This book reads tragedy as a genre in which the protagonist is estranged from the world around him, and, displaced in time, space, and language, comes to inhabit a milieu which is no longer shared by other characters. This alienation from others also entails a decomposition of the integrity of the individual, which is often seen in tragedy's uncertainty about the protagonists' autonomy: do they act, or do the gods act through them? Where are the boundaries of the self, and the boundaries of the human? After an introductory essay exploring the theatrical and linguistic means by which the protagonist is made to inhabit a strange and singular world, the book devotes essays to plays from classical, renaissance, and neo-classical literature by Aeschylus, Sophocles, Seneca, Shakespeare, and Racine. Close attention is paid to the linguistic strangeness of the texts which is often smoothed over by editors and translators, as it is through the weirdness of tragic language that the deep estrangement of the characters is shown. Accordingly, the Greek, Latin, and French texts are quoted in the originals, with translations added, and attention is paid to textual cruces which illustrate the linguistic and conceptual difficulties of these plays.

The years between the Battle of Waterloo in 1815 and the outbreak of the First World War in 1914 are sometimes described as 'The Long Peace', the there were in fact British Soldiers fighting somewhere in the world throughout the whole of that period, usually in an effort to restore order in some far-flung parts of the Empire 'upon which the sun never set.' Although these campaigns have been well documented by numerous historians, Robbert Giddings, well known as author, journalist and writer for radio and television, here adopts an entirely new approach and relies largely on first-hand accounts to show not mealy what happened but what it was actually like to be there. His sources are many and varied and not confined the the soldier's own records. Nothing, for instance, could surpass in vividness Florentia Sale's brilliant account of the terrible retreat from Kabulin 1842. Due respect is also paid to the courage of the opposition. As Lieutenant Charles Townshend wrote after Omdurman in 1898, 'The Valour of these poor half-starved Dervishes...would be graced by Thermopylae.' The book continues eye-witness accounts from the following campaigns and minor wars: Maratha, Gurkha, Burmese, Ashanti, opium, Afghan, Maori, Sikh, Kaffir, Persian, Abyssinian, Zulu, Boer, Egyptian, Sudanese and Matabele. The list alone shows how busy the British Soldier was throughout the nineteenth century. The text itself brilliantly recapture the nature of soldiering in that era.

In Echoes, John Sallis mobilizes the figure of echo, used by Heidegger to characterize originary thinking, as the motif around which to organize a radical reading of Heidegger's most important texts.

She’s gorgeous, curvaceous and a Norse myth made flesh. It’s love at first sight for Tormund. What a pity she’s working for the enemy… The old eddas speak of dreki—fabled creatures who haunt the depths of Iceland's volcanoes and steal away fair maidens. Bryn wants none of such myths. Accused of a crime she didn’t commit, the former Valkyrie was exiled to the mortal realm over a century ago. Now a battle-hardened mercenary, when she’s offered a glimpse of redemption—a written confession that will finally clear her name—nothing will stand in her way. All she has to do is find Marduk, a missing dreki prince, and deliver him in chains to the dreki princess he once dishonoured. And a trio of dragon-hunters is going to lead her right to him…. Find a missing dreki prince, they said. It will be fun, they said. Fierce dragon-hunter Tormund Sigurdsson knows better. But the second he lays eyes on Bryn he thinks the gods have finally smiled upon him. After watching his cousin find love with his fated mate, all Tormund wants is an epic love story of his own. The gorgeous, curvaceous redhead is every single one of his dreams woven into flesh—even if she’s determined to keep him at arm’s length. There’s just one little problem…. She’s working for the enemy. Join USA Today bestselling author, Bec McMaster, in this steamy dragon shifter romance featuring a handsome charmer determined to seduce an icy Valkyrie, and a dangerous magic that may destroy the world if unleashed. Storm of Fury is the fourth book in the epic Legends of the Storm series. Fueled with Norse myth, these dragon shifters will scorch your sheets and rule your world. If you love fantasy romances full of page turning action, fairy tale romance, and world building you can escape into, then this series is for you. Download this epic historical fantasy filled with magic and breathtaking romance today! Don't miss any of the Legends of the Storm fantasy romances! Book 1: Heart of Fire Book 2: Storm of Desire Book 3: Clash of Storms Book 4: Storm of Fury Book 5: Master of Storms Book 6: Queen of Lightning (coming soon)

To Nathan Hunt, honesty is anything but the best policy. Telling the truth has earned him nothing but heartache and pain, so lying about who he is and what he wants seems to be the only path to job security and friends. Hell, it even brings him a hollow kind of happiness. Except that's not much of a life for anyone. Desperate to cure his self-made misery, Nathan agrees to go along with a con that will score enough cash for Nathan to start over. There's just one problem: lying is getting harder by the day. And a con who can't lie, is a con who gets caught. Nathan's attempts to distract himself from his moral quandary lead him to a mysterious, intoxicating man named Fury, a mixed martial arts fighter who knows a thing or two about lies and pasts better left dead and buried. Together, they undertake a journey that proves honesty is more dangerous and more difficult than either of them could have imagined. And as they combat addiction, thugs, guns, and inner demons, Nathan and Fury can only hope that their battle to be together is worth the bitter fight.

The Daughter’s Way investigates negotiations of female subjectivity in twentieth-century Canadian women’s elegies with a special emphasis on the father’s death as a literary and political watershed. The book examines the work of Dorothy Livesay, P.K. Page, Jay Macpherson, Margaret Atwood, Kristjana Gunnars, Lola Lemire Tostevin, Anne Carson, and Erin Mouré as elegiac daughteronomies—literary artifacts of mourning that grow from the poets’ investigation into the function and limitations of elegiac convention. Some poets treat the father as a metaphor for socio-political power, while others explore more personal iterations of loss, but all the poets in The Daughter’s Way seek to redefine daughterly duty in a contemporary context by challenging elegiac tradition through questions of genre and gender. Beginning with psychoanalytical theories of filiation, inheritance, and mourning as they are complicated by feminist challenges to theories of kinship and citizenship, The Daughter’s Way debates the efficacy of the literary “work of mourning” in twentieth-century Canadian poetry. By investigating the way a daughter’s filial piety performs and sometimes reconfigures such work, and situating melancholia as a creative force in women’s elegies, the book considers how elegies inquire into the rhetoric of mourning as it is complicated by father-daughter kinship.