Delights and follies in filmic discourse
María Donapetry

able to create pleasurable horrors in the safety of our own bedrooms. When Chema and Ángela descend to the basement of the School and are trapped in the underground corridors, he tells her a version of Oscar Wilde’s story ‘The Birthday of the Infanta’ in order to calm her nerves. The dwarf in this story entertains the princess by dancing and jumping. While looking for the princess one day, he sees himself

in Spanish cinema 1973–2010
Paris revisited
Sue Harris

– and by implication sex – can be circumvented and a new model of male–female cohabitation established. The screwball comedy is of course a variant on farce, with roots in classical theatrical forms from commedia dell’arte to Shakespeare to Oscar Wilde. The universality of the dilemmas and the timeless appeal of comedy as a social safety valve are highlighted in an ironic moment of self-referentiality in

in Spanish cinema 1973–2010
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Naples is a Battlefield (1944); The Bespoke Overcoat (1955)
Neil Sinyard

commanding officer. He directed one film during that time, Naples is a Battlefield for the Ministry of Information. After the war, he was an assistant director on Anthony Asquith’s film version of a Terence Rattigan play, While the Sun Shines (1946); the production manager on Korda’s film version of Oscar Wilde’s An Ideal Husband (1947); and the second unit director on Gordon Parry’s Bond Street (1948). However, his most

in Jack Clayton
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Elisabeth Bronfen and Beate Neumeier

Renaissance construe[d] as irrepressibly Gothic and ominously modern’, taken up in Andreas Höfele’s reading of Shakespeare’s The Tempest through Oscar Wilde’s late nineteenth century Gothic novel The Picture of Dorian Gray . Höfele takes Wilde’s reference to Caliban in the preface of the novel as a starting-point for a comparative investigation into the human/animal boundary within early modern and post

in Gothic Renaissance
Shivdeep Grewal

practitioners, theoreticians or observers: Lord Byron, Oscar Wilde, William Burroughs, J.G. Ballard, Chris Petit (specifically, the eponymous character from his novel Robinson, 1993), William Gibson (Peter Riviera, a protagonist in the latter’s Neuromancer, 1984, is a classic, and rather sinister, dandy) and Susan Sontag, whose ‘Notes on “Camp”’ (1964) could be looked to for insights into the political style of, for example, Pim Fortuyn; among the French, obvious names are Sade, Baudelaire, Huysmans and 25 26 27 C   85 Houellebecq. Foucault

in Habermas and European Integration (second edition)
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Swinburne and lyric crisis
Marion Thain

qualities than for its communicative ones. Oscar Wilde’s 1889 review which accuses Swinburne of a surrendering ‘of his own personality’ to the mastery of language over him – ‘words seem to dominate him’ (Wilde 1968 , 148, 146) – and T. S. Eliot’s charge of ‘uproot[ing]’ language and offering ‘merely the hallucination of meaning’ (Eliot 1920a , 149) are well known, but the issues of genre embedded within

in Algernon Charles Swinburne
Haroun and the Sea of Stories and The Moor’s Last Sigh
Andrew Teverson

–5), Oscar Wilde’s Picture of Dorian Gray (see SRI, 204), Shakespeare’s Othello (MLS, 224–5 and 430), The Merchant of Venice (MLS, 89 and 114–15), fairy tales from diverse cultural sources, Mehboob Khan’s Bharat Mata (MLS, 137–9), and Cervantes’s Don Quixote (from which the name Benengali is taken). 12 None of these references is purely gratuitous, as each serves specific functions in the text, as scholars have already begun to demonstrate. Jonathan Greenberg, for instance, has argued that Rushdie uses Othello because ‘the textually ambiguous nature of the

in Salman Rushdie
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The most Gothic of acts – suicide in generic context
William Hughes and Andrew Smith

. 29 Edgar Allan Poe, ‘William Wilson’, in The Complete Works of Edgar Allan Poe (New York: Chatham River Press, 1981), pp. 212–25, at p. 225. 30 Oscar Wilde, The Picture of Dorian Gray , ed. Joseph Bristow (Oxford: Oxford University Press, 2006), p. 187. 31 Note here Wilde’s emphasis on Gray merely shrugging his shoulders when he considers ‘his own sin’ immediately prior to stabbing the portrait: ibid ., p. 187.

in Suicide and the Gothic
Suicide and the self in the fin-de-siècle Gothic
Andrew Smith

. 22 This social and national travel echoes that of Machen, who moved to London after having been raised in Wales, in the former Roman fort town of Caerleon. The drama of that move is reflected in the disorientations of the would-be author, Lucian Taylor, in Machen’s The Hill of Dreams (1907). 23 Foucault, The Order of Things , p. 398, See Pratt, ‘Empedocles, Suicide, and the Order of Things’, 85. 24 Oscar Wilde, The Picture of Dorian Gary , ed. Peter Ackroyd (Harmondsworth: Penguin, 1985), p. 65. All subsequent

in Suicide and the Gothic
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Not to be crossed
Andrew Roberts

. Furie 1962), his brittle, vulnerable Oscar Wilde (Gregory Ratoff 1960) and A. E. Matthews in They Came to a City (Basil Dearden 1944) with his Sir George Gedney bleakly confessing, ‘I can’t stand people’. With Chimes at Midnight Rutherford is a symbol of Welles’s lament for a lost Eden: Merrie England as a conception, a myth which has been very real to the English-speaking world and is to some extent expressed in other countries of the Medieval epoch: the age of chivalry, of simplicity, of Maytime and all that. It is more than Falstaff who is dying. It

in Idols of the Odeons