Relevant bibliographies by topics / The Birth of Tragedy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'The Birth of Tragedy'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "The Birth of Tragedy"

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Allison, David Blair. "Nietzsche’s Birth of Tragedy." New Nietzsche Studies 10, no. 1 (2016): 47–60. http://dx.doi.org/10.5840/newnietzsche2016101/25.

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Weiner, Greg. "The Birth of Tragedy." Society 53, no. 5 (2016): 546–52. http://dx.doi.org/10.1007/s12115-016-0063-z.

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Sweet, Dennis. "The Birth of "The Birth of Tragedy"." Journal of the History of Ideas 60, no. 2 (1999): 345. http://dx.doi.org/10.2307/3653859.

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Sweet, Dennis. "The Birth of The Birth of Tragedy." Journal of the History of Ideas 60, no. 2 (1999): 345–59. http://dx.doi.org/10.1353/jhi.1999.0020.

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Kim, Choon-seop. "Greek tragedy and Nietzsche`s The birth of tragedy." Korean Literary Theory and Criticism 81 (December 31, 2018): 253–61. http://dx.doi.org/10.20461/kltc.2018.12.81.253.

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Clark, Maudemarie. "Deconstructing The Birth of Tragedy." International Studies in Philosophy 19, no. 2 (1987): 67–75. http://dx.doi.org/10.5840/intstudphil198719252.

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Staten, Henry. ""The Birth of Tragedy" Reconstructed." Studies in Romanticism 29, no. 1 (1990): 9. http://dx.doi.org/10.2307/25600820.

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Wadlington, Will L. "The Birth of Tragedy and The Trauma of Birth." Humanistic Psychologist 33, no. 3 (2005): 175–86. http://dx.doi.org/10.1207/s15473333thp3303_1.

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Babich, Babette. "Reading Nietzsche’s The Birth of Tragedy." New Nietzsche Studies 10, no. 1 (2016): 1–2. http://dx.doi.org/10.5840/newnietzsche2016101/21.

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Wohlfart, Günter. "Nietzsche and the Birth of Tragedy." New Nietzsche Studies 10, no. 1 (2016): 13–26. http://dx.doi.org/10.5840/newnietzsche2016101/23.

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Dissertations / Theses on the topic "The Birth of Tragedy"

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Skilnick, Randall. "Nietzsche's view of Socrates in The birth of tragedy." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26759.

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This thesis outlines Nietzsche's view of Socrates in The Birth of Tragedy. Socrates is first argued to be the father of science and then, after having explained the artistic nature of the world and ourselves according to Nietzsche, Socrates' degenerative, nihilistic influence upon the world is detailed. Science is then explained to have originated in a moral perspective on the world, the latter growing out of self-denial, and ultimately illness. The "dying Socrates" is Nietzsche's symbol of science as a negative positing of the artistic forces one is, from whence Nietzsche concludes the impossibility of escaping from oneself by such means.
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Skilnick, Randall. "Nietzsche's view of Socrates in The Birth of Tragedy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29569.pdf.

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Banham, Gary. "A critical commentary on Nietzsche's 'The Birth of Tragedy'." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321628.

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Kirby, Kenneth A. "Fractured vision : myth and discernment in Nietzsche's Birth of tragedy /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055695.

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Thesis (Ph. D.)--University of Oregon, 2002.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-256). Also available for download via the World Wide Web; free to University of Oregon users.
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Hoyt, Maggie Sharon. "Giving Birth to Empowerment: Motherhood and Autonomy in Greek Tragedy." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3613.

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The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.
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Berger-Di, Donato Andrea. "THE RE-BIRTH OF DANCE THROUGH THE SOUL OF TRAGEDY: ON NIETZSCHE'S BIRTH OF TRAGEDY BECOMING BODY IN THE TEXT AND DANCE OF ISADORA DUNCAN." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/48671.

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Dance<br>Ph.D.<br>In her autobiography, Isadora Duncan recalled an assertion made by Karl Federn: "Only by Nietzsche, he said, will you come to the full revelation of dancing expression as you seek it" (Duncan 1995, 104). Duncan also told her students to read Nietzsche's The Birth of Tragedy, as if it was their "Bible" (Duncan 1928, 108). These statements justify an examination of Nietzsche's The Birth of Tragedy as an imperative source for understanding the depth of her dance philosophy. This dissertation asks what it means to see Duncan's philosophy of dance and its practice in the context of this nineteenth-century German philosopher. It examines Nietzsche's words and ideas about the birth of tragedy and how they become body in the writings and dance of Isadora Duncan. This dissertation focuses on the philosophical idea of the "tragic idea" according to Nietzsche's and Duncan's interpretations and applications of philosophy bodied forth in dance. This tragic idea comes from an emerging idea in intellectual history initiated by followers of Kant. The idea of drawing from Greek tragedy a philosophy that could be used in philosophical thought to debate the meaning and function of art and even life was particular to German thinkers, philosophers and literati. While it drew from Greek tragic plays a philosophy, German thought on tragedy differed from the ancients in that it was applied as a philosophy for life. The ideas on Greek tragedy that Nietzsche situates his own within were developed within and against the Romantic aesthetic. The characteristics of Romantics provide context for understanding the use of tragedy as a source for thought and art. Although Nietzsche came to oppose aspects of Romanticism, his first book was in part a dialogue with German Romantic thought and aesthetics. Nietzsche's idea of tragic philosophy in his The Birth of Tragedy is examined in precedence to Duncan's use of his book. This dissertation provides an historical contextualization of the idea of a tragic philosophy to show that Duncan's choice to base her dance philosophy on Nietzsche's tragic philosophy follows this historical philosophical thread. As Nietzsche both dedicated The Birth of Tragedy to Wagner and based the book on Wagner's interpretation of Greek tragedy (Williamson 2004, 238), and Duncan wrote on and danced to Wagner, Wagner is relevant within the specific context of understanding Duncan's dance as a philosophical practice of The Birth of Tragedy. This dissertation, then, looks into Duncan's writings as a way to read Nietzsche's The Birth of Tragedy, and through these texts to interpret some aspects alive within the Romantic mood. In addition, this dissertation incorporates as part of both the literature and the analysis of Duncan's moving image, an embodied voice of personal experience from its writer, who has practiced this dance intimately. I weave my personal experience into the dissertation, using my experience in dancing within this dance form to reflect on the ideas presented here. The tragic idea as I see it within this movement drives the dancer's ideas about dance as an expressive art form. A tragic philosophy/wisdom motivates the imagination, the range of emotional expression and the physical body as it shapes and moves itself in, through and around space. A tragic sensibility represents a quality of investigation about the range of human experience that happens in and from out of the body. It comes from deep within the body's inner space and emotional and physical aliveness. It is an idea that the dancer is conscious of and actively engaged in as a process of dancing (for oneself) and making dance (as performative).<br>Temple University--Theses
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Shade, Scott Bennett. "An architecture of the birth of a tragedy, a search for neo-modern architecture." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/21478.

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Levine, Sarah. "The Birth of Tragedy out of the Spirit of Dance: Nietzschean Transitions in Nijinsky's Ballets." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/rs_theses/37.

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This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.
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LAW, Wing Sum. "尼采早期著作中本原和共同體之思". Digital Commons @ Lingnan University, 2013. https://commons.ln.edu.hk/philo_etd/9.

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本篇論文由朱利安．揚恩對於尼采的詮釋來展開討論，以重新思考尼采思想中本原與共同體的問題。 一般認為尼采哲學是一種反宗教思想，其更明確地宣稱自己為反基督。揚恩則提出尼采的思想是宗教的，此正與一般的理解背道而馳。揚恩理解宗教的其中一重要面向是共同體的建立，其對於共同體的概念有一預設，於統一意義下思考共同體。並論述此種共同體思考亦見於尼采的思想中，從而論證其是一宗教思想家。 本文主要規範於尼采的早期著作《悲劇的誕生》來進行論述，以考察揚恩的論述能否成立。揚恩理解共同體作為統一整體，統一的整體得以建立有賴於一個基礎，此基礎亦即本原之意。因而本文所針對的問題正是尼采所理解的本原。揚恩論述尼采酒神精神正是此種本原，此亦如同叔本華的原一之意，由此可見其仍於一種形而上學的結構下詮釋尼采，亦顯示出其並沒有對共同體的概念作出反思。筆者認為尼采的思想正有著超出形而上學的面向，酒神作為本原已是自身區分著的。而共同體亦非一整體，而是作為分延。此與揚恩的理解不同，由此得出其所斷定尼采是一宗教思想家是難以成立的。本文以本原和共同體的問題作為切入點，從而開展出一種對於尼采早期著作的重新思考。
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Moreno, Filho José William Moreira. "A Transvaloração dos valores em O nascimento da tragédia." reponame:Repositório Institucional da UFC, 2008. http://www.repositorio.ufc.br/handle/riufc/26325.

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MORENO FILHO, José William Moreira. A Transvaloração dos valores em O nascimento da tragédia. 2008. 116f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2008.<br>Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-02T13:47:10Z No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5)<br>Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-10-04T15:39:59Z (GMT) No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5)<br>Made available in DSpace on 2017-10-04T15:39:59Z (GMT). No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5) Previous issue date: 2008<br>The major purpose of the present study is to make explicit the possible presence of a revaluative approach in Nietzsche’s first published work, The birth of tragedy. That book brings, according to the philosopher, the first signs of his mature central conception: the revaluation of all values, that is, the birth of a new consciousness and new values. In the late period of his philosophical works, such as Ecce homo, Twilight of idols and Attempt of self-critique, Nietzsche points out to that intention of a reformulation of his initial conceptions. That is to say, he declares that The birth of tragedy was his first revaluation of all values. If we mainly focus on his early (1872 – 1875) as well as his late (1886 – 1888) philosophical works, we can find throughout the relation between art and knowledge in what sense the revaluation of all values is to be conceived. It is on art, more specifically on the art of tragedy that Nietzsche sees a positive way for human existence, since art makes life become positive. If mankind adopted a way of life guided by its own artistical powers, it could recognize its proper skills either to create or to destroy moral values, becoming able of promoting a radical change of predominant moral values, that is, a revaluation of all values. Nevertheless, the belief of an unlimited knowledge, which the unartistic tendency inherited from the aesthetic socratism opposes the offspring of a new tragic (artistic) approach. That belief erroneously over-estimates rationality as it were able to solve all enigmas of life. Therefore, The birth of tragedy brings the very foundations of Nietzsche’s late philosophy, since one can find in that work the most important issues of his thought: the critique of an exaggerated rationality initiated by an unartistic tendency named aesthetical socratism; the apology of a tragic wisdom (dionisiac), which will only be apprehended by art. Nietzsche’s struggle, therefore, aimed to call modern mankind’s attention, witch inherited aesthetic socratism, to realize the decadence of a lifestyle guided by unartistic tendencies; he also pointed out that only throughout an artistic existence mankind would be able to overcome decadent values. In that sense, art is Nietzsche’s affirmative proposal in The birth of tragedy which will be maintained in his latest philosophy. That is because it is only by that first work that the philosopher would be able to propose a revaluation of all values in his final work, by means of which life would be toned up in order to become positive.<br>A proposta deste trabalho tem como objetivo central explicitar a presença de um caráter transvalorativo na primeira obra publicada por Nietzsche: O nascimento da tragédia. Esta traz embrionariamente, segundo o próprio filósofo, o que seria mais tarde o objetivo central de toda sua filosofia: a transvaloração de todos os valores, isto é, o nascimento de um novo parâmetro de avaliação, de novos valores. Nietzsche, em textos de seu último período filosófico como Tentativa de autocrítica, Crepúsculo dos ídolos e Ecce Homo, [aponta para essa intenção de redimensionamento de suas teses iniciais; ou seja,] alega que O nascimento da tragédia foi a sua primeira Transvaloração de todos os valores. Focando exclusivamente em textos escritos na sua juventude (1872 – 1875) e maturidade (1886 – 1888) filosófica, a relação entre arte e conhecimento, nos períodos apontados, indicará em que sentido a transvaloração deve seguir. É na arte, mais precisamente na arte trágica, que Nietzsche vislumbra uma existência positiva, no sentido de que a arte afirma a vida. O homem, assumindo uma vida artística, ou seja, reconhecendo-se como criador e destruidor de valores, torna-se capaz de promover uma mudança radical nos valores vigentes, uma transvaloração dos valores. Entretanto, a crença no conhecimento ilimitado, que a tendência inartística do socratismo engendrou em nossa sociedade moderna, obsta a vinda de uma nova era trágica (artística). Essa crença supervaloriza a razão dotando-a, segundo Nietzsche, erroneamente da capacidade de desvendar os enigmas da vida. Assim, O nascimento da tragédia traz em si as bases da filosofia tardia nietzschiana, pois nela já se encontram temas de extrema importância do seu filosofar, são eles: crítica à razão exacerbada iniciada por uma tendência inartística denominada de socratismo (estético e teórico) e a apologia a uma sabedoria trágica (dionisíaca), a qual só pode ser aprendida através da arte. A luta de Nietzsche é, portanto, alertar o homem moderno, herdeiro do socratismo, o quanto a vida guiada por essa tendência inartística é decadente; é mostrar que só através de uma existência artística o homem seria capaz de superar valores decadentes. A valorização da arte é a proposta afirmativa de Nietzsche em O nascimento da tragédia que será retomada em sua filosofia derradeira, pois é somente por meio dela que uma transvaloração de todos os valores se tornará possível e, consequentemente, a vida será tonificada e afirmada.
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Books on the topic "The Birth of Tragedy"

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Nietzsche, Friedrich. The birth of tragedy. 2nd ed. Barnes & Noble, 2006.

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Nietzsche, Friedrich. The birth of tragedy. Dover Publications, 1995.

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Nietzsche, Friedrich. The Birth of Tragedy. Oxford University Press, 2008.

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Nietzsche, Friedrich. The birth of tragedy. 2nd ed. Barnes & Noble, 2006.

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Egri, Péter. The birth of American tragedy. Tankönyvkiadó, 1988.

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Lenson, David. The birth of tragedy: A commentary. Twayne Publishers, 1987.

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Nietzsche, Friedrich. The birth of tragedy and other writings. Cambridge University Press, 1999.

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Martin, Jesinghausen, ed. Nietzsche's The birth of tragedy: A reader's guide. Continuum, 2010.

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Nietzsche, Friedrich. The birth of tragedy ; and, The genealogy of morals. Anchor Books, 1990.

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Nietzsche, Friedrich. The birth of tragedy: And, the genealogy of morals. Doubleday, 1990.

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Book chapters on the topic "The Birth of Tragedy"

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Nietzsche, Friedrich. "The Birth of Tragedy." In Aesthetics. Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-67.

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Forster, Michael N. "Romanticism and The Birth of Tragedy." In Romanticism, Philosophy, and Literature. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40874-9_12.

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Willmott, Glenn. "11. The Birth of Tragedy in Digital Aesthetics." In Fluid Screens, Expanded Cinema, edited by Janine Marchessault and Susan Lord. University of Toronto Press, 2007. http://dx.doi.org/10.3138/9781442684355-013.

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Cox, Jeffrey N. "The Death of Tragedy; or, the Birth of Melodrama." In The Performing Century. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589483_9.

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Fischer, Norman J. "The Common Grounds of Philosophic and Tragic Wisdom: Reflections Upon Nietzsche’s Birth of Tragedy." In Passions of the Earth in Human Existence, Creativity, and Literature. Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0930-0_14.

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Euben, J. Peter. "The Tragedy of Tragedy." In Tragedy and International Relations. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230390331_7.

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Dukore, Bernard F. "Tragedy?" In Death of a Salesman and The Crucible. Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-08599-6_13.

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Dukore, Bernard F. "Tragedy?" In Death of a Salesman and The Crucible. Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-08599-6_7.

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Gill, Richard. "Tragedy." In Mastering Shakespeare. Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_18.

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Feagin, Susan. "Tragedy." In The Blackwell Guide to Aesthetics. Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756645.ch16.

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Conference papers on the topic "The Birth of Tragedy"

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Chuan, Ming-Yuan, and Chun-Wang Sun. "Cubic Tragedy." In the ACM SIGGRAPH 05 electronic art and animation catalog. ACM Press, 2005. http://dx.doi.org/10.1145/1086057.1086152.

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Gessiou, Eleni, Alexandros Labrinidis, and Sotiris Ioannidis. "A Greek (privacy) tragedy." In the 8th ACM workshop. ACM Press, 2009. http://dx.doi.org/10.1145/1655188.1655203.

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Hester, Josiah, Lanny Sitanayah, and Jacob Sorber. "Tragedy of the Coulombs." In SenSys '15: The 13th ACM Conference on Embedded Network Sensor Systems. ACM, 2015. http://dx.doi.org/10.1145/2809695.2809707.

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Oganjanyan, Sergey, and Sergey Silantiev. "Sergey Mergelyan: Triumph and Tragedy." In 2017 Fourth International Conference on Computer Technology in Russia and in the Former Soviet Union (SORUCOM). IEEE, 2017. http://dx.doi.org/10.1109/sorucom.2017.00008.

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Hung, Yung-Tse, Paul A. Bosela, and Alicia Saunté Phillips. "Environmental Tragedy of Love Canal." In Fourth Forensic Engineering Congress. American Society of Civil Engineers, 2006. http://dx.doi.org/10.1061/40853(217)26.

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Chernysheva, Anna, and Anna Kostikova. "Tragedy of the "Absurd Hero"." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.266.

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Nilova, Anna. "ANCIENT TRAGEDY IN DOSTOEVSKY�S WORKS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s27.059.

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Philippova, D. K. "RUSSIAN TRANSLATIONS OF SHAKESPEARE’S TRAGEDY «HAMLET»." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-67.

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Xu, Yumei. "Sophy’s Tragedy in The Son’s Veto." In Proceedings of the International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/cesses-18.2018.126.

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Chen, Shuai. "The Consumerism Culture in "American Tragedy"." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.47.

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Reports on the topic "The Birth of Tragedy"

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Behrend, Wendy. The Birth of Tragedy in Lars von Trier's "Melancholia". Portland State University Library, 2014. http://dx.doi.org/10.15760/honors.99.

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Sparks, Jason. Tragedy at My Lai. Defense Technical Information Center, 2010. http://dx.doi.org/10.21236/ada537093.

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Copeland, Brian, and M. Scott Taylor. Trade, Tragedy, and the Commons. National Bureau of Economic Research, 2004. http://dx.doi.org/10.3386/w10836.

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Daley, Shawn. Centralia, Collective Memory, and the Tragedy of 1919. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.2574.

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Oosterhout, Gretchen. An Evolutionary Simulation of the Tragedy of the Commons. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.1250.

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Banzhaf, H. Spencer, Yaqin Liu, Martin Smith, and Frank Asche. Non-Parametric Tests of the Tragedy of the Commons. National Bureau of Economic Research, 2019. http://dx.doi.org/10.3386/w26398.

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Scot, Barbara. Hegel and the Concept of Religion in Greek Tragedy. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.2260.

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Allred, Colette, and Karen Guzzo. Men’s Birth Expectations. National Center for Family & Marriage Research, 2018. http://dx.doi.org/10.25035/ncfmr/fp-18-12.

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Artadi, Elsa, and Xavier Sala-i-Martin. The Economic Tragedy of the XXth Century: Growth in Africa. National Bureau of Economic Research, 2003. http://dx.doi.org/10.3386/w9865.

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Touch Surgery. Hands On Technique To Support Vaginal Birth For Low Risk Birth. Touch Surgery Publications, 2019. http://dx.doi.org/10.18556/touchsurgery/2016.s0161.

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