlds of its characters. Based partly on earlier stories and legends of Faust, more specifically, works by Christopher Marlowe and Wolfgang von Goethe, we find him in this version challenging the temptations of evil rather than embracing them. The cosmic conflict between good and evil, between the light and the darkness, is the central theme of this work. Can man withstand the temptations of the evil forces or will he eventually succumb to those desires? Can his will, his spirit withdraw from the constant knocking of Satan? Can love overcome the seeds of hate and anger? Faust, at the outset, resists the invitation to join Mephistopheles; and, in subsequent engagements with the amoral and immortal prevaricator, he attempts and continues to withstand the clever manipulations of the devil. As a result of this ongoing conflict, the plot intensifies as this singular antagonist unveils and harnesses his many talents and powers, relentlessly attempting to infuse his will into the characters. The touching love story between Faust and Margaret takes on new dimensions here. Her growing madness tests the very sanity of Faust himself who finds himself more and more incapable of action as the tragedy unfolds. Will he too join her in the darkness? Is there, or can there be any redemption or salvation from suffering? Set throughout in poetry, the heart pounding pulse and rhythm of the work undeniably transports the reader or the spectator watching the play to new dimensions. Relish in a work that is unpredictable and unique, a play that will test your own convictions.

This book explores the emergence of Greek tragedy on the American stage from the nineteenth century to the present. Despite the gap separating the world of classical Greece from our own, Greek tragedy has provided a fertile source for some of the most innovative American theater. Helene P. Foley shows how plays like Oedipus Rex and Medea have resonated deeply with contemporary concerns and controversies—over war, slavery, race, the status of women, religion, identity, and immigration. Although Greek tragedy was often initially embraced for its melodramatic possibilities, by the twentieth century it became a vehicle not only for major developments in the history of American theater and dance but also for exploring critical tensions in American cultural and political life. Drawing on a wide range of sources—archival, video, interviews, and reviews—Reimagining Greek Tragedy on the American Stage provides the most comprehensive treatment of the subject available.

Eugene O'Neill - Clifford Odets - Left-wing theatre - Black drama - Thornton Wilder - Lillian Hellman - Luigi Pirandello - Arthur Miller.

DigiCat Publishing presents to you this special edition of "The Birth of Tragedy; or, Hellenism and Pessimism" by Friedrich Wilhelm Nietzsche. 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.

Radicalizing Reformation provides critical perspectives from North American theologians involved in the international project, "Radicalizing Reformation - Provoked by the Bible and Today's Crises." This project explores the radical roots of what was ignited 500 years ago in order to bring more attention to the systemic challenges that must be addressed today, drawing from both the strengths and the weaknesses of the Reformation legacy. Authors in this all-English volume include: Brigitte Kahl, Paul S. Chung, Samuel Torvend, Cynthia Moe-Lobeda, Craig L. Nessan, Peter Goodwin Heltzel, Charles Amjad-Ali, Karl Koop, Wanda Deifelt, Vitor Westhelle, and Karen L. Bloomquist. Each article has been published in one of the previous five volumes. This volume also includes background on the overall project, the 94 theses, and a guide for discussion in local contexts. (Series: Radicalizing Reformation / Die Reformation Radikalisieren, Vol. 6) [Subject: Religious Studies]

Two representative and important works in one volume by one of the greatest German philosophers. The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant "Attempt at a Self-Criticism" which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down through the Victorian era, and it sounded themes developed in the twentieth century by classicists, existentialists, psychoanalysts, and others. The Case of Wagner (1888) was one Nietzsche's last books, and his wittiest. In attitude and style it is diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects and deal with art and culture, as well as the problems of the modern age generally. Each book in itself gives us an inadequate idea of its author; together, they furnish a striking image of Nietzsche's thought. The distinguished translations by Walter Kaufmann superbly reflect in English Nietzsche's idiom and the vitality of his style. Professor Kaufmann has also furnished running footnote commentaries, relevant passages from Nietzsche's correspondence, a bibliography, and, for the first time in any edition, an extensive index to each book.

A collection of essays about the works of Eugene O'Neill.