By Dot Hutchison

Ophelia Castellan is not simply one other woman 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 unexpected loss of life, the entire academy is in turmoil, and Ophelia can not forget about the fae. in particular as soon as she begins seeing the Headmaster's ghosts—two of them—on the varsity grounds. Her basically confidante is Dane, the Headmaster's grieving son. but while she provides extra of herself to him, Dane spirals towards a sad fate—dragging Ophelia, and the remainder of Elsinore, with him.

You understand how this tale ends. but even within the face of convinced loss of life, Ophelia has a call to make—and a promise to maintain.

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A Wounded Name

Ophelia Castellan is absolutely not simply one other woman at Elsinore Academy. Seeing ghosts isn't a ability prized in destiny society other 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 entire academy is in turmoil, and Ophelia can not forget about the fae.

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Sample text

What is striking about Arendt’s essay for the purposes of the discussion to follow is twofold: firstly, that there is something ‘obvious’ about violence that often leaves it unexamined: and secondly, that violence is also uncontrollable, erratic, even chaotic. Unexamined, destructive, arbitrary: such are the elements of violence that profoundly resonate with arguably the greatest contemplation of violence, bloodletting and justice in the canon of Western Literature. 4 So wrote the Greek tragedian Aeschylus in the final play of his Oresteia trilogy, The Eumenides.

Following a brief discussion of adaptations of Greek plays that do exist and the themes and issues that draw Irish artists to the classics, the following discussion will offer a way of theorizing violence, then an analysis of how Aeschylus’ trilogy performs violence with comparative notes toward Marina Carr’s Ariel. My theory has something to do with performing violence in the classical tradition as well as what I see as Aeschylus’ treatment of violence itself – a treatment that makes his trilogy not immediately or obviously applicable to the history of ‘prolonged carnage’ in Ireland.

Let love be their common will: let them hate with single heart. Much wrong in the world is thereby healed (978-987). The balanced rhythm and syntax of the prayer (‘bloodshed for bloodshed’ and ‘grace for grace’) does not negate either side of the dilemma but instead holds both in an uneasy equilibrium. Their final line, as I noted earlier, leaves the question of violence open. ‘Much wrong’ might be healed, but not all wrongs. Violent actions, violent hybris, pollution, and bloodshed are quelled by rhetoric, order, persuasion and structure – all called into existence through Athene and the legal courts of Athens.

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