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Sam Rohdie

Reproduction There are scenes in Godard’s film Passion (1982) that, at different points in the film, famous paintings from the seventeenth, eighteenth and nineteenth centuries by Velazquez, Manet, Rembrandt, Goya, Delacroix are set in scene by costumes, decor, lighting and the positioning of actors. In some of these scenes, the Requiem of Mozart or the Requiem of Gabriel Fauré can be heard. The scenes are staged replicas of the paintings, like living tableaux, without any attempt to dissemble the replication by absorbing what is staged into the fiction, for

in Film modernism
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Hanneke Canters and Grace M. Jantzen

CHAPTER 7 Multiple subjects and fluid boundaries Fluid logic What could be meant by ‘fluid logic’? What would be its characteristics? What difference would it make to philosophical or psychoanalytic theory if it took fluidity seriously and allowed it to destabilize the binary system of traditional logic? What would be its creative possibilities, and what would be its difficulties? These questions have been growing ever more insistent as we have explored Elemental Passions. We wish to use this final chapter to begin to address them. Fluid logic and Irigaray

in Forever fluid
Gerusalemme liberata and the early development of opera in England
Jason Lawrence

what was to become the most widely used and familiar moment for musical adaptation in all of the poem: Armida’s impassioned lament for the departing Rinaldo, after he has been brought to his senses at the sight of his effeminised self in the magic shield carried by Carlo and Ubaldo. 5 It is not only the elevated passions and Dido-like grandeur of the lament itself which suggest the passage

in Tasso’s art and afterlives
Salvador Ryan

Passione Christi, attributed to St Bernard. A devotional work comprising a literary dialogue between St Anselm and the Virgin Mary on the subject of Christ’s Passion, Dialogus Beatae Mariae et S. Anselmi de Passione, was first translated to Irish at the end of the fourteenth century and was repeatedly copied through the fifteenth century.13 Religious texts from England were similarly absorbed into fifteenth-century Gaelic Irish devotional culture. One good example is the Carta Humani Generis or ‘Charter of Christ’; this is a Middle English allegory which presented the

in Irish Catholic identities
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Genre and the birth and childhood
Matthew Page

It’s a swell story. A story told before, yes, but we like to flatter ourselves that it’s never been told with this kind of distinction and panache. (Eddie Mannix, Hail, Caesar! ( 2016 )) At the heart of the concept of genre is a tension between the need to match a set of conventions and the need to deviate from them. Successful genres, then, continually evolve as minor innovations accrue over time. Whilst films such as The Passion of the Christ ( 2004 ) and Noah ( 2014 ) have recently sought to revive the biblical epic genre in similar fashion to

in The Bible onscreen in the new millennium
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Thomas A. Prendergast and Stephanie Trigg

medieval, love for the past became abjected with the professionalism of literary studies as an embarrassing sign of amateurism. As a result, the world of medieval studies was divided between those who valued enlightenment thinking and reason and those who relied on antiquarian models of passion. 7 This model is enormously powerful and seems to have the advantage of describing the creation of medieval

in Affective medievalism
Open Access (free)
Farah Karim-Cooper

therefore, to address the ways in which the passions, humours and senses merge within the complex physiology of the human body. To understand ourselves and our own sensory engagement with the world is one justification for a cultural history of the senses. But we may ask ourselves why this book and others like it (as there are more studies on the senses in early modern England on the way) are particularly important and why they are important at the moment. In October 2011, Globe Education launched a series of lectures, staged readings and conferences on Shakespeare and

in The senses in early modern England, 1558–1660
Sam Rohdie

Italian spectacle films, the Christ story to films of the Passion, the story of the seventeenth century St Bartholomew’s massacre to French Films d’Art, the modern story to the melodramas that Griffith had perfected. If the narrative elements of which Intolerance is composed were already familiar, Griffith’s ordering of these was unique. Each story was a story of intolerance through the ages. Rather than

in Montage
Performing passion in Chaucer and Shakespeare
Andreas Mahler

‘Love’ as problem Around 1600, in England, the passion of love, at least in its textual representation, seems to have become largely exhausted. In the programmatic first poem of his collection The Forest , written in 1611/12, Ben Jonson insists on informing the reader right from the start, ‘Why I Write Not of Love’, 1 an idea which

in Love, history and emotion in Chaucer and Shakespeare
Before She Met Me
Peter Childs

), and a woman whose mature attitude to sex contrasts with those of the men (Ann, an ex-actress and Graham’s second wife). The main themes of the novel concern the relationship between reason and passion at a particular point in social history, advocating how the 1960s changed sexual manners but not feelings, and emphasising how difficult it can be to control primitive but unwanted emotions. The action of the novel takes place in 1981 when Graham is 42 and Ann is 35. This is four years after they first met at a party in 1977, when Graham was

in Julian Barnes