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Operación: Limpieza General
by Natalia Boccaccio Norberta De MeloOperación: Limpieza General Un romance libremente inspirado en una operación real en Lava Jato en Brasil. Esta historia sucede en Pindoretama. El fiscal general se encontraba en el medio de los escandalos políticos donde las autoridades mas importantes del país estaban involucradas. En este escenario caotico , Roberto Nascimiento se enamora con una funcionaria pública. Su amada Nina estaba involucrada en una operación policiaca. ¿ Podra él protegerla? ¿Podran ellos finalmente vivir su amor en esas situaciones?
Operación Cambista (Pindoretama #2)
by Norberta De MeloPrólogo El Fiscal General de la Nación Roberto Nascimento y su amada Nina Moreira aparentemente formaban una pareja que vivía un período de paz. Incluso viviendo en ciudades diferentes, se veían con relativa frecuencia. El segundo mandato de Roberto estaba siendo afectado por el primero, durante el cual se desató la Operación Faxina Geral en Pindoratema. Mucha gente ya estaba cumpliendo pena, o al menos había sido presa o estaba respondiendo a diversos procesos. Parecía que todo estaba bajo un relativo control. Solo lo parecía. Esa no era, sin embargo, su realidad. Un descuido y todo podría venirse abajo. Había mucha gente queriendo vengarse de ellos. Sus enemigos no lo dejarían en paz. Ellos lo sabían. Hasta una tentativa de asesinato al fiscal ya había sufrido. Entonces, cualquier desliz podría ser fatal. No solo en el campo profesional, sino que también en su vida personal. Nina podría soportar muchas cosas por causa del amor que tenían. Incluso para una mujer de ideas propias como ella, había límites que él sabía que no debería pasar. ¿Sería capaz de percibirlo y para cuando fuera necesario? Esa era una cuestión que se volvería central en sus vidas. ****** Roberto participaba de los juicios del Tribunal Supremo de Justicia como miembro del Ministerio Público. Esas sesiones estaban lejos de ser una rutina, como solían ser antes de la Operación Faxina Geral. Los ojos de la nación estaban orientados hacia la TV Ciudadana. Los juicios los acompañaba la población con gran interés. Era como si cada uno de ellos fuera un capítulo de novela, solo que al contrario de la ficción, eran la vida real. Para el Fiscal General, las sesiones tenían un gusto a victoria, puesto que llegar hasta allí había sido fruto de su trabajo y del de mucha gente que creía que podría cambiar al país. Pindoratema es un país relativamente nuevo, con una historia de golpes de Estado y pequeños intervalos
Operación Faxina Geral
by Norberta De Melo Sebastián Rodolfo PeñaOperación Faxina Geral es una novela libremente inspirada en las operaciones policiales reales que se suceden en Brasil en los últimos años. La más famosa es la Operación Lava Jato que alcanzó a políticos y empresarios poderosos que están siendo acusados de corrupción, lavado de dinero entre otros crímenes. Operación Faxina Geral se pasa en el país ficticio de Pindoretama, en el cual el Fiscal General de la Nacion, Roberto Nascimento, se ve enredado con sus obligaciones en la Operación Faxina Geral y un inesperado romance con Nina Moreira, una empleada pública que se ve involucrada en una operación de la Policía Nacional. Ellos tendrán que pasar por un sinnúmero de obstáculos hasta poder vivir su amor.
Opération Nettoyage Général
by Norberta De MeloExtrait Roberto est arrivé à São José dos Mascates vers vint-et-une heure, heure de Tuperatama. Après avoir récupéré ses bagages, il s'est allé au guichet de réception de la société de location de voitures pour récupérer la voiture qu'il avait louée à Tuperatama. Son cœur était serré, car ce voyage, contrairement à tant d'autres, avait une empreinte personnelle de peur, pour ce à quoi il devrait faire face. Le climat de Sao José était chaud et humide, ce qui était nouveau pour lui. Tuperatama à cette période de l'année est généralement très sec et chaud, mais rien ne vaut la chaleur au-dessus de trente degrés dans la capitale du Para Nabuco. Il était plus habitué aux voyages bureaucratiques, car ces dernières années, comme il était le Procureur-Général National, il voyageait fréquemment. Ceci à un moment historique pour Pindoretama, après le déclenchement de l’Opération Nettoyage Général. Cette fois, cependant, il est venu à São José dos Mascates pour rencontrer une femme qui avait apprivoisé son cœur comme il n'y avait pas été depuis longtemps. Il était encore en train de divorcer. C’était justement son travail comme Procureur-Général qui venait de fatiguer son mariage avec Monica. La manière dont il avait rencontré Nina, à travers ses lettres, était inhabituelle et même surprenante pour lui, qui était habitué à toutes sortes de nouvelles situations sans être dérangé par celles-ci. Il y avait aussi l'espoir de voir comment elle réagirait à ses révélations, non seulement face au danger qu'elle courait, mais aussi à cause de son implication personnelle.
Operation Pucker Up
by Rachele AlpineFirst kisses are always nerve-racking--but especially when they're onstage! Can Grace find a real-life Prince Charming before she has to lock lips in front of a crowd?When Grace Shaw finds out she's been cast as the lead in her school play, she has about two seconds to celebrate before she realizes she'll have to kiss Prince Charming, aka James Lowe, aka the heartthrob of Sloane Middle School...on the lips! She's never kissed a boy, and the idea of experiencing her very first kiss in front of a live audience with the most popular boy in school sounds like her worst nightmare instead of a dream come true.So Grace's two best friends propose Operation Pucker Up--a plan for Grace to score a kiss before opening night so she doesn't make a fool of herself in front of an audience. And as if Grace isn't having a hard enough time, her estranged father suddenly reappears after leaving six months earlier. Her mom and sister welcome Dad back with open arms, but Grace can't simply forgive and forget. With opening night fast approaching, Operation Pucker Up reaching ridiculous levels, and family drama teeming behind the scenes, Grace is beginning to think all this love stuff is way too complicated. Will she find a way to have her happily ever after--and seal it with a kiss--both onstage and off?
The Operetta Empire: Music Theater in Early Twentieth-Century Vienna
by Micaela Baranello"When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth-century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life—one whose transgressions helped define the musical hierarchies of its day.
The Oresteia
by AeschylusAeschylus was the first of the three ancient Greek tragedians whose plays can still be read or performed, the others being Sophocles and Euripides. He is often described as the father of tragedy: our knowledge of the genre begins with his work and our understanding of earlier tragedies is largely based on inferences from his surviving plays. Only seven of his estimated seventy to ninety plays have survived into modern times. Fragments of some other plays have survived in quotes and more continue to be discovered on Egyptian papyrus, often giving us surprising insights into his work.
The Oresteia: Agamemnon, Women At The Graveside, Orestes In Athens (Oleander Language And Literature Ser. #Vol. 18)
by AeschylusHighly acclaimed as translators of Greek and Sanskrit classics, respectively, David Grene and Wendy Doniger O'Flaherty here present a complete modern translation of the three plays comprising Aeschylus' Orestia and, with the assistance of director Nicholas Rudall, an abridged stage adaptation. This blanced and highly successful collaboration of scholars with a theater director solves the contemporary problems of translating and staging the Orestia, which originally was written to be performed in Athens in the first half of the fifth century B.C. While remaning faithful to the original Greek, Grene and O'Flaherty embrace a strong and adventurous English style, vivid and visceral. The language of this extraordinary translation, immediately accessible to a theater audience, speaks across the centuries. Premiered at Chicago's Court Theater in 1986 under Rudall's direction, the stage adaptation of the Orestia proved eminently playable. This new adaptation of the orestia offers a brilliant demonstration of how clearly defined goals (here, the actor's needs) can inspire translators to produce fresh, genuine, accessible dramatic texts. The resulting work provides complete and accurate texts for those who cannot read the original Greek, and it transforms the Orestia into an effective modern stage play. With interpretive introductions written by the translators and director, this new version will be welcomed by teachers of translation courses, by students of Greek and world drama in general, and by theater professionals.
Oresteia: Volume I: The Oresteia (Hackett Classics)
by Aeschylus Peter Meineck Helene P. FoleyMeineck's translation is faithful and supple; the language employed is modern without betraying the grandeur and complexity--particularly the images--of the Aeschylean text. After reading this translation, one has but one further wish: to see it and hear it at Delphi, Epidaurus or Syracuse. --Herman Van Looy, L'Antiquite Classique
The Oresteia: Agamemnon, Libation Bearers, and The Holy Goddesses (Wisconsin Studies in Classics)
by Aeschylus David MulroyFirst presented in the spring of 458 B.C.E. at the festival of Dionysus in Athens, Aeschylus' trilogy Oresteia won the first prize. Comprised of three plays—Agamemnon, Libation Bearers, and The Furies—it is the only surviving example of the ancient trilogy form for Greek tragedies. This drama of the House of Atreus catches everyone in a bloody net. Queen Clytaemestra of Argos murders her husband Agamemnon. Their son Orestes avenges his father by killing his mother. The Furies, hideous deities who punish the murder of blood kin, pursue Orestes. Into this horrific cycle steps Athena, goddess of wisdom, who establishes the rule of law to replace fatal vengeance. Orestes is tried in court before a jury of Athenians and found not guilty. Athena transforms the Furies into benevolent goddesses and extols the virtue of mercy. An important historical document as well as gripping entertainment, the Oresteia conveys beliefs and values of the ancient Athenians as they established the world's first great democracy. Aeschylus (525/4–456/5 B.C.E.) was the first of the three great tragic dramatists of ancient Greece, forerunner of Sophocles and Euripides. In this trilogy he created a new dramatic form with characters and plot, infused with spellbinding emotion. David Mulroy's fluid, accessible English translation with its rhyming choral songs does full justice to the meaning and theatricality of the ancient Greek. In an introduction and appendixes, he provides cultural background for modern readers, actors, and students.
The Oresteia: Agamemnon, Women At The Graveside, Orestes In Athens
by Aeschylus Oliver TaplinThis spellbinding, groundbreaking translation reenergizes Aeschylus’ enduring saga of split loyalties, bloody sacrifice, and the efforts to bring peace after generations of strife. The most renowned of Aeschylus’ tragedies and one of the foundational texts of Western literature, the Oresteia trilogy is about cycles of deception and brutality within the ruling family of Argos. In Agamemnon, afflicted queen Clytemnestra awaits her husband’s return from war to commit a terrible act of retribution for the murder of her daughter. The next two plays, radically retitled here as The Women at the Graveside and Orestes in Athens, deal with the aftermath of the regicide, Orestes’ search to avenge his father’s death, and the ceaseless torment of the young prince. A powerful discourse on the formation of democracy after a period of violent chaos, The Oresteia has long illuminated the tensions between loyalty to one’s family and to the greater community. Now, Oliver Taplin’s “vivid and accessible translation” (Victoria Mohl) captures the lyricism of the original, in what is sure to be a classic for generations to come.
The Oresteia: Agamemnon; The Libation Bearers; The Eumenides (Oleander Language And Literature Ser. #Vol. 18)
by Robert Fagles Aeschylus W. B. StanfordOne of the founding documents of Western culture and the only surviving ancient Greek trilogy, the Oresteia of Aeschylus is one of the great tragedies of all time.The three plays of the Oresteia portray the bloody events that follow the victorious return of King Agamemnon from the Trojan War, at the start of which he had sacrificed his daughter Iphigeneia to secure divine favor. After Iphi-geneia's mother, Clytemnestra, kills her husband in revenge, she in turn is murdered by their son Orestes with his sister Electra's encouragement. Orestes is pursued by the Furies and put on trial, his fate decided by the goddess Athena. Far more than the story of murder and ven-geance in the royal house of Atreus, the Oresteia serves as a dramatic parable of the evolution of justice and civilization that is still powerful after 2,500 years.The trilogy is presented here in George Thomson's classic translation, renowned for its fidelity to the rhythms and richness of the original Greek.(Book Jacket Status: Jacketed)
The Oresteia
by Richard Seaford Aeschylus George ThomsonOne of the founding documents of Western culture and the only surviving ancient Greek trilogy, the Oresteia of Aeschylus is one of the great tragedies of all time.The three plays of the Oresteia portray the bloody events that follow the victorious return of King Agamemnon from the Trojan War, at the start of which he had sacrificed his daughter Iphigeneia to secure divine favor. After Iphi-geneia's mother, Clytemnestra, kills her husband in revenge, she in turn is murdered by their son Orestes with his sister Electra's encouragement. Orestes is pursued by the Furies and put on trial, his fate decided by the goddess Athena. Far more than the story of murder and ven-geance in the royal house of Atreus, the Oresteia serves as a dramatic parable of the evolution of justice and civilization that is still powerful after 2,500 years.The trilogy is presented here in George Thomson's classic translation, renowned for its fidelity to the rhythms and richness of the original Greek.(Book Jacket Status: Jacketed)
The Oresteia Trilogy: Agamemnon, the Libation-Bearers and the Furies (Dover Thrift Editions Ser.)
by AeschylusClassic trilogy by great tragedian deals with the bloody history of the House of Atreus. Grand in style, rich in diction and dramatic dialogue, the plays embody Aeschylus' concerns with the destiny and fate of both individuals and the state, all played out under the watchful eye of the gods.
The Oresteian Trilogy
by AeschylusAeschylus (525-c.456 bc) set his great trilogy in the immediate aftermath of the Fall of Troy, when King Agamemnon returns to Argos, a victor in war. Agamemnon depicts the hero's discovery that his family has been destroyed by his wife's infidelity and ends with his death at her callous hand. Clytemnestra's crime is repaid in The Choephori when her outraged son Orestes kills both her and her lover. The Eumenides then follows Orestes as he is hounded to Athens by the Furies' law of vengeance and depicts Athene replacing the bloody cycle of revenge with a system of civil justice. Written in the years after the Battle of Marathon, The Oresteian Trilogy affirmed the deliverance of democratic Athens not only from Persian conquest, but also from its own barbaric past.
Orestes
by EuripidesProduced more frequently on the ancient stage than any other tragedy, Orestes retells with striking innovations the story of the young man who kills his mother to avenge her murder of his father. Though eventually exonerated, Orestes becomes a fugitive from the Furies (avenging spirits) of his mother's blood. On the brink of destruction, he is saved in the end by Apollo, who had commanded the matricide. Powerful and gripping, Orestes sweeps us along with a momentum that starting slowly, builds inevitably to one of the most spectacular climaxes in all Greek tragedy.
Orestes
by VoltaireOrestes was produced in 1750, an experiment which intensely interested the literary world and the public. In his Dedicatory Letters to the Duchess of Maine, Voltaire has the following passage on the Greek drama: "We should not, I acknowledge, endeavor to imitate what is weak and defective in the ancients: it is most probable that their faults were well known to their contemporaries. I am satisfied, Madam, that the wits of Athens condemned, as well as you, some of those repetitions, and some declamations with which Sophocles has loaded his Electra: they must have observed that he had not dived deep enough into the human heart. I will moreover fairly confess, that there are beauties peculiar not only to the Greek language, but to the climate, to manners and times, which it would be ridiculous to transplant hither. Therefore I have not copied exactly the Electra of Sophocles-much more I knew would be necessary; but I have taken, as well as I could, all the spirit and substance of it."
Orestes and Other Plays
by EuripidesWritten during the long battles with Sparta that were to ultimately destroy ancient Athens, these six plays by Euripides brilliantly utilize traditional legends to illustrate the futility of war. The Children of Heracles holds a mirror up to contemporary Athens, while Andromache considers the position of women in Greek wartime society. In The Suppliant Women, the difference between just and unjust battle is explored, while Phoenician Women describes the brutal rivalry of the sons of King Oedipus, and the compelling Orestes depicts guilt caused by vengeful murder. Finally, Iphigenia in Aulis, Euripides' last play, contemplates religious sacrifice and the insanity of war. Together, the plays offer a moral and political statement that is at once unique to the ancient world, and prophetically relevant to our own.
The Orestes Plays
by Cecelia Eaton Luschnig EuripidesFeaturing Cecelia Eaton Luschnig's annotated verse translations of Euripides' Electra, Iphigenia among the Tauri, and Orestes, this volume offers an ideal avenue for exploring the playwright's innovative treatment of both traditional and non-traditional stories concerning a central, fascinating member of the famous House of Atreus.
Oriental, Black, and White: The Formation of Racial Habits in American Theater
by Josephine LeeIn this book, Josephine Lee looks at the intertwined racial representations of nineteenth- and early twentieth-century American theater. In minstrelsy, melodrama, vaudeville, and musicals, both white and African American performers enacted blackface characterizations alongside oriental stereotypes of opulence and deception, comic servitude, and exotic sexuality. Lee shows how blackface types were often associated with working-class masculinity and the development of a nativist white racial identity for European immigrants, while the oriental marked what was culturally coded as foreign, feminized, and ornamental. These conflicting racial connotations were often intermingled in actual stage performance, as stage productions contrasted nostalgic characterizations of plantation slavery with the figures of the despotic sultan, the seductive dancing girl, and the comic Chinese laundryman. African American performers also performed common oriental themes and characterizations, repurposing them for their own commentary on Black racial progress and aspiration. The juxtaposition of orientalism and black figuration became standard fare for American theatergoers at a historical moment in which the color line was rigidly policed. These interlocking cross-racial impersonations offer fascinating insights into habits of racial representation both inside and outside the theater.
The Origin and Early Form of Greek Tragedy
by Gerald F. ElseThe Martin Lectures have a proud tradition of humanistic scholarship in the classical field.
Origin of the German Trauerspiel
by Walter BenjaminFocusing on the 17th-century play of mourning, Walter Benjamin identifies allegory as the constitutive trope of modernity, bespeaking a haunted, bedeviled world of mutability and eternal transience. In this rigorous elegant translation, history as trauerspiel is the condition as well as subject of modern allegory in its inscription of the abyssal.
Origins of Arabia
by Andrew ThompsonFirst Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
ORLAN: A Hybrid Body of Artworks
by Simon DongerORLAN: A Hybrid Body of Artworks is an in-depth academic account of ORLAN's pioneering art in its entirety. The book covers her career in performance and a range of other art forms. This single accessible overview of ORLAN's practices describes and analyses her various innovative uses of the body as artistic material. Edited by Simon Donger with Simon Shepherd and ORLAN herself, the collection highlights her artistic impact from the perspectives of both performance and visual cultures. The book features: vintage texts by ORLAN and on ORLAN's work, including manifestos, key writings and critical studies ten new contributions, responses and interviews by leading international specialists on performance and visual arts over fifty images demonstrating ORLAN's art, with thirty full colour pictures a new essay by ORLAN, written specially for this volume a new bibliography of writing on ORLAN an indexed listing of ORLAN’s artworks and key themes.
The Orphan of China
by VoltaireThe Chinese tragedy, which they call "The Orphan," was taken out of an immense collection of the theatrical performances of that nation, which has cultivated this art for about three thousand years before it was invented by the Greeks, the art of making living portraits of the actions of men, establishing schools of morality, and teaching virtue in dialogue and representation. For a long time dramatic poetry was held in esteem only in that vast country of China, separated from and unknown to the rest of the world, and in the city of Athens. Rome was unacquainted with it till above four hundred years afterwards. If you look for it among the Persians, or Indians, who pass for an inventive people, you will not find it there; it has never yet reached them. Asia was contented with the fables of Palpay and Lokman, which contain all their morality, and have instructed by their allegories every age and nation.-Voltaire Wilder Publications is a green publisher. All of our books are printed to order. This reduces waste and helps us keep prices low while greatly reducing our impact on the environment.