By Dot Hutchison
Ophelia Castellan just isn't simply one other lady at Elsinore Academy. Seeing ghosts isn't a ability prized in destiny society better halves. even if she takes her tablets, the bean sidhe beckon, reminding her of a promise to her lifeless mom. Now, within the wake of the Headmaster's surprising demise, the total academy is in turmoil, and Ophelia can now not forget about the fae. specially as soon as she starts off seeing the Headmaster's ghosts—two of them—on the college grounds. Her basically confidante is Dane, the Headmaster's grieving son. but at the same time she provides extra of herself to him, Dane spirals towards a sad fate—dragging Ophelia, and the remainder of Elsinore, with him.
You know the way this tale ends. but even within the face of yes dying, Ophelia has a call to make—and a promise to maintain.
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Extra resources for A Wounded Name
78, 80 (emphasis mine), cited in Callahan, “Ultimate in Theatre Violence,” 170. *1 De Lorde, Theatre de la mort (hereafter TM), 13; emphasis mine. 9. a point I explore in Chapter 2). ‘*3 Barish, “Shakespearean Violence,” 101. 4“ Rousset, L’Age baroque, 6; I thank Rachael Siciliano for bringing this text to my attention. Polemicnl Introduction t f p r , - d , n , ; ~ h l _ e y s y , y - n s f n e s - s - f d ' e _ y e n, d, 13 horrors of their agony. ” 45 In the nineteenth century, Jules Michelet stated that the public persecution of witches linked pleasure with both outrage and outrageousness, and Charles Nodier cast the French Revolution as “the greatest drama of all time,” a “bloody play” whose spectators/participants “needed conspiracies,.
Drama and rhetoric; theories of drama in terms of torture and rhetoric; and theories of rhetorico—literary invention in terms of torture and drama. The rst rhetorical canon extended to all who were exposed to it an important‘ mechanism for investigating the interrelations among language, truth, torture, agency, literary creation, theatricality, and pain. 59 At the same time, though, rhetoricians consistently asserted in their treatments of legal inventio that the ideal of a truth extracted by means of torture was open to interpretation because of its reliance on such dramatic criteria as probability, verisimilirude, and catharsis.
Not whether torture theater or theater spawns torture—even though that is the essence of the (;on— temporary political intuition that threatens the music and television industries With ‘-"”Y1S01’ShiP (the allegation being that forms of entertainment that depict vio~ violent crimes). Rather, the issues are that the boundaries between lence rhetoric, law, and spectacle are blurred by a common violence of representation and that the critical scapegoating of rhetoric, theater, or even the contemporary media contents condemning variegated parts of a whole that may disquieting to identify.