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Emily and Arcite in A Midsummer Night’s Dream
Helen Barr

4 ‘Wrinkled deep in time’: Emily and Arcite in A Midsummer Night’s Dream When Theseus is offered the show of a drunken mob of women tearing the poet Orpheus limb from limb for his nuptial celebrations he dismisses it thus: That is an old device, and it was played When I from Thebes came last a conqueror. (A Midsummer Night’s Dream 5.1.50–1)1 How old and when? Theseus’s allusion to his own backstory presents a temporal puzzle. In Chaucer’s The Knight’s Tale, Theseus returns in triumph from his conquest of Thebes, after he has married his Amazonian bride

in Transporting Chaucer
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Alison Smith

narrative, no name, background or reason for existence. He connotes fairground fantasy. The conjuror possesses a power of transformation which presents itself as magic while relying on the spectator’s complicity and suspension of disbelief, and it is this attitude to the forthcoming film which his appearance as announcer of the credits seems to require. After the credit sequence, we are allowed for quite some time to forget the existence

in Agnès Varda
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Don Fairservice

, he comes obliquely towards the camera and leaves the frame close to camera right. For all its lack of sophistication, Buy Your Own Cherries contains evidence of a carefully judged sense of pace and timing that was beginning to enter some films made from this time. What is noticeable, however is that, whereas we understand the order of the scenes to be chronological, the film makes no distinction between events that follow

in Film editing: history, theory and practice
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The unconsoled in Rivette’s late works
Douglas Morrey and Alison Smith

story’ (Porton 2003 : 15). Rivette’s film dutifully ‘quotes’ much of the iconography of the fantastical genre, as classified by Jean-Louis Leutrat in his 1995 volume Vie des fantômes : there is an omnipresent, and very jittery, cat, named Nevermore with a nod to Edgar Allan Poe’s ‘The Raven’; clocks tick and chime throughout the film – Julien (Jerzy Radziwilowicz) repairs antique time pieces and his home is full of these

in Jacques Rivette
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Temporal frontiers and boundaries in colonial images of the Australian landscape
Rod Macneil

landscape embodied Australia’s prehistory – a nebulous era, beyond the bounds of Western time, out of which the colonial nation would ultimately emerge. More than simply prehistoric, uncolonised Australia seemed literally timeless. An understanding of the uncolonised landscape as temporal Other to colonial Australia was fundamental to its re-creation as a space available for

in Colonial frontiers
Rachel Sykes

3 Quiet in time and narrative In 2005, Marilynne Robinson’s epistolary novel, Gilead (2004), won the Pulitzer Prize for fiction. Five years later, Robinson’s former student Paul Harding received the same prize for his debut novel, Tinkers (2009). According to Harding, many publishers rejected Tinkers before Bellevue Literary Press finally distributed it in 2009. Perceived as ‘just another graduate of the Iowa Writers’ Workshop with a quiet little novel’, publishers informed Harding that there was no readership for what they described as ‘a slow, contemplative

in The quiet contemporary American novel
Matt Perry

4 Age, time and personal memory Though Marty’s Révolte was ostensibly an act of collective memory or even collective autobiography, he reduced the imagination of participants to a monological didacticism. A re-examination of the personal memories of mutineers allows Marty’s imposed uniformity to be unpicked. The mutiny, as Bakhtin might have put it, was dialogical: it entailed a multiplicity of subjectivities unevenly communing through collective action, everyday practices, song, symbolism and language.1 Overlapping with public commemorative practices, though

in Mutinous memories
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Addressing intersectionality in the casting and performance of Chris Chibnall / Jodie Whittaker era Doctor Who
Christopher Hogg

the latest diegetic and performative developments under Chibnall is that not only does the Doctor speak with a clear northern English accent, so too do two of her regular companions, along with relocating the Earth-based narrative centre of the show for the first time from London to Sheffield. Such a shift is identified as noteworthy by all three of this chapter’s interviewees. Pryor, for instance, in discussing his work in casting series 11 and 12 of Doctor Who , states that [Chris

in Doctor Who – New Dawn
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Rick Peterson

7 Deep time Introduction The sites reviewed in the last chapter demonstrated two important points. The first was that Early Neolithic cave burial was a relatively diverse set of practices, often connected to other kinds of places. Although caves and rock shelters provided one kind of active environment and helped to constitute the temporality of these rites, there is evidence that the rites could equally well have taken place in other kinds of location. The second was that most Neolithic human remains in caves date to the early part of the period. The Early

in Neolithic cave burials
Exploring the real-time smart city dashboard
Michiel de Lange

11 From real-time city to asynchronicity: exploring the real-time smart city dashboard Michiel de Lange A plea for asynchronicity In a thought-provoking ‘design fiction’ exercise, design researchers Bleecker and Nova invert the discourse of instantaneity in urban computing and digital cartography (Bleecker and Nova, 2009). Urban new media tend to promote a speeding up of time: there is here a conspicuous arms race towards more instantaneity, more temporal proximity between events, people and places. Communication is promoted to be ‘just-in-time’; feedback to your

in Time for mapping