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Alison Smith

The films we have considered in the first four chapters derive from 1968 primarily in terms of content. Their styles remain modelled on pre-existing cinematic conventions, even if they have introduced innovations in emphasis and sometimes even in form. While in the 1940s and 1950s naturalism could be associated with a politically inspired break with previous production, notably in the early days of Italian neo-realism, by the 1970s it was both traditional and depoliticised. The implied low budget and social honesty did

in French cinema in the 1970s
The Shahyad Arya-Mehr Tower
Ali Mozaffari and Nigel Westbrook

5 Forming a national image through public projects: The Shahyad Arya-Mehr Tower The monument of Shahyad Ariamehr is being built near Teheran to celebrate the 25th centenary of the foundation of the Iranian Empire, and of the Declaration of Human Rights by Cyrus the Great. As is fitting for such an occasion, it is a monument to the past – its inspiration clearly coming from traditional design. But it has another purpose concerned very much with today.1 I think one of the reasons that Persians feel so close to Shahyad Tower is that it is reminiscent of Ctesiphon

The Gothic in Shelley‘s ‘The Triumph of Life’
John Whatley

The criticism of Shelley‘s ‘The Triumph of Life’ now makes up a small library of its own, though the status of the poem as a fragment yet precludes any final closure of commentary. The article proposes that criticism of the ‘Triumph’ falls between two poles. One view, of which Paul De Man is representative, sees the Shelley of his final poem as mature, becoming skeptical of romantic uses of the language of the uncanny. The other, of which Ross Woodman is representative, sees him finally as a fascinated believer in the supernatural and transcendent. This paper argues that the poem might be better seen as a complex and subtle mixing of these two frames, a skeptical fascination that relies on Shelley‘s refined use of the Gothic mode in the poem. This unstable frame results in an evaluation of Rousseau‘s philosophy as a form of truth flawed by desire, and a counterfeit ghost of the originating ideas when it reaches the public sphere. Seen this way, Shelley places Rousseau‘s ‘shape all light’ within a pantheon of other great figures of world history as an idealist who was made into a gothic cult by those in power.

Gothic Studies
Open Access (free)
Towards an archaeology of modernism
Jay Bernstein

10 Jay Bernstein Melancholy as form: towards an archaeology of modernism When traditional aesthetics . . . praised harmony in natural beauty, it projected the selfsatisfaction of domination onto the dominated.1 We can date the end of the novel precisely: the last novel ever written was Flaubert’s Sentimental Education, published in 1869. It is sometimes said that Flaubert’s work inaugurates the waning of the Bildungsroman and the inauguration of the novel of disillusionment. But that says too little. Can there be a roman without the Bildung? The unifying

in The new aestheticism
The parables of the Wedding Feast and Great Supper
Mary Raschko

Paradox formed into story 177 5 Paradox formed into story: the parables of the Wedding Feast and Great Supper Thus comparisunez Kryst þe kyndom of heuen To þis frelych feste þat fele arn to called; For alle arn laþed luflyly, þe luþer and þe better, Þat euer wern fulȝed in font, þat fest to haue. (Cleanness, 161–4)1 This final chapter returns to the parable of the Wedding Feast (Matt 22:1–14), a story fraught with contradictions, both within the narrative itself and in its relation to other Gospel stories. The Wedding Feast is a paradigmatic parable: it is

in The politics of Middle English parables
Abstract only
Carmen M. Mangion

3 Forming a novice1 Train well. Teach much, lay good strong foundations, and let a determined will and God’s grace do the rest.2 As young girls and women, daughters were taught according to a curriculum that included the practical details of running a home, their spiritual and moral responsibilities and suitable social and charitable obligations.3 The importance of this ‘moral motherhood’4 in the nineteenth century led to a wide array of women’s conduct manuals that instructed mothers on the appropriate training of daughters. Sean Gill has suggested that the

in Contested identities
Gilli Bush-Bailey

GBB-chapter6 11/4/06 12:41 Page 157 6 Re-forming the stage The season of 1697/8 marks a crucial period in theatre history and an extraordinary chapter in the history of theatre women. In no other season on the Late Stuart stage were so many new plays by female playwrights performed by the same company in the same playhouse. Competition between the two houses was still fierce and an act of overt plagiarism by the Patent Company fuelled the ongoing animosity. The Players’ Company maintained its commercially successful edge over its rivals and this season can be

in Treading the bawds
Paul Sargent

Childhood identity employed to govern 6 The forms of childhood identity employed to govern We may not share an essence, a soul, an identity or any other fixed attributes with others. But there is one status that we do share, and that is our status as subjects of government. That is to say, like so many others, we are inhabitants of regimes that act upon our own conduct in the proclaimed interest of our individual and collective well-­being. (Rose, 1999: 284) Introduction For the purpose of this study ‘childhood identity’ is not regarded as a stable category

in Wild Arabs and savages
Tanya Pollard

I N THE LATE SIXTEENTH century, as theatrical performances took on new prominence in English schools and universities, and expanded into the new spaces of commercial playhouses, playwrights began to write in new dramatic forms. In particular, the classical dramatic genres of tragedy and comedy quickly became staples of the theatre

in Formal matters
Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
Debra Kelly

6 ‘An infinity of living forms, representative of the absolute’? Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter Debra Kelly Debra Kelly ‘An infinity of living forms’ Artist, poet, witness Wanting to introduce new ideas is good, being unable not to introduce new ideas is much better. The ism is a bit like a magnifying glass. It magnifies the precise point under examination, but you can no longer see anything around it, and this point is so magnified that it attracts: you throw yourself into it, it swallows you up, and

in Back to the Futurists