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Lynn Anthony Higgins

notices that the police, the church, and the state have abdicated their moral authority. He takes matters into his own hands, applies his own increasingly demented logic to his personal grievances and his public duties as a local sheriff in a colonial outpost, and eventually provokes an apocalypse. François de Cortemart, the returning warrior-father in La Passion Béatrice , laments the disappearance of God and chivalric codes as guiding principles, and is engulfed by his own cruelty and suicidal despair. And Captain Conan, a top

in Bertrand Tavernier
Victor Skretkowicz

wife, Gynecia, 6 his daughters Philoclea and Pamela, and his state, all within ‘this fatal year’ (OA, p. 5). Sidney uses erotic romance to demonstrate how all sense of political and social responsibility can be eroded by passion. Basilius’s retreat with his family to the countryside is complicated by the contrived chance arrival of Pyrocles and

in European erotic romance
Christophe Wall-Romana

4 Brittany, the edge of the modern world A sudden shift that has never been fully explained took place in Epstein’s œuvre in late 1927. Turning his back on melodramas that had been his mainstay since 1923, whether through social themes or critiques of heterosexual mores or both, Epstein discovered in himself a sudden and overwhelming passion for Brittany.1 This passion came with the refocusing of his filmmaking on a minor and semidocumentary genre, the so-called Breton film, thereby amplifying the documentary tendency present in his work since his 1922

in Jean Epstein
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Helena Ifill

, for example, insisted that Basil offered ‘scenes of fury and passion, such as, happily, real life seldom affords’.3 It is certainly true that many of the characters in Basil display behaviour that is rarely to be found in daily life. One of the most extreme characters is Robert Mannion, who blames the eponymous narrator for marrying Mannion’s employer’s daughter, Margaret, whom Mannion had previously intended to be ‘my wife, my mistress, my servant, which I choose’ (p. 189). Furthermore, Basil’s father was the ‘patron’ of Mannion’s father and allowed him to be

in Creating character
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Poetic traditions and satiric effects
Peter J. Smith

passion [she] has betrayed’ (l. 58) and accordingly his tombstone should read: ‘Here Cassy lies, by Celia slain, / And dying, never told his pain’ (ll. 77–8). Mystified by the cause of Cassinus’s sorrow, Peter demands ‘by friendship’s sacred laws’ (l.91) that he be told the reasons for his confidant’s melancholy. He recommends an eminently practical medical solution: ‘Dear Cassy, thou must purge and bleed

in Between two stools
Patsy Stoneman

chap 9 20/7/06 9:45 am Page 105 9 Cousin Phillis (1863) A tale of lost innocence (Keating, C: 30) Written almost simultaneously with Sylvia’s Lovers, Cousin Phillis seems like a reaction to the intractable problems of evolution, conflict and passion raised in that novel. Evading the problem of aggression, it presents not ‘nature red in tooth and claw’ but ‘man in harmony with nature’. Scarcely more than a short story, it has been called ‘almost perfect’ (Lerner: 16); ‘exquisite’ (Greenwood, ‘Conclusion’: WD: 650); ‘the most perfect story in the language

in Elizabeth Gaskell
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Derek Schilling

-digital French feature (shortly followed by the Gérard Depardieu vehicle Vidocq), a signal achievement in the history of film style, and the capstone of Rohmer’s half-century career. It is fitting that an intimist cinema devoted to the analysis of sentiment should have so aroused critics’ passions, however late in the director’s life course. Political considerations aside, judgements of Rohmer’s work have not

in Eric Rohmer
Carter’s ambivalent cinematic fiction and the problem of proximity
Marie Mulvey-Roberts

Carter’s ambivalent cinematic fiction 223 11 ‘I resented it, it fascinated me’: Carter’s ambivalent cinematic fiction and the problem of proximity Caleb Sivyer Ambivalence, proximity, cinema A ngela Carter was deeply ambivalent about the cinema, loving its luminous images and larger than life stars, while being highly critical of both its representation of women and its masculine structure of looking. On one side, her passion for the cinema shines through her writings and interviews. Recalling her visits as a young girl to the Granada cinema in Tooting

in The arts of Angela Carter
Open Access (free)
Cousins and the changing status of family
Jenny DiPlacidi

passions, cousin relationships occupy a curious space in which the incestuous nature of the bond is at once diminished and heightened by its relative acceptance by both English society and the law. Cousin marriages may be more permissible than other relationships between blood kin because the consanguineal tie, in terms of shared genetic material, is weaker than those between the more taboo incestuous relationships

in Gothic incest
Lynn Anthony Higgins

‘investigative drama,’ constitutes one of Tavernier’s lasting contributions to French cinema. Documentary modes of representation offer solutions to certain formal problems, too. Tavernier’s passion for documentary helps explain – and resolve – his perennial disregard for generic coherence and narrative continuity. In a recent interview, he decries the ‘tyrannies’ of plot and identification, explaining that he likes his heroes to be wrong sometimes, and to behave badly. For example, in L.627 , his policeman protagonist, Lulu (actor

in Bertrand Tavernier