Situated within contemporary posthumanism, this volume offers theoretical and practical approaches to materiality in Greek tragedy. Established and emerging scholars explore how works of the three major Greek tragedians problematize objects and affect, providing fresh readings of some of the masterpieces of Aeschylus, Sophocles, and Euripides. The so-called new materialisms have complemented the study of objects as signifiers or symbols with an interest in their agency and vitality, their sensuous force and psychosomatic impact-and conversely their resistance and irreducible aloofness. At the same time, emotion has been recast as material "affect," an intense flow of energies between bodies, animate and inanimate. Powerfully contributing to the current critical debate on materiality, the essays collected here destabilize established interpretations, suggesting alternative approaches and pointing toward a newly robust sense of the physicality of Greek tragedy.

In this book, Melissa Mueller brings two of the most celebrated poets from Greek antiquity into conversation with contemporary theorists of gender, sexuality, and affect studies. Like all lyric poets of her time, Sappho was steeped in the affects and story-world of Homeric epic, and the language, characters, and themes of her poetry often intersect with those of Homer. Yet the relationship between Sappho and Homer has usually been framed as competitive and antagonistic. This book instead sets the two side by side, within the embrace of a non-hierarchical, 'reparative reading' culture, as first conceived by queer theorist and poet Eve Kosofsky Sedgwick. Reintroducing readers to a Sappho who supplements Homer's vision, it is an approach that locates Sappho's lyrics at the center of timely discussions about materiality, shame, queer failure, and the aging body, while presenting a sustaining and collaborative way of reading both lyric and epic.

Situated within contemporary posthumanism, this volume offers theoretical and practical approaches to materiality in Greek tragedy. Established and emerging scholars explore how works of the three major Greek tragedians problematize objects and affect, providing fresh readings of some of the masterpieces of Aeschylus, Sophocles, and Euripides. The so-called new materialisms have complemented the study of objects as signifiers or symbols with an interest in their agency and vitality, their sensuous force and psychosomatic impact-and conversely their resistance and irreducible aloofness. At the same time, emotion has been recast as material "affect," an intense flow of energies between bodies, animate and inanimate. Powerfully contributing to the current critical debate on materiality, the essays collected here destabilize established interpretations, suggesting alternative approaches and pointing toward a newly robust sense of the physicality of Greek tragedy.

Named by Huffington Post as one of America's Prettiest College Campuses, the Bloomington campus of Indiana University is widely acknowledged as one of the most picturesque college campuses in the United States. Its Sample Gates and limestone buildings welcome students to the nearly 2,000-acre grounds that are nestled in the rolling hills of southern Indiana, providing breathtaking scenery. This first adult coloring book in the Color Your Campus series will delight students, parents, alumni, and Hoosiers alike. Coloring hobbyists will take pleasure in transforming Melissa Mueller's black and white masterpieces into IU's colorful flagship campus while indulging in the comfort of a childhood stress reliever.

Objects as Actors charts a new approach to Greek tragedy based on an obvious, yet often overlooked, fact: Greek tragedy was meant to be performed. As plays, the works were incomplete without physical items in the form of theatrical props. In this book, Melissa Mueller ingeniously demonstrates the importance of objects in the staging and reception of Athenian tragedy. As Mueller shows, props like weapons, textiles, and even letters were uniquely positioned to capitalize on both the verbal and the material and were fully integrated into a play's action. They could provoke surprising plot turns, elicit bold viewer reactions, and provide some of tragedy's most thrilling moments. Whether the sword of Sophocles's Ajax, the tapestry in Aeschylus's Agamemnon, or the tablet of Euripides's Hippolytus, props demanded attention as a means of uniting-or disrupting-time, space, and genre. Insightful and original, Objects as Actors offers a fresh perspective on the central tragic texts-and encourages us to rethink ancient theater as a whole.

This little book is based on the real-life adventures of a boy and his cuddly toy mouse named "Rat." It is a journey into their friendship, loyalty, and love for each other. Along the way they discover that miracles can happen when things look hopeless, and that a small child can inspire strangers to demnostrate selfless humanity. My hope is that it will also be an inspiration to you and your child.