Translated and edited by Thaddeus L. Torp, this edition contains both August Strindberg's Ghost Sonata and Henrik Ibsen's When We Dead Awaken for performance and study and includes an introduction, a chronology of principal works and important events in the authors' lives, and a bibliography.

    Students Susan and Larry find themselves as guests enticed to the Brabissant mansion by it's dissolute caretakers the lonely Mackeys. Struck by Susan's strong resemblance to Veronica Brabissant, long- dead daughter of the family for whom they work, the o

    'There! I have given it him in earnest now; I don't think he will forget that thrashing! What do you say?--And I say that you are an injudicious mother! You make excuses for him, and countenance any sort of rascality on his part--Not rascality? What do you call it, then? Slipping out of the house at night, going out in a fishing boat, staying away till well on in the day, and giving me such a horrible fright when I have so much to worry me!'

    

    Tricks of the rhetorical trade are included and explained in this volume, which aims to show you how to spot humptydumptying, wishful thinking, zig-zagging, rash generalizations, reductio ad absurdum, a gambler's fallacy or if someone is getting personal. Arranged in alphabetical order, the text offers guidance to anyone wanting to sharpen their thinking skills.

    His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The result, both performable and readable, has been thoroughly revised for this edition, which is introduced by Christopher Maurer, general editor of the Complete Poetical Works of García Lorca.

    This authoritative and comprehensive history of Iran, written by Homa Katouzian, an acclaimed expert, covers the entire history of the area from the ancient Persian Empire to today’s Iranian state.Writing from an Iranian rather than a European perspective, Katouzian integrates the significant cultural and literary history of Iran with its political and social history. Some of the greatest poets of human history wrote in Persian—among them Rumi, Omar Khayyam, and Saadi—and Katouzian discusses and occasionally quotes their work. In his thoughtful analysis of Iranian society, Katouzian argues that the absolute and arbitrary power traditionally enjoyed by Persian/Iranian rulers has resulted in an unstable society where fear and short-term thinking dominate. A magisterial history, this book also serves as an excellent background to the role of Iran in the contemporary world.

    Originally published in 1985, this is a short meditation by a great old man on people relating to other people who are dying, and the need for all of us to open up.>

    This essential Unamuno reader begins with the full-length novel Abel Sanchez, a modern retelling of the story of Cain and Abel. Also included are two remarkable short stories, The Madness of Doctor Montarco and San Manuel Bueno, Martyr, featuring quixotic, philosophically existential characters confronted by the dull ache of modernity.Translated by Anthony Kerrigan and with an insightful introduction by Mario J. Valdes

    Jacobs Theater, New York City, in March 2009.

    The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    A new introductory section discusses the meaning of such concepts as modernity, postmodernity, modernization, modernism, and postmodernism. A section on feminist criticism of Lacan and Foucault has been added, together with a new chapter on French feminist theory focusing on the work of Hélène Cixous, Luce Irigaray, and Julia Kristeva.The chapter on postmodernism has been significantly expanded to include a discussion of Lyotard's language games and his use of the category "sublime." This chapter ends with a discussion of the relationship between feminism and postmodernism. A further chapter has been added on the work of Jean Baudrillard, a cult figure on the current postmodernist scene, whose ideas have attained a wide currency. The chapter includes a new section on postmodern cultural practices as revealed in architecture, TV, video, and film. Suggestions for further reading are now listed at the end of each chapter and are upgraded and annotated.In tracing the impact of post-structuralist thought not only on literary criticism but on such disciplines as philosophy, politics, psychoanalysis, the social sciences, and art, this book will be essential reading for those who want a clear and incisive introduction to the theories that continue to have widespread influence.

    These “seven stories” lead to a charming and surprising ending.Cast of 2 women and 3 men.

    More than any other dramatist, O'Neill introduced American drama to the dramatic realism pioneered by Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg, and was the first to use true American vernacular in his speeches. His plays involve characters who inhabit the fringes of society, engaging in depraved behaviour, where they struggle to maintain their hopes and aspirations but ultimately slide into disillusionment and despair. O'Neill wrote only one comedy Ah, Wilderness!, all his other plays involve some degree of tragedy and personal pessimism. O'Neill's first published play, Beyond the Horizon, opened on Broadway in 1920 to great acclaim, and was awarded the Pulitzer Prize for Drama. His best-known plays include Anna Christie (Pulitzer Prize 1922), The First Man (1922), and The Hairy Ape (1922). In 1936 he received the Nobel Prize for Literature.

    “What poets and playwrights have been fumbling at in their desire to put poetry into drama and drama into poetry has here been realized.... This is the finest verse play since the Elizabethans” (New York Times).