This document contains information relevant to Extensible Markup Language XML and is part of the Cover Pages resource. The Cover Pages is a comprehensive Web. AF300000578-3676748-image-a-79_1467812985745.jpg' alt='Complete Works Of William Shakespeare 13 Volumes Definition' title='Complete Works Of William Shakespeare 13 Volumes Definition' />Buried Child Dictionary definition of Buried Child. SAM SHEPARD 1. 97. AUTHOR BIOGRAPHYPLOT SUMMARYCHARACTERSTHEMESSTYLEHISTORICAL CONTEXTCRITICAL OVERVIEWCRITICISMSOURCESFURTHER READINGAfter more than a decade as Off Broadways most successful counter culture playwright, Sam Shepard achieved national fame and attention with his 1. Pulitzer Prize winning family drama, Buried Child. The play is a macabre look at an American Midwestern family with a dark, terrible secret Years ago, Tilden, the eldest of three sons belonging to Dodge and Halie, committed an act of incest with his mother. She bore his child, a baby boy, which Dodge drowned and buried in the field behind their farmhouse. The act destroyed the family. Dodge stopped planting crops in his fields and took to smoking, drinking, and watching television from a lumpy old sofa. Halie, apparently seeking salvation, turned to religion with fervor. Definition of Buried Child Our online dictionary has Buried Child information from Drama for Students dictionary. Encyclopedia. com English, psychology and. Complete Works Of William Shakespeare 13 Volumes Definition' title='Complete Works Of William Shakespeare 13 Volumes Definition' />Did you know that you can help us produce ebooks by proofreading just one page a day Go to Distributed Proofreaders. I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul. Sir Thomas More educational material resource center for teachers and scholars. Online library of Mores complete works, scholarship on Thomas More, and historical. She spouts Chritian platitudes and cavorts with the hypocritical Father Dewis. Tilden went insane with guilt and grief, spent time in jail in New Mexico, and has only recently returned to the farmstead, perhaps to set everything right. The secret is drawn out into the light of day, and the family curse apparently lifted, with the arrival of Vince, Tildens estranged son, and his girlfriend, Shelly. With its lower class, sometimes humorous, recognizable characters and dialogue, Buried Child resembles the mid century American realism and grotesquerie of Arthur Miller Death of a Salesman or Tennessee Williams A Streetcar Named Desire. However, its roots in ritual and its approach to monumental, timeless themes of human sufferingincest, murder, deceit, and rebirthresemble the destruction wreaked by the heroes of Greek tragedy. The play contains many of Shepards favorite motifs a quirky, often frightening, family of antagonists contained in a claustrophobic farmhouse somewhere in the great American Midwest. Reviews of the plays New York premiere at the Theater for the New City on October 1. Critics who had followed his ten year career Off Broadway were happy for Shepards mainstream success, while mainstream critics who were unfamiliar with the playwright were pleased with the new discovery. Even critics who werent quite sure what it was they had found in Buried Child assured their readers that they liked the play. In the Nation, Harold Clurman wrote, What strikes the ear and eye is comic, occasionally hilarious behavior and speech at which one laughs while remaining slightly puzzled and dismayed if not resentful, and perhaps indefinably saddened. Yet there is a swing to it all, a vagrant freedom, a tattered song. Something is coming to an end, yet on the other side of disaster there is hope. From the bottom there is nowhere to go but up. Shepard may have felt the same way. Whether he sought it or not, Buried Child marked a turning point in his career. With its success, he found his plays in demand in New York and across the country, and during the next ten years he created commercial successes like True West, Fool for Love, and A Lie of the Mind that found their way to Broadway and film. International Driving License Chennai Fees Must Fall. In 1. 99. 5, Shepard rewrote Buried Child the original director made changes to the play that went against the playwrights intentions. The new, author approved version premiered at the Steppenwolf Theatre in Chicago before transferring to Broadway in April, 1. In both cities, the play was hailed as a comical and insightful presentation of the disintegrating American dream. Like the plays he writes, Sam Shepards life and career have been unpredictable, wide ranging, well traveled, and, ultimately, quintessentially American. Shepard was born Samuel Shepard Rogers in Fort Sheridan, Illinois, on November 5, 1. His father was in the Army Air Corps, and the family moved around from base to base before settling on an avocado ranch in Duarte, California. There, the future playwright found a love for horses and the outdoors that has remained with him ever since. He also picked up his fathers drums and discovered a love for music that found its way into many of his plays. In his semi retirement, Shepards father became an abusive alcoholic. After a series of violent confrontations, young Sam joined a touring repertory theatre group called the Bishops Company, left home, and eventually found his way to the opposite coast New York City. His arrival in New York in the early 1. Although he was only nineteen years old, with a few months of acting experience and a single, unproduced play to his credit, the Off Broadway theatre scene was just gaining momentum. It was there, in the tiny experimental studios and renovated churches of the underground theatre movement, that Shepard found his niche as a playwright. His first professional production was a pair of one acts, Cowboys and The Rock Garden, produced by Theatre Genesis at Saint Mark Church in the Bowery in 1. Although the popular press dubbed the new writers work a pale imitation of Absurdist author Samuel Beckett Waiting for Godot, the Village Voice and other counterculture publications gave him rave reviews and encouraged him to write more. Over the next several years, Shepard produced a series of experimental, poetic, musical one acts and full length plays that earned him a string of Obie Awards Off Broadways equivalent of the Tony Award and a cult following in New York and London, where he temporarily relocated in the early 1. The Tooth of Crime 1. Curse of the Starving Class 1. Shepard wider recognition, and larger audiences, but it wasnt until Buried Child 1. The play earned Shepard his tenth Obie Award no other American playwright has won more than two as well as the Pulitzer Prize for drama. With typical, Midwestern style humility, Shepard declared, If I was gonna write a play that would win the Pulitzer Prize, I think it would have been that play, you know. Its sort of a typical. Pulitzer Prize winning play. It wasnt written for that purpose it was a kind of test. I wanted to write a play about a family. All of Shepards plays are characterized by an obvious love of language and a flair for visual imagery. Often, the imagery he conjures is of the American West. His characters are obsessed with American myths and metaphorscowboys and Indians, ranches, deserts, and other wide open spacesand often the plots of his plays parallel familiar folk tales or religious parables. Thematically, he is often concerned with the American Dream and its effects on families, though the fathers, mothers, and sons that inhabit his work tend to be much darker, even more frightening aspects of those that appear in the plays, movies, and television of popular culture. Since the success of Buried Child, Shepard has produced other popular plays, two of which, True West 1. Fool for Love 1. In the 1. Shepard himself turned to film, finding his way back to acting. He has appeared on screen in such films as Days of Heaven, Frances, The Right Stuff, and Steel Magnolias, as well as Robert Altmans film version of his play Fool for Love 1. Act IBuried Child occurs in a single setting the large downstairs living room of a dilapidated Midwestern farmhouse. The creaky old estate is occupied by an odd, eccentric, and often frightening family who are removed from any traces of civilization outside. At the beginning of the play, Dodge, the clans leader, is lying on a dingy old sofa, half asleep, watching a television with no sound. As he listens to the rainfall outside, he begins to cough, tries to stifle his hacking with a slug of whiskey from a hidden bottle, and manages to stifle his choking only when his wife, Halie, calls to him from upstairs. The opening dialogue between Dodge and the unseen Halie, though relatively short, provides a great deal of important exposition in a play that requires careful attention to clues and minor details. DEATH BY GOVERNMENT GENOCIDE AND MASS MURDERFigures and Tables Forward by Irving Louis Horowitz. Preface. Acknowledgments 1. Murdered Summary and Conclusions 2. Century Democide I BACKGROUND 2. The New Concept of Democide Definition of Democide. Over 1. 33,1. 47,0. Murdered Pre Twentieth Century Democide. II 1. 28,1. 68,0. VICTIMS THE DEKA MEGAMURDERERS 4. Murdered The Soviet Gulag State. Murdered The Communist Chinese Ant Hill. Murdered The Nazi Genocide State. Murdered The Depraved Nationalist Regime. III 1. 9,1. 78,0. VICTIMS THE LESSER MEGA MURDERERS 8. Murdered Japans Savage Military. Murdered The Khmer Rouge Hell State. Murdered Turkeys Genocidal Purges. Murdered The Vietnamese War State. Murdered Polands Ethnic Cleansing. Murdered The Pakistani Cutthroat State. Murdered Titos Slaughterhouse. IV 4,1. 45,0. 00 VICTIMS SUSPECTED MEGAMURDERERS1. Murdered Orwellian North Korea. Murdered Barbarous Mexico. Murdered Feudal Russia. References. Index. IMPORTANT NOTE Among all the democide estimates appearing in this book. I have changed that for Maos famine, 1. And thus I have had to change the overall democide for the PRC 1. Details here. I have changed my estimate for colonial democide from 8. Details here. Thus, the new world total old total 1. New World total 1. China 5. 0,0. 00,0. Colonies 2. 62,0. Just to give perspective on this incredible murder by government, if all these bodies were laid head to toe, with the average height being 5, then they would circle the earth ten times. Also, this democide murdered 6 times more people than died in combat in all the foreign and internal wars of the century. Finally, given popular estimates of the dead in a major nuclear war, this total democide is as though such a war did occur, but with its dead spread over a century. FIGURES AND TABLES FIGURES Figure 1. Megamurderers and Their Annual Rates. Figure 1. 2. Democide Lethality. Figure 1. 3. Golgotha Among the Largest States. Figure 1. 4. Golgothas RacialEthnic Composition. Figure 1. 5. Regional Origin of Golgothians. Figure 1. 6. Democide Compared to War Battle Dead. Figure 1. 7a. Power Curve of Total Democide. Figure 1. 7b. Power Curve of War Battle Dead. Figure 1. 7c. Power Curve of Democide Intensity. Figure 1. 7d. Power Curve of War Intensity Killed. Figure 1. 8. Democide Versus War Battle Dead Democracies Versus Nondemocracies. Figure 1. 9. Range of Democide Estimates for Regimes. Figure 4. 1 Soviet Democide Components and WarRebellion Killed 1. Figure 4. 2. Soviet Democide and Annual Rate by Period. Figure 5. 1. PRC Democide and Annual Rate by Period. Figure 5. 2. PRC Democide by Source. Figure 5. 3. PRC Democide, Famine, and WarRevolution Deaths by Period. Figure 6. 1. Nazi Democide Compared to That of Others. Figure 7. 1. Nationalist Versus Communist Democide. Figure 8. 1. Components of Japanese Democide in World War II. Figure 9. 1. Estimated Cambodian Population Versus Predicted. Figure 9. 2. Estimated Regime Effects on the Cambodian Population. Figure 9. 3. Sources of Unnatural Cambodian Deaths. Figure 9. 4. Perpetrators of Cambodian Democide. Figure 9. 5. Cambodian Democide Rates Compared to Others. Figure 1. 0. 1. Deaths From Turkeys Genocide, War, and Famine 1. Figure 1. 1. 1. Comparison of Vietnam War and Post War Deaths in Vietnam, Laos, and Cambodia 1. Figure 1. 4. 1. Democide Annual Rates Yugoslavia Compared to Others. TABLES Table 1. 1. Democratic Versus Nondemocratic Wars 1. Table 1. 2. 2. 0th Century Democide. Table 1. 3. Fifteen Most Lethal Regimes. Table 1. 4. This Centurys Bloodiest Dictators. Table 1. 5. Some Major Episodes and Cases of Democide. Table 1. 6. Democide and Power. Table 2. 1. Sources of Mass Death. Table 3. 1. Selected pre 2. Century Democide and Totals. Table 4. 1. Overview of Soviet Democide. Table 5. 1. PRC Democide 1. Table 6. 1. Selected Nazi Democide and European War Dead. Table 6. 2. Nazi Democide Rates. Table 6. 3. Comparison of Nazi Democide to That of Other Regimes. Table 7. 1. Chinas Democide, Famine, War and Rebellion Dead, 1. Table 7. 2. Period and Annual Democide Rates. Table 8. 1. Japanese Democide in WWII. Table 9. 1. Cambodian Dead 1. Table 9. 2. Conditions of Life Under the Khmer Rouge. Table 9. 3. Cambodian Democide Rates Compared to Others. Table 1. 0. 1. Turkeys Dead 1. Table 1. 0. 2. Turkeys Armenian and Greek Genocide. Table 1. 1. 1. Vietnams War Dead and Democide 1. Table 1. 1. 2. Vietnam War and Post War Dead 1. Table 1. 1. 3. Vietnam Comparative Democide Rates. Table 1. 2. 1. German Expulsion Democide. Table 1. 2. 2. German Expulsion Democide Rates. Table 1. 3. 1. Pakistan Dead March to December 1. Table 1. 4. 1. Democide in Yugoslavia. Table 1. 4. 2. Comparison of Yugoslavian Democide and Democide Rates. Table 1. 5. 1. North Korean Democide 1. Table 1. 6. 1. Mexican Democide 1. Table 1. 7. 1. Russian Democide 1. PREFACE This is my fourth book in a series on genocide and government mass murder, what I call democide. The previous works concentrated on the four regimes that have committed the most democide, specifically the Soviet Union, Nationalist China under Chiang Kai shek, communist China, and Nazi Germany. This study includes the core results of those works in addition to all other cases of democide in this century up to 1. Given the extent and detail of these books, the reader may be surprised that the primary purpose was not to describe democide itself, but to determine its nature and amount in order to test the theory that democracies are inherently nonviolent. They should have no wars between them, the least foreign violence and government related or directed domestic violence revolutions, coups, guerrilla war, and the like, and relatively little domestic democide. I have substantiated the war, foreign, and domestic violence parts of this theory in previous works. As will be seen, the results here clearly and decisively show that democracies commit less democide than other regimes. These results also well illustrate the principle underlying all my findings on war, collective violence, and democide, which is that the less freedom people have the more violence, the more freedom the less violence. I put this here as the Power Principle power kills, absolute power kills absolutely. In developing the statistics for this and the previous three volumes, almost 8,2. I then did over 4,2. My intent is to be as explicit and public as possible so that others can evaluate, correct, and build on this work. I give the appendices for the Soviet, Chinese, and Nazi democide in my books on them. The appendices for this book were too massive to include here one appendix table alone amounts to over 5. Statistics of Democide. I also include therein the details and results of various kinds of multivariate analysis of this democide and related data. Then what is covered here This book presents the primary results, tables, and figures, and most important, an historical sketch of the major cases of democide those in which 1,0. The first chapter is the summary and conclusion of this work on democide, and underlines the roles of democracy and power. Following this, chapter 2 in Part 1 introduces the new concept of democide. It defines and elaborates it, shows that democide subsumes genocidal killing, as well as the concepts of politicide and mass murder, and then tries to anticipate questions that the concept may arouse. It argues that democide is for the killing by government definitionally similar to the domestic crime of murder by individuals, and that murderer is an appropriate label for those regimes that commit democide. Readers that are satisfied with the thumbnail definition of democide as murder by government, including genocidal killing,4 can ignore this chapter. It is essential, however, for those with a professional interest in the results or wish to question the conclusions. Following this chapter is a rough sketch of democide before the 2.