The first woman he ever loved is dead, and Evan Wade is compelled by demons of his own to discover her murderer. As this gripping tale of suspense unfolds, Wade comes to understand his own role in the crime, and the hunter comes to be hunted by the very murderer he seeks. In the chilling climax, Wade finds out more than he ever wants to know about himself, and that knowledge changes him forever. Set against the backdrop of one of the great social and moral controversies of our time, Untimely Ripped explores the relations between parents and their children, born and unborn, loved and abandoned. Yet, however serious and thought-provoking, the novel will delight as much by its uproariously funny scenes as its somber ones. For it tells not only a deeply moving, tragic tale of love and death but a heart-warming and comic story of love, life, and birth.

This is a detailed account of the theatre history of Shakespeare's Macbeth from 1607 to the present day. The shortest of the tragedies, Macbeth is compressed, complex and ambiguous and has been variously interpreted. The Introduction describes major productions and performers including David Garrick, Sarah Siddons, Henry Irving, Ellen Terry and Laurence Olivier. Sarah Siddons, the greatest Lady Macbeth, portrayed her as a ruthlessly ambitious woman who dominated her husband. Irving, on the other hand, saw Macbeth as 'a bloody-minded villain', unlike his wife, played by Ellen Terry, who was gentle and devoted. Ian McKellen and Judi Dench, in the most successful production of the last century, were united in their ambition and pursuit of evil. A detailed commentary alongside the New Cambridge Shakespeare text of the play describes how specific episodes and passages have been interpreted in the theatre.

Were you subdued by Shakespeare? Did To be or not to be make you want to be somewhere else? If so, this book is for you. Irreverent, rude and darkly funny, Fair is Foul exposes the alternative history of Macbeth, as witnessed by the Thane of Rosse, a key insider at the court of the Scottish King and a man who takes no prisoners when it comes to voicing an opinion! Think of the Alan Clark Diaries written by Black Adder! If you love celebrity-watching, politics or fashion you will enjoy this wicked satire. Power, sex and glamour combine to reveal the true story of what really happened on that fair and foul day. If you thought Shakespearean comedy was just a bunch of men in tights, think again

This collection models an approach to Shakespeare and cinema that is concerned with the other side of Shakespeare's Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of 'Hamlet', Greenway's 'Prospero's Books', Godard's 'King Lear', Hall's 'A Midsummer Night's Dream', Taymor's 'Titus', Polanski's 'Macbeth', Welles 'Chimes at Midnight', and Van Sant's 'My Own Private Idaho'.

In 1603, Queen Elizabeth I died and King James I inherited the English throne. During James's reign, England continued to hark back to Elizabeth, comparing him with his predecessor – not always in a way that was either flattering or pleasing to James. Critics have traditionally assumed that Shakespeare avoided involving himself in this discourse. In this study of Shakespeare's Jacobean plays, however, Yuichi Tsukada demonstrates that, far from not involving himself in the phenomenon of nostalgia for Elizabeth, Shakespeare interacted closely with retrospective writings on Elizabeth and illuminated the complex politics behind the nostalgia. Based upon close readings of Macbeth, Antony and Cleopatra, Coriolanus, Cymbeline and Henry VIII, together with a range of plays by Shakespeare's contemporaries, including Thomas Heywood, Thomas Dekker, George Chapman, John Marston, Thomas Middleton and Ben Jonson, the book traces the ongoing cultural negotiation of the memory of Elizabeth. Yuichi Tsukada offers fresh insights into enigmatic aspects of Shakespeare's Jacobean drama. For instance, what was the original significance of the two contentious prophecies – 'none of woman born' and the march of Birnam Wood – in Macbeth? Or that of the seemingly out-of-place triumphal procession of Volumnia near the tragic end of Coriolanus? Although her memory recurred in all forms of discourse throughout the first decade of James's reign, the impact of this cultural undercurrent on Shakespeare's Jacobean drama has been ignored or underestimated. Shakespeare and the Politics of Nostalgia reveals the unnoticed richness of Shakespeare's Jacobean drama by focusing on the growing cultural and political nostalgia for England's dead queen.

In ancient Rome, any citizen who had brought disgrace upon the state could be subject to a judgment believed to be worse than death: damnatio memoriae, condemnation of memory. The Senate would decree that every trace of the citizen’s existence be removed from the city as if they had never existed in the first place. Once reserved for individuals, damnatio memoriae in different forms now extends to social classes, racial and ethnic groups, and even entire peoples. In modern times, the condemned go by different names—“enemies of the people;” the “missing,” the “disappeared,” “ghost” detainees in “black sites”—but they are subject to the same fate of political erasure. Arthur Bradley explores the power to render life unlived from ancient Rome through the War on Terror. He argues that sovereignty is the power to decide what counts as being alive and what does not: to make life “unbearable,” unrecognized as having lived or died. In readings of Augustine, Shakespeare, Hobbes, Robespierre, Schmitt, and Benjamin, Bradley asks: What is the “life” of this unbearable life? How does it change and endure across sovereign time and space, from empires to republics, from kings to presidents? To what extent can it be resisted or lived otherwise? A profoundly interdisciplinary and ambitious work, Unbearable Life rethinks sovereignty, biopolitics, and political theology to find the radical potential of a life that neither lives or dies.

In Formulated Experiences, Peter L. Rudnytsky continues his quest for a "re-vision" of psychoanalysis by coupling his revival of the unjustly neglected figure of Erich Fromm with his latest groundbreaking research on Ferenczi and Groddeck. Committed at once to a humanistic and to a literary psychoanalysis, Rudnytsky explores the subjective roots of creativity and critiques the authoritarianism that has been a tragic aspect of Freud’s legacy. Through his clinically informed interpretations he brings out both "hidden realities" and "emergent meanings" of the texts and authors he examines, including Shakespeare’s Othello and Macbeth, as well as Milton’s Paradise Lost. A preeminent scholar of the history and theory of psychoanalysis, Rudnytsky displays an interdisciplinary expertise that makes Formulated Experiences truly sui generis and unlike any existing book. Bridging the artificial divide between the academic and clinical worlds, his eloquent championing of the interpersonal and relational traditions will captivate contemporary psychoanalysts and psychotherapists, while his insightful close readings provide a model for psychoanalytic literary critics.