The Key Concepts of Chess Endings In 2003 when it was released, Dvoretsky's Endgame Manual became an instant classic. Now the chess instructor extraordinaire offers an introduction to the fascinating world of chess endings. This book is designed to highlight the key concepts of the most common chess endgames and will prove quite instructive to chessplayers of all levels. Topics include: - The King in the Endgame - Pawn play - Zugzwang - Saving Methods - Tactics in the Endgame - Piece Maneuvering - Piece Exchanges - "Technique” ...and much more! The author has countless practical suggestions for improving your endgame play in this era of rapid-time controls so that you don't end up "drowning” in the ocean of endgame theory. Let Mark Dvoretsky help you win more games as he examines some elementary endgame errors from master play and shows you how to avoid making the same mistakes.

Four characters play a game of life, concluding with the exit of one character and the immobility of the remaining three, in a study of man's relationship to his fellows

This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique becuae of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.

The first edition of Dvoretsky's Endgame Manual was immediately recognized by novice and master alike as one of the best books ever published on the endgame. The second edition is revised and enlarged - now over 400 pages - covering all the most important concepts required for endgame mastery. "I am sure that those who study this work carefully will not only play the endgame better, but overall, their play will improve. One of the secrets of the Russian chess school is now before you, dear reader!" - From the Foreword to the First Edition by Grandmaster Artur Yusupov "Going through this book will certainly improve your endgame knowledge, but just as important, it will also greatly improve your ability to calculate variations... What really impresses me is the deep level of analysis in the book... All I can say is: This is a great book. I hope it will bring you as much pleasure as it has me." - From the Preface to the First Edition by International Grandmaster Jacob Aagaard Here's what they had to say about the First Edition: "Dvoretsky's Endgame Manual ... may well be the chess book of the year... [It] comes close to an ultimate one-volume manual on the endgame." - Lubomir Kavalek in his chess column of December 1, 2003 in the Washington Post. "Dvoretsky's Endgame Manual is quite simply a masterpiece of research and insight. It is a tremendous contribution to endgame literature, certainly the most important one in many years, and destined to be a classic of the literature (if it isn't already one). The famous trainer Mark Dvoretsky has put together a vast number of examples that he has not only collected, but analysed and tested with some of the world's strongest players. This is a particularly important book from the standpoint of clarifying, correcting, and extending the theory of endings. Most of all, Dvoretsky's analysis is staggering in its depth and accuracy." - John Watson, reviewing DEM at The Week In Chess 2003 Book of the Year - JeremySilman.com 2003 Book of the Year - Seagaard Chess Reviews: "This is an extraordinary good chess book. To call this the best book on endgames ever written seems to be an opinion shared by almost all reviewers and commentators. And I must say that I am not to disagree." - Erik Sobjerg

"Andrew Kennedy links Beckett's vision of a diminished humanity with his art of formally and verbally diminished resources, and traces the fundamental simplicity and coherence of Beckett's work beneath its complex textures. In the section on the plays, Dr Kennedy stresses the humour and tragicomic humanism alongside the theatrical effectiveness; and in a discussion of the fiction (the celebrated trilogy of novels) he relates the relentless diminution of 'story' to the diminishing selfhood of the narrator. An introduction outlines the personal, cultural and specifically literary contexts of Beckett's writing, while a concluding chapter offers up-to-date reflections on his œuvre, from the point-of-view of the themes highlighted throughout the book."--From publisher description.

Samuel Beckett was awarded the Nobel Prize for Literature in 1969; his literary output of plays, novels, stories and poetry has earned him an uncontested place as one of the greatest writers of our time. Endgame, originally written in French and translated into English by Beckett himself, is considered by many critics to be his greatest single work. A pinnacle of Beckett’s characteristic raw minimalism, it is a pure and devastating distillation of the human essence in the face of approaching death.

Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.