This powerful reinterpretation of Greek tragedy focuses on the performative - the physical and civic - dimension of tragedy. It challenges the idealist, humanist, and universalist approaches that have informed our most cherished philosophical, psychoanalytical, and modern interpretations of Greek tragedy and, in doing so, asks us to renew our relation to these works and to our literary and philosophical inheritance.The book reassesses tragic form in relation to Athenian democracy and links it with a performative discourse that both excludes the feminine and relies on civic and private forms of mourning. At the same time, it explores the centrality of tragedy for thinkers of Modernity such as Holderlin, Nietzsche, Hegel, Freud, Brecht and Benjamin. Through a persuasive analysis of both classical theorists - Plato and Aristotle - and modern theorists - Benjamin, Lacan, Kristeva, Derrida and Butler - the book significantly shifts the emphasis from a Sophoclean model of tragedy to a Euripidean one. Close readings of the performance aspects of Greek play-texts help illuminate these ideas.Features* Compelling new interpretation of Greek tragedy * Performance based * Attentive to issues of gender

From around 1800, particularly in Germany, Greek tragedy has been privileged in popular and scholarly discourse for its relation to apparently timeless metaphysical, existential, ethical, aesthetic, and psychological questions. As a major concern of modern philosophy, it has fascinated thinkers including Hegel, Kierkegaard, Nietzsche, Freud, and Heidegger. Such theories have arguably had a more profound influence on modern understanding of the genre than works of classical scholarship or theatrical performances. Tragedy and the Idea of Modernity considers this tradition of philosophy in relation to the ancient Greek works themselves, and mediates between the concerns of classicists and those of intellectual historians and philosophers. The volume is organized into sections treating issues of poetics, politics and culture, and canonicity, and contributions by an interdisciplinary range of scholars consider themes of catharsis, the sublime, politics, and reconciliation, spanning 2,500 years of literature and philosophy. Although firmly anchored in the classical tradition, the volume suggests that the tradition of philosophical thought concerning tragedy has a major place in understandings both of ancient tragedy and of modernity itself.

The 'rise of the middle class' in the eighteenth century has long been taken to usher in a prosaic age synonymous with the death of tragedy, an age in which the sheer ordinariness of bourgeois life was both antithetical and inured to the tragic. But the period's literature tells a very different story. Re-assembling a body of print and performance concerned with the misfortunes of the middling sort, The Making of British Bourgeois Tragedy argues that these works imagined a particularly modern sort of affliction, an 'ordinary suffering' proper to ordinary life, divested of the sorts of meanings, rhetorics, and affective resonances once deployed to understand it. Whereas neoclassical aesthetics aligned tragedy with the heroic and the admirable, this 'bourgeois and domestic tragedy' treated the pain of common people with dignity and seriousness, meditating upon a suffering that was homely, familiar, entangled in the nascent values of capitalism, yet no less haunted by God. Hence, where many have seen aesthetic stagnation, misfiring emotion, and the absence of an idealized tragicness in the genre, this volume sees instead a sustained engagement in the emotional processes and representational techniques through which the middle rank feels its way into modernity. By attending closely to this long neglected subject, The Making of British Bourgeois Tragedy turns the critical account of eighteenth-century tragedy on its head. It reads the genre's emergence in the period as a vigorous cultural conversation on whose life--and whose way of life--is grievable, as well as how mourning might be performed

This insightful study employs public mourning as a lens to identify and address the shortcomings of American democracy.

How does the way in which a democratic polity mourn its losses shape its political outcomes? How might it shape those outcomes? American Mourning: Tragedy, Democracy, Resilience answers these questions with a critical study of American public mourning. Employing mourning as a lens through which to view the shortcomings of American democracy, it offers an argument for a tragic, complex, and critical mode of mourning that it contrasts with the nationalist, romantic, and nostalgic responses to loss that currently dominate and damage the polity. Offering new readings of key texts in Ancient political thought and American political history, it engages debates central to contemporary democratic theory concerned with agonism, acknowledgment, hope, humanism, patriotism, and political resilience. The book outlines new ways of thinking about and responding to terrorism, racial conflict, and the problems of democratic military return.

"A work of rare scope and power that grapples with the big questions: Is happiness the proper end of life, as the Greeks conceived it to be, or is life, as it appears since the early English novel, an endless trial?"--Adam Potkay

The Democratic Arts of Mourning reflects on the variety of ways in which mourning affects political and social life. In recent decades, political theorists have increasingly examined and explored the themes of loss, grief, and mourning. With an introduction that contextualizes the turn to mourning in previous scholarship on the politics of tragedy, this book includes twelve chapters that clarify the intertwinement between politics and mourning. The chapters are organized into five thematic sections that each shed light on how democratic societies relate to loss, grief, suffering, and death. Collectively, the chapters explore the concept of mourning and its relationship to civic rituals, memorials, taboos, social movements, and popular music. Chapters examine how social groups defend their members against experiences of grief or mourning, or how poetic expressions—such as ancient Greek tragedy—can address the catastrophes of human life. Other chapters explore the politics of symbols and bodies, and how they can become fraught objects that stand in for a society’s undigested—unmourned—losses and absences. The book concludes with an interview with Bonnie Honig, whose own work on mourning has been deeply influential in contemporary political theory.