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. The background, a painted canvas, showed a panorama of the destroyed city while in the foreground the drama of relief was illustrated through a three-dimensional model of the hospitals put up to help the wounded. Reflecting the state of the art in the museum world, the exhibit worked with electrical lights to stage and dramatize objects and used stained glass windows designed by Louis Tiffany of New York. In addition, the museum also impressed through large, portentous
a country and the people who lived there. And at the end of the day he didn’t think we should be divorced from England and the king.’ 34 It is noteworthy that reinterpreting Benedict Arnold’s life as a way of emphasizing Anglo-American linkage has been neither an isolated occurrence nor an exclusively British phenomenon. Arnold’s grave at St. Mary’s Church in Battersea, for example, has been marked by Americans with similar motives multiple times. An elaborate stained-glass tribute to Arnold was donated to the church by American Vincent Lindner during the 1976
that we narrate to ourselves’ (Brooks 1984: 3). In fact, one may argue that we are currently in the middle of a narrative, in our case a narrative about the importance of narrative. As Roland Barthes has pointed out: Among the vehicles of narrative are articulated language, whether oral or written, pictures, still or moving, gestures, and an ordered mixture of all those substances; narrative is present in myth, legend, fable, tale, short stories, epics, history, tragedy, drame [suspense drama], comedy, pantomime, painting … stained-glass windows, movies, local news