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Martin O’Shaughnessy

–59). Despite the strong voice that comes through in his film-making, Cantet clearly has his place within this broader picture. The melodramatic turn in his films and those of his contemporaries is tempered but not negated by the drive to social realism. Realism and melodrama cannot be opposed as two mutually exclusive modes but can exist, as Peter Brooks shows when discussing canonical realist novelists like Honoré de Balzac or Henry James, in complex and productive tension (Brooks, 1976: 14–23). The same tension can of course be found in Italian neo-realism where André

in Laurent Cantet
Duy Lap Nguyen

Economy, vol. 1, trans. Ben Fowkes (New York: Random House, 1977), 126, n. 5. 48 Người Thứ Tám, Bóng Ma Trên Công Trường Đỏ, 39. 49 Thế Lử, Đòn hẹn [The Treacherous Appointment] (Ho Chi Minh City: Nhà Xuất Bản Văn Nghệ, 2000), 34. 50 Quoted in Pierre A. Huard and Maurice Durand, Connaissance du Việtnam (I) (Paris: Imprimerie Nationale và Hà Nội, École Française d’ExtrêmeOrient, 1954), 235–6. 51 Honoré de Balzac, Œuvres complètes (Complete Works), vol. 20 (Paris: Michel Lévy Frères, 1869), 478. 52 Ibid., 461–2. 53 Ibid., 463. 54 On premodern forms of

in The unimagined community
Abstract only
Improbable possibilities
Robert Duggan

Grotesque.indd 152 20/03/2013 09:24:32 Iain Banks: improbable possibilities  153 in his book S/Z (1990, first published in French 1973), where he meticulously analyses Honoré de Balzac’s short story ‘Sarrasine’. Balzac’s narrative of a sculptor’s romantic obsession with someone he believes to be a woman but who turns out to be a castrato offers suggestive parallels to The Wasp Factory both in that it has a denouement involving mistaken sexual identity and that it shares many structural features with Banks’s novel. In fact The Wasp Factory is in some ways a reversal of

in The grotesque in contemporary British fiction
Open Access (free)
Communities, circumstances and choices
Nicholas Atkin

2499 Chap1 7/4/03 2:41 pm Page 1 1 The context of exile: communities, circumstances and choices Quitter la France est, pour un français, une situation funèbre. (Honoré de Balzac, Le Cousin Pons)1 An independent-minded people, with a strong cultural awareness and attachment to region, if not always to nation, the French have generally made unhappy exiles. It has been their misfortune that the many crises punctuating French history have compelled them to take refuge abroad, especially in Britain, a land that is so ‘alike’ France yet so ‘different’.2 In the

in The forgotten French
Abstract only
David Annwn Jones

. Griffith’s conflation of E. A. Poe’s ‘The Cask of Amontillado’ (1846) and Honoré de Balzac’s ‘La Grande Bretêche’ (1831) (perhaps influenced by André Calmette’s own cinematic adaptation of Balzac’s story of a walled-up lover made in the same year), is the most uncompromising of early revenge films. Griffith has made the French court all low, obeisant bows, be-ribboned staffs and symbols of mortal

in Gothic effigy
Rebecca Munford

‘symbolizes the symbolic: It seems to consist at once in a consumption (ingestion) and a purely sumptuary expenditure of which nothing natural remains’ ( 1992 : 112). With reference to Derrida’s movement from a discussion of Honoré de Balzac’s treatise on prostitution to a consideration of tobacco, Tillotson highlights how Derrida’s elision of women – his marginalisation of the

in Decadent Daughters and Monstrous Mothers
Steven Ungar

or spirit rather than with its formal and narrative specificity. Visconti’s vision of the Recherche on film refashioned the novel as a vast portrait extending outward from Proust’s narrator toward the social milieu surrounding him. Even those who lauded this vision recognized it as closer to the panoramic vision Honoré de Balzac had sketched a century earlier in La Comédie humaine. Visconti’s efforts resulted in a phantom film whose presence extended to other Visconti films, of which Death in Venice (1971) was perhaps the most notable.17 Visconti’s lifelong

in French literature on screen
Staging class aboard the omnibus
Masha Belenky

wheels. Red spots here and there must have been blood stains.) Here Flaubert draws on the existing repertoire of images that were ingrained in the cultural imagination. Gustave Flaubert, L’éducation sentimentale (Paris: Les Belles Lettres, 1942), p. 169. 29 Honoré de Balzac, Correspondance (1832), R. Pierrot (ed.), vol. 1 (Paris: Garnier, 1960–66), p. 380. 30 Papayanis, Horse-Drawn Cabs, p. 64. 31 Félix Nogaret, Réflexions d’un patriarche sur les voitures dites omnibus ! (Paris: Leclerc, 1828). 32 Nogaret’s slim volume was well known and

in Engine of modernity
Open Access (free)
Masha Belenky

detail in Chapter 1. 15 See in particular Nicholas Papayanis, Paris before Haussmann (Baltimore, MD and London: Johns Hopkins University Press, 2004) and David H. Pinkney, Decisive Years in France 1840–1847 (Princeton, NJ: Princeton University Press, 1986). See also Hahn, Scenes of Parisian Modernity. 16 Honoré de Balzac, Ferragus , in Histoire des treize (Paris: Garnier-Flammarion, 1988), p. 79. 17 Priscilla Parkhurst Ferguson, Paris as Revolution: Writing the Nineteenth-Century City (Berkeley, CA: University of California Press, 1994), p. 35

in Engine of modernity
Abstract only
Derek Schilling

blockbuster More (1969), Schroeder’s own exploration of drugged-out hippydom, Les Films du Losange reached cruising speed by the turn of the decade. This allowed the company to supply seed money for Rivette’s twelve-and-a-half-hour Out 1: Noli me tangere (1970), in which Rohmer plays a Honoré de Balzac specialist (he had already cameoed as a linguistics professor in Luc Moullet’s Brigitte et Brigitte of 1965), and to co

in Eric Rohmer