All are chronicled in a new chapter which, with a section of completely up-to-date color photographs, makes this edition a must.

    Fifteen-year-old Kate becomes aware of the class consciousness of her middle class family and friends when she falls in love with a boy from a working class family.

    Daughter of a great chateau, she had dedicated herself to the desperate and dangerous French Resistance. When the Germans advanced on her beloved village, led by Major Dieter Meyer, she knew what she was sworn to do--but felt the same fierce struggle that raged over Europe burning in her own heart. Was the surrender she was powerless to deny one of hate, or forbidden love?Listette had been wounded by the war, a deep and silent hurt that would never leave her. But when the handsome American Officer asked her to marry him, the flame that still burned within her responded to his embrace, and to the new life that beckoned a world away from all she knew. Starting over meant abandoning her past, but memories that wouldn't die pursued her--and finally brought her face to face with her long hidden secrets and a love that could never die.Lisette's story takes her from the dark and terrible days of Occupation through the glory of liberation, and then on a triumphant and stirring journey of the heart.

    For those no longer enamored of technological utopias, less sure that history means progress and that more is better, and more aware of the finitude of our power and powers, the image of classical Greece is less one of serenity, proportion, and rationality than of turbulence, dissonance, and an ambivalent morality that plagues action and passion.…it is the darkness tragedy contains and discloses that increasingly fascinates contemporary critics and readers."…[T]he new interpretation of tragedy invigorates and gives depth to the pessimism of such modern social theorists as Max Weber…Jacques Ellul, the Frankfurt School, and Michel Foucault.…For all its pessimism…this crisis in the conception of the classical can help clarify what is at stake…"The juxtaposition of Greek tragedy and contemporary politics can enrich the way we talk about our public lives and stay the triteness that afflicts almost all cultural criticism. The juxtaposition can also provide a sensibility to express feelings and fears in public that are now expressed awkwardly and hesitantly. In this and other ways the reading of Greek tragedies can qualitatively expand the 'political agenda', bringing before the public issues, such as mortality, madness, piety, and passion, that are usually consigned to specialists or private life."

    It is written specifically for the reader who does not know Greek and who may be unfamiliar with the context of the Athenian drama festival but who nevertheless wants to appreciate the plays in all their complexity. Simon Goldhill aims to combine the best contemporary scholarly criticism in classics with a wide knowledge of modern literary studies in other fields. He discusses the masterpieces of Athenian drama in the light of contemporary critical controversies in such a way as to enable the student or scholar not only to understand and appreciate the texts of the most commonly read plays, but also to evaluate and utilize the range of approaches to the problems of ancient drama.

    This book by John Herington is designed to introduce all aspects of his majestic achievement to the general reader.Herington begins by sketching the background to Aeschylus’ plays.  He first explains the very ancient mythical conception of our universe in which Aeschylus was brought up and which continued to shape his dramaturgy and poetic expression throughout his career.  Herington next discusses Athens and the momentous transition that it was experiencing during Aeschylus’ later years: the transition from age-old traditional ways of life and thought to the Periclean Enlightenment.  The background material concludes with a description of the contemporary Athenian theater, which also was undergoing a crucial transition from a primarily choral performance toward an art that could be described as drama.In the second half of the book, Herington focuses on the plays of Aeschylus, providing many illustrative quotations that he himself has translated.  There is a chapter on the poetry of the lost plays as they are revealed in ancient quotations and descriptions.  There are then expositions of the seven extant tragedies, all of which were produced in the period between 472 B.C. and Aeschylus’ death in 456.  Each play is presented to the reader not so much in summary as in vivid scenario, with concentration on the climactic points at which Aeschylus orchestrated all his poetic, histrionic, musical, and choreographic resources.  Herington suggests that the sequence of the extant plays as a whole constitutes a commentary by this very great poet on the intellectual, political, and religious upheaval taking place in Athens during his last years, and that therein lies part of the endless fascination of the plays.