Theoretical Accounts of Great Power Politics

Theoretical Accounts of Great Power Politics Postcolonialism is primarily concerned with the south, the subaltern and its past because as Abrahamsen argues, Any understanding of contemporary IR requires a careful account of the multiple and diverse power relationships that link the North and the South, both in the colonial past and the postcolonial present. (Abrahamsen, 2007) Postcolonialism finds its origins in work done with a view to give a voice to the history of the south and the subaltern that was not heard as it was silenced, even gagged by the actions of imperialist Europe. Postcolonial theory places the south and the subaltern at the centre of analyses. (Abrahamsen, 2007) It is a contextually new area of theory within the sphere of international relations that has emerged out of literary and cultural studies. The most significant movement that began postcolonial work was (and still is) the subaltern studies group that (re)examined Indian history and historiography. (Goss, 1996) The connection postcolonialism shares wit h Indian historiography stems from the counter hegemonic aspirations shared by both, Postcolonialism has strong affinities with Indian historiography, which has been motivated by a desire to retell history from the counter-hegemonic standpoints of the colonised. (Abrahamsen, 2007) On the whole postcolonialism does not, however, call for the return to a pristine, unspoilt pre-colonial culture, (Abrahamsen, 2007) and many even claim that this would be detrimental if not impossible. I will explore postcolonialism through looking at some of the key contributors to postcolonial study, namely Fanon and Said with a briefer look at Spivak and Bhabha. Within this I will touch upon the influences that came from the field of post-structuralism with writers such as Lacan, Faucault and Derrida. I will then look at the concepts of hybridity, ethnicity and location that have become revised and this more compelling in recent postcolonial work before finally looking at some criticism that has been a imed at postcolonial theory, notably from Hobson. Fanon was a very influential part of early postcolonialism; his work can be divided into three separate sections, investigating black identity, the resisting colonisation and the process of decolonisation. Fanons search for black identity is best demonstrated in his work Black Skin, White Masks. In this work Fanon suggests that colonialism and its deep rooted ideas of white racial superiority (Fanon, 1967) over non-white people has formed a sense of severance and estrangement in the self-identity of the non-white colonised people. The history, culture, language, customs and beliefs of the white coloniser are, under colonial rule, to be regarded as universal, the norm and better or higher than those of the indigenous colonised people. This produces a strong sense of inadequacy throughout the colonised and eventually, in order to counteract these feelings of inadequacy, this leads the colonised to adopt the culture and customs of the colonisers. Within the colonised this forms a divide d sense of self in identity shaping and a feeling of alienation from their own culture. Fanon also suggests that the taking on of the colonisers language and forms of representation is additionally detrimental to the indigenous people as representational stereotypes are created which were more often than not reflected on the colonised as primitive and uncivilised, as Fanon puts it, As I begin to recognize that the Negro is the symbol of sin, I catch myself hating the Negro. But then I recognize that I am a Negro. (Fanon, 1967) It is clear that Fanon is greatly influenced on the subject of identity by post-sctructuralist thinker Lacan. Particularly Lacans concept of the mirror-stage of identity formation, which occurs in early childhood and is linked to the idea of an image of completeness in the body of another person independent of the self. Fanons second phase of work relates to the struggle against colonialism (Fanon, 1967), which has strong links to his involvement in the Algerian War of independence which eventually saw him exiled from Algeria. His work on this area can be found mostly in his books Dying Colonialism and Toward the African Revolution, and with the revolutionary nature and context in which these works were written it is not surprising to discover they were heavily influenced by Karl Marx and Western Marxism. Fanons arguably most significant work on the struggle against colonialism was his interest and concern with history, much of which in his book The Wretched of The Earth. Fanon believed that the struggle against colonialism crucially involved the colonised claiming back their history from the negative or non-existent accounts that had been shaped by the colonisers. He emphasizes the crucial significance of the culture and representations of their past being essential to the formation of both new pos itive forms of identity formation and new forms of social organisation which are required in the newly independent post-colonial era (Fanon, 1967). It is the process of decolonisation which characterises Fanons third stage of critical work. Beside the recovery and reconstruction of their own history and culture as the foundation for the new post-colonial forms of nation and national identity, (Fanon, 1967) Fanon also considers two additional ideas which are of central interest to later postcolonial work. These two ideas are the concepts of colonial space and ideas related to the role of the middle class intelligentsia, sometimes called the comprador bourgeoisie, in new postcolonial nations. Both of these ideas were born out of Fanons belief that it is key for the nations that the world has given birth to in the postcolonial era to create original forms of social democracy instead of using existing colonial institutions and merely swap indigenous people into already existing administrative positions. Fanon uses the example of city structure to suggest that these colonial institutions are fundamentally racist because they replicat e, repeat and (re)create the concepts and ideas of the colonisers. This can be demonstrated through the fact that most colonial cities have areas within them where the colonial administration and businessmen live and work. These are regions of privilege which often reject indigenous people and in doing so reaffirm the ideologies of the colonisers. Fanon believes in a large scale rebuilding (Fanon, 1967) of these urban areas and all other types of colonial administration and government in an approach which will create more democratic, postcolonial forms of social organisation, in order to systematically reject the ideologies which support colonial rule. Fanon also adds that the educated groups of the colonised population need to recognise that their education is founded on the ideologies and the beliefs of those who colonised them and even though they themselves are the indigenous people, they need to be careful not to reproduce the colonisers concepts and beliefs when reconstructing in the postcolonial era. Said is, along with Fanon, one of the most important academics within postcolonial theory, It is Ahmad who has identified Saids lasting contribution, as the first to provide, a whole critical apparatus for defining a postmodern kind of anti-colonialism which, also for the first time, had little (if no) relation to Marxism (Goss, 1996) Saids most famous work, Orientalism, was a pioneering analysis of the stereotypes and colonial assumptions that are inherent in Western representations of the Orient. For Said the Orient was the people and cultures that extended from North Africa and the Middle East. In Orientalism, the argument he makes is that that the representation of the orient in the West has been as the binary opposite of the West or Occident. Said examines the Wests view of the Orient and believes that the way the Orient is seen by the west is as encapsulating everything they find awkward or unsettling to their dominant image. The West projects this fantasy image onto the largel y unknown orient and in this sense it is seen as the occidents other. Said follows this on with a discussion of how the western depictions of the orient work to re-impose colonial domination by using their own western beliefs and culture as a way of counteracting the deficient, potentially harmful qualities of local, inferior cultures. Said also believes that this Orientalism he speaks of comes in two separate forms, drawn from Freudian ideas Said labels them latent and manifest Orientalism. Said describes latent and manifest orientslism respectively as, an unconscious (and certainly an untouchable) positivity and the various stated views about Oriental society, languages, literatures, history, sociology and so forth. (Said, 1973) Essentially latent Orientalism is, as Kennedy puts it, a collective and unconscious shared set of images and attitudes that does not change through time. (Kennedy, 2000) Manifest Orientalism follows on from this as the expression in words and actions of la tent Orientalism. The negative representations and stereotypes touched upon by Said are examined further by McLeod in Beginning Postcolonialism. He looks at the defamatory way in which the Middle-East is portrayed from an orientalist perspective. A summation of the ways in which the East is represented by the West is presented by Mcleod, The orient is timeless i.e. without a concept of history until given one by the west, strange, feminine, and degenerate. In short, the East is everything morally negative in comparison to the Wests moral superiority. (McLeod, 2000) The foundations on which Said builds his work on the representations of the East by those in the West are significantly influenced by French post-structuralist Faucault and his works The Archaeology of Knowledge and Discipline and Punish. Said uses Faucaults ideas on the formulation and use of a discourse to try to firmly establish the concept of orientalism. For Foucault, a discourse is a body of thought and writing that is united by havin g a common object of study, a common methodology, and/or a set of common terms and ideas. (Klages, 2001) The archaeology Foucault undertakes is to unearth the characteristics that underpin certain statements and then try to define the reasons and situations under which these statements go on to form a discourse. There is, what some might call, a formula for identifying these statements as a discourse, I will use Saids work on Postcolonialism as an example to explain each criteria. Primarily and fundamentally the statements making up the discourse should all have a shared element of analysis, in the case of Said the element of analysis is, of course, the orient. Secondly all statements should have a shared style of rhetoric, in the case of Said this is the rhetoric of the colonisers and their belief in the West being over and above the East. Thirdly the statements need to have a logical structure of concepts, in this case concepts such as capitalism and liberalism that have evolved o ut of the Wests supposedly superior rationality. Finally there needs to be a connecting theme that runs through all the statements, within Saids work we can say that this theme is the West over and above the east in their moral, cultural and intellectual standings. Having mentioned Faucault I think it is also necessary to talk about the important influence of another post-structuralist theorist on postcolonial theory, namely Derrida. Derrida is heavily connected with the approach to critical analysis known as deconstruction, which is defined by Chambers dictionary as an approach to critical analysis applied especially to literary texts which asserts that it is impossible for any text to communicate a fixed and stable meaning, and that readers should leave behind all philosophical and other concepts when approaching a text (Chambers Dictionary, 1997) One of the themes of deconstruction is to untangle the dichotomies, or binary oppositions more specifically, that make up Western and Western-derived thought. There are an almost endless number of these binary oppositions; examples would include male-female, mind-body, rational-emotional, north-south and western-eastern. According to Derrida there is a hierarchy present in all binary oppositions with one term being dominant over the other. Importantly Derrida also suggests that the terms on each side of the dichotomy define each other and consequently are not secure. Starting with Fanon postcolonial theory has also paid a great deal of attention to these binary oppositions, particularly the ones closely related to colonialism, and the hierarchy that exists within them. Another two influential postcolonial thinkers come in the form of Spivak and Bhabha; the areas on which they focus, feminism and post-modernism to name two, and have become crucial to the thought within postcolonialism. In looking at their work it is clear that two key themes that yet again turn up are identity and representation. A great deal of work within the postcolonial sphere has been focused upon the relationship between representation and the forming of identity. Within this area there are three concepts that have been used to shed analytical light onto the subject, namely hybridity, ethnicity and cultural location. These concepts are, evidently, connected but postcolonialists dont limit themselves to these areas of critical analysis. Hybridity is essentially the mixing of two, or more, cultures, languages, beliefs or social patterns. It is seen by many, including Bhabha as a form of resistance, Hybridity, for Bhabha , is a sign of resisting domination. Hybrid identities can engender new forms of being that can unsettle and subvert colonial authority. (Abrahamsen, 2007) Hybridity can be linked with previous ideas in postcolonialism, the idea of retrieving postcolonial forms of history, culture and language in order to create new national identities is mentioned throughout postcolonial works. However, the migrations that occur inside and outside the colonies i.e. colonisers migrating into the colonies and the colonised migrating out to the colonial powers, has resulted in a much higher level of hybridity within national identities than initially thought. It had been in many early postcolonial works that one of the most prominent forms of collective resistance was the focus on a separate identity and being culturall y distinct from the colonisers. It has recently been shown how difficult identity construction of this sort is and further investigation is being undertaken in this area. The conditions under which hybridity occurs in postcolonial societies can consist of mass recognition of cultural suppression, a colonial invasion with the purpose of securing control politically and economically, and when colonial settlers migrate into an area and make the indigenous people conform to their new social patterns. It could be argued that an example of the indigenous people conforming to new social patterns can be found with the aborigines in Australia, colonisers introduced them to much stronger alcohol than they had ever been used to and alcohol abuse is now a major issue within aborigine culture, Aborigines are twice as likely to die from the effects of alcohol as their non-indigenous counterparts. (Mecer, 2007) Examples of hybridity within national identity can be seen by means of sport throughout the world, football, rugby and cricket are all of English invention and can be identified as the national sports of countries that used to be British colonies i.e. Football in African countries such as Ghana, Rugby in Australia and Cricket in India. Ethnicity, some would say, is connected directly to the idea that hybridity is strong in national identities within postcolonial areas. Previously in postcolonial theory much of what now falls under the banner of ethnicity used to be labelled race. The main reason for this is centred on the idea of blackness and being black as an identity. This idea of blackness stemmed predominantly from physical characteristics as an indicator of identity. Although this found a use when it came to the fight against racism and colonialism it came to be thought of as homogenising the experiences of all black people. Consequently this view also simplified the assorted and varied cultures within the black community. In addition to this, the idea of being black as an identity was prone to privileging black people by identifying them as the only ones to suffer from racism and colonialism. Subsequently within postcolonial work the term race has been ousted in favour of the term ethnicity. The concept of e thnicity distinguishes between cultures, religions and social activities that comprise a cultural identity whereas the physically based concept of race tends to homogenise. Additionally the move towards ethnicity shows a clear acknowledgement of hybridity and cultural identity and consequently beings them closer to the surface of critical activity within postcolonialism theory. Given the extra focus on the previously mentioned concepts of cultural identity and hybridity coupled with the move from race to ethnicity, the comprehension of the concept of cultural location necessarily becomes more sophisticated. It is no longer concerned with the analysis of a specific geographical area so much as the analysis of the cultures, religions and social activities which interact to produce a cultural identity. This change in focus away from the geographical means that crucially important populations that may have migrated around, or out of, a colonised land, perhaps taking their culture with them, are not left out of postcolonialist work. Consequently a deeper and more complex research can be undertaken on the concepts of racism and colonialism. There has been some criticism thrown at postcolonialism, perhaps as it has many branches the reach into different areas, Hobson for one argues that postcolonialism is plagued by its constant expansion, The term postcolonial seems increasingly to be straining at its seams, incorporating a proliferating series of theories with varying ontologies and epistemologies many of which are incommensurable, as even some postcolonialist recognise. (Hobson, 2007) On top of this he claims that the postcolonialist view point is narrow sighted and overlooks a vast period of time in empires did not cover the world, East/West relations have, for the majority of world historical time existed outside the orbit of empire, thus rendering a central focus on imperialism as inadequate to the task of revealing Eastern agency. (Hobson, 2007) He then argues that even though postcolonialism claims to try and undo, the Eurocentrism produced by the institution of the Wests trajectory, (Goss, 1996) it is still fund amentally flawed and even Eurocentric itself, Postcolonialists refuse to grant subjectivity to Eastern actors and thereby deny them agency. (Hobson, 2007) I have looked at the arguments and ideas put forward by the most influential writers in postcolonial theory. Fanons search for black identity, struggle against colonisation and process of decolonisation investigation, I believe, are very persuasive. Especially his look at black identity as I believe the majority of ones identity is formed through similar concepts to Lacans mirror-stage identity formation. Another convincing argument, for me, is that regarding stereotypes, binary opposition and deconstruction. A great deal is tied up within our languages, evident when there isnt a translation of certain words from one language into another. Consequently it can only lead to false understandings and misinterpretations throughout the world, especially in those places where languages are forced to co-habit such as colonial, and now postcolonial, areas. Essentially I think it is important to tackle the problem and discover the source of Western bias that undeniably exists in the contempora ry world. In addition to this, perhaps more importantly, the countries and people who have been suppressed, silenced and denied a history need to be compensated, if not least through continuing study I this area. The need, in nations, or groups which have been victims of imperialism to achieve an identity uncontaminated by universalist or Eurocentric concepts or images. (During, 1990)

Police Code of Ethics Essay

Professions and associations of criminal justice have canons of professional reliability.  The morally idyllic police scheme would be with integrity and nothing confusing regarding it (no deceitfulness or mischief); no discrimination and no disrepute for the restrictions of law or how it is imposed.   All that made privately would be just as if it’s made publicly.   Mistakes are viewed as edifying prospects; however there are less of it due to prevalent obedience to the principles of decency, decorum, self-control, rationality, and vigilance. According to the Police Code of Ethics (Earle, 1970), â€Å"As a law enforcement officer,† their, â€Å"†¦ fundamental duty is to service mankind; to safeguard lives and property; to protect the innocent against deception, the weak against oppression or intimidation, and the peaceful against violence or disorder; and to respect the constitutional rights of all men to liberty, equality, and justice† Police officers keep their private life pure in preserving courage tranquil despite jeopardy, disparagement, or mockery. It’s their duty to â€Å"†¦develop self-restraint,† and become continuously watchful of the people’s wellbeing. â€Å"I will be exemplary in obeying the laws of the land and the regulations of my department,†- this proves they vow to be truthful in their thoughts and actions in their individual and professional life. The code says that whatever they hear or see of a private temperament or confided with them during their executive faculty will be undisclosed unless they are required to reveal during the execution of their duties (Earle, 1970). The code furthers – â€Å"I will never act officiously or permit personal feeling, prejudices, animosities, or friendships to influence by decisions. Police officers made an oath to put the law into effect politely and suitably devoid of trepidation, favour, acrimony or malevolence – â€Å"†¦with no compromise for crime and with relentless prosecution of criminals†¦ never employing unnecessary force or violence and never accepting gratuities (Earle, 1970).† Police officers distinguish the emblem of their office as a representation of their civic faith, and thus recognizing it as a trust to be held from the public providing they are true to the principles of their service. Police force workers are to secure individual standards superior than the other constituents of a community. Inappropriate manner has been a frequent charge used in censuring as well as controlling policemen – on and off their duties. Printed throughout the 1950s, the Code of Ethics of Police Officers has a stipulation that is habitually oriented in preparations over and above court decisions that guarantees, avowed: â€Å"I will keep my life unsullied as an example to all.† Decisions of the Court on the subject of public employee misdemeanours concerning inappropriate conduct frequently necessitates that the act of misdemeanours encompass a nexus or relationship to an employee’s performance on his/her job or capability to act upon or contain an unfavourable effect on an agency’s implication, good organization, or operations; police force employees are held to a higher model of behaviour (Small, 1964). Whilst public agencies comprise the capability of restricting conduct not on call, an agency can’t misuse this power and should articulate rational underlying principles for its willpower that the behaviour of police officers harmfully affected an agency’s capability to execute or impacted suitability for public service. A law enforcement agency has to institute how manners of police officers affected the process, morale and effectiveness of that agency. These are vital and momentous hoops stemming from several court decisions concerning inappropriate conducts of police officers that a law enforcement agency have to jump through when commanding regulation. Selection, recruitment, as well as training mechanisms are unblemished, with endorsement on account of merit, nobody being devoid of full custody, and a law enforcement agency giving its workers resources they require to better execute their work.   There are open-door guidelines to academics, the public, as well as media.   Nothing a police force carry out or how they execute it would appear as a disclosure to anybody.   The pledge to the code of ethics is absolute.   Police officers do not lower their ideals or even revise their avowal, because conditions in their locations change.   The exact ordeal of the character is keeping faith despite difficulty. List of Ethics in Government – Law Enforcement / Police Officers (Reams & Yoak, 1987) Article I. Trust – (a) Ethical aspiration, (b) Fiduciary duty, (c) Conflicts of interest, (d) Soliciting or accepting personal gifts, (e) Outside employment, (f) Use of official position to solicit privileges or special treatment, (g) Statements of economic interest, (h) Post employment restrictions, (i) City property, (j) Political activity, (k) Loans. Article II. Fairness – (a) Ethical aspiration, (b) Required reporting of fraud; unlawful use of public funds or property, (c) Discrimination or harassment, (d) Nepotism, (e) Use or disclosure of information. Article III. Accountability – (a) Ethical aspiration, (b) Avoiding bias or favouritism, (c) Inappropriate influence, (d) Ethical practices board, (e) Ethics officer, (f) Code of ethics violations, (g) Sanctions, (h) City contract compliance, (i) Ethics education, (j) Additional ethical standards permitted, (k) Definitions. References Earle, H.H. (1970). Police-community relations; crisis in our time – 2nd Ed. Springfield, Ill.,   Ã‚  Ã‚  Ã‚  Ã‚   Thomas. Reams, B.D & Yoak, S.D.   (1987). The Constitution of the United States : a guide and   Ã‚  Ã‚  Ã‚  Ã‚   bibliography to current scholarly research. Dobbs Ferry, NY : Oceana Publications. Small, N.J. (1964). The Constitution of the United States of America; analysis and   Ã‚  Ã‚  Ã‚  Ã‚   interpretation. Annotations of cases decided by the Supreme Court of the United States to   Ã‚  Ã‚  Ã‚  Ã‚   June 22, 1964. United States Supreme Court, and Library of Congress Legislative   Ã‚  Ã‚  Ã‚  Ã‚   Reference Service. Washington DC: U.

The One Thing to Do for Professional Term Paper Writing Service

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Study Guide for Greek Theater

The conventional theater of Shakespeare (Romeo and Juliet) or Oscar Wilde (The Importance of Being Earnest) features discrete acts subdivided into scenes and casts of characters engaged in dialogue with one another. This easy to grasp structure and familiar format comes from ancient Greece, where drama originally had no individual speaking parts. Structure and Origins The English word theater comes from  theatron, the viewing area for the Greek audience. Theatrical performances were outdoors, often on hillsides, and featured men in the roles of women and actors wearing masks and costumes. Performances were religious, political, and always competitive. Scholars debate the origins of Greek drama, but perhaps it developed from religious ritual worship by a chorus of singing and dancing men—possibly dressed as horses—connected with the festive vegetation god, Dionysus. Thespis, namesake of the term thespian for an actor, supposedly is either the first person to appear onstage in character, or casted the first speaking role; maybe he gave it to the chorà ªgos, leader of the chorus. Choral training was the responsibility of a chorà ªgos, selected by an archon, one of the top officials in Athens. This duty to train the chorus was like a tax on the wealthy citizens, and being members of a chorus (choreutai) was also part of Greek civic education. The chorà ªgos provided all the equipment, costumes, props, and trainers for the roughly dozen choreutai. Such preparation might last for six months and at the end, if he were lucky, the chorà ªgos would fund a feast to celebrate winning the prize. The chorà ªgos and playwrights of winning productions garnered great prestige. Greek Chorus The chorus was the central feature of Greek drama. Composed of similarly costumed men, they performed on the  dancing floor (orchestra), located beneath or in front of the stage. They enter during the first choral song (parodos) from two entrance ramps (parodoi)  on either side of the orchestra, and remain for the entire performance, observing and commenting on the action. From the orchestra, the leader  (coryphaeus) speaks the choral dialogue, consisting of long, formal speeches in verse. The final scene (exodus)  of Greek tragedy is one of dialogue. Scenes of dialogue (episodes)  alternate with more choral song (stasimon). In this way, the stasimon is like darkening the theater or drawing the curtains between acts. To modern readers of Greek tragedy, the statismon seem easy to overlook, interludes interrupting the action. Likewise, the ancient actor (hypokrites, the one who answers the chorus questions) often ignores the chorus. Though they couldnt control hypokrites behavior, the chorus had a personality, was crucial to winning the competition for best set of tragedies, and could be important in the action, depending on the play. Aristotle said they should be regarded as hypokrites. Tragedy Greek tragedy revolves around a tragic hero whose misfortune causes intense suffering resolved by one of Aristotles tragic qualities, catharsis: a relieving, cleansing, and emotional release. Performances were part of an estimated five-day religious festival in honor of Dionysus. This Great Dionysia festival—during the Attic month of Elaphebolion, from the end of March to mid-April—was perhaps  instituted ca. BCE 535 by the Athenian tyrant Pisistratus. Festivals centered on agones, or competitions, where three tragic playwrights competed to win the prize for the best series of three tragedies and a satyr play. Thespis, credited with the first speaking role, won that first competition.  Although the subject matter was usually mythological, the first surviving full play was The Persians by Aeschylus, based on recent history rather than myth. Aeschylus, Euripides, and Sophocles are the three famous, great writers of Greek tragedy whose contributions to the genre survive. There were rarely more than a chorus and three actors, regardless of how many roles were played. Actors changed their appearance in the skene. Violence usually occurred offstage, too. Playing multiple roles, a hypokrites wore masks because the theaters were so capacious that the back rows couldnt read their facial expressions. Although such large theatres had impressive acoustics, the actors needed good vocal projection to perform well behind their masks. Comedy Greek comedy comes from Attica—the country around  Athens—and is often called Attic Comedy. It  is divided into what is known as Old Comedy and New Comedy. Old Comedy tended to examine political and allegorical topics, while New Comedy looked at personal and domestic themes. For comparison, compare a late night talk show about current events and satire when thinking of Old, and a primetime sitcom about relationships, romance, and family when thinking about New. Thousands of years later, restoration comedy performances can also be traced to New Comedy. Aristophanes wrote mostly Old Comedy. He is the last and primary Old Comedy writer whose works survive. New Comedy, almost a century later, is represented by Menander. We have much less of his work: many fragments and Dyskolos, a nearly complete, prize-winning comedy. Euripides is also considered an important influence on the development of New Comedy. Legacy in Rome Roman theater has a tradition of derivative comedy, and their comedy writers followed New Comedy. Plautus and Terence were the most influential Roman writers of comedy—fabula palliata, a genre of drama converted from Greek to Roman—and their plots influenced some of Shakespeares work. Plautus also inspired the 20th centurys A Funny Thing Happened on the Way to the Forum. Other Romans (including Naevius and Ennius), adapting the Greek tradition, wrote tragedy in Latin. Those tragedies unfortunately have not survived. For extant Roman tragedy we turn to Seneca, who may have intended his works for readings rather than performances in the theater. Resources and Further Reading Englert, Walter. â€Å"Ancient Greek Theater.† Greek Drama and Theaters, Reed College.Foley, Helene. â€Å"Choral Identity in Greek Tragedy.† Classical Philology, vol. 98, no. 1, Jan. 2003, pp. 1-30.â€Å"Greek Theatre Index.† Theatre History, 2002.Greenwood, Leonard Hugh Graham. â€Å"The Shape of Greek Tragedy.† Greece Rome, vol. 6, no. 16, Oct. 1936, pp. 31-40.Kirkwood, G. M. â€Å"The Dramatic Role of the Chorus in Sophocles.† Phoenix, vol. 8, no. 1, Spring 1954, pp. 1-22.Poe, Joe Park. â€Å"The Determination of Episodes in Greek Tragedy.† The American Journal of Philology, vol. 114, no. 3, Autumn 1993, pp. 343-396.Rabinowitz, Nancy Sorkin. Greek Tragedy. Wiley-Blackwell, 2008.Scullion, Scott. â€Å"Nothing to Do with Dionysus: Tragedy Misconceived as Ritual.† The Classical Quarterly, vol. 52, no. 1, July 2002, pp. 102-137.Segal, Erich. â€Å"The ÃŽ ¦Ã ÃÆ'ÃŽ ¹Ãâ€š of Comedy.† Harvard Studies in Classical Philology, vol . 77, 1973, pp. 129-136.Stuart, Donald Clive. â€Å"The Origin of Greek Tragedy in the Light of Dramatic Technique.† Transactions and Proceedings of the American Philological Association, vol. 47, 1916, pp. 173-204.