Abstract only
Games and play
Douglas Morrey and Alison Smith

. In Out 1 , however, all the connotations of jeu , without exception, do seem to come together for the first time. In its original conception, the film had scarcely any preconceived limits; the narrative thread was of the thinnest, and largely imported by the different actors, some (Michel Lonsdale, Michèle Moretti) to continue work already begun in other contexts. Some came with a character prepared, some (Jean

in Jacques Rivette
Bodies, love and jealousy
Douglas Morrey and Alison Smith

to anyone else – about what is really going on in his life, incapable even, as Michèle (Michèle Moretti) remarks, of externalising his feelings in the play. His mute impotence is most memorably demonstrated in the scene in which, as Claire suggests they need to spend some time apart, Sébastien takes a razor blade and begins slicing and slashing at his clothes. The extraordinary, hyperrealist soundtrack of L’Amour fou

in Jacques Rivette
Abstract only
Brian Pullan

1994–5: 859–60. 78 Burigozzo 1842, p. 524; Gamba 1956, pp. 241–2. 79 Vitale 1970: 273–4; Canons and Decrees ed. Schroeder 1941, pp. 228–9, 496. 80 S. Cohen 1992, pp. 88–9. 81 Schutte 2010: 400–3. 82 Gamba 1956, p. 249. 83 Gamba 1956, p. 254; Vitale 1970: 287–8. 84 Vitale 1970: 273–91. 85 Canosa and Colonnello 1989, p. 119. 86 Borromeo 1756, pp. 52–4. 87 McGough 2011, p. 117. 88 Intra 1893: 103–7; Tassini ed. Moretti 1964, p. 184; Laven 2004, pp. 161–5, 236, n. 11. 105 P e n i t e n t si n n e r s 105 89 Mazzi 1991, p. 398; S. Cohen 1992, pp. 61–2, 64

in Tolerance, Regulation and Rescue
Brian Pullan

1989, p. 135, n. 8. 60 Galanti 1786–90, II, pp. 29–30; cf. De Spirito 1978: 40–1. 61 Pavan 1980:  250–5; Ruggiero 1993, pp.  48–9; Chojnacka 2001, pp.  23–4, 54; Scarabello 2004: 30–2. 62 Scarabello 2004: 91–2, 100. 63 Canosa 1993, pp.  227–9; also Gozzi ed. Zardi 1915, p.  414 and Tassini ed. Moretti 1964, pp. 136–8. 64 Brackett 1993: 299–300. 65 Ferrante in Ciammitti et al. 1980, pp. 455–8; Ferrante 1985, pp. 7, 12, 16; Canosa and Colonnello 1989, pp. 79–87, 90. 66 Canosa and Colonnello 1989, pp. 78–9. 67 Dall’Olio 1999: 153–204. 68 Ferrante in Ciammitti et

in Tolerance, Regulation and Rescue
Rhodri Hayward

–1914 (Cambridge: Cambridge University Press, 1989), pp. 1–49, 171–9; J. Rose, The Intellectual Life of the British Working Classes (New Haven: Yale University Press, 2002), pp. 93–106. L. J. Ellicott, Historical Lectures on the Life of our Lord [Hulsean Lectures 1859] (London: Longman, Green, Longman, Roberts and Green, 1865), p. 42. Franco Moretti, The Way of the World: The Bildungsroman in European Culture (London: Verso, 1987). Strauss, Life of Jesus, pp. 777–81. A. Schweitzer, The Quest of the Historical Jesus [1906] (London: Adam and Charles Black, 1948), p. 96. Daniel L

in Resisting history
Abstract only
Gilgamesh and the resublimation of deep time
Vybarr Cregan-Reid

. See Cohn, Noah’s Flood, pp. 7–9. Moreover, originary narrative was not exclusively Western/Christian, being part of the traditions in Judaism and Islam; the significance lies in the West’s relationship with originary narrative. See my discussion in chapter four, and also Moretti, Way of the World. Frederick Denison Maurice, Theological Essays (Cambridge: Macmillan, 1853); Temple, Williams, et al., Essays and Reviews; John William, The Pentateuch and Book of Joshua: Critically Examined (London: Longman, Roberts & Green, 1863). Jabez Bunting Dimbleby, The Date of

in Discovering Gilgamesh
Abstract only
Sharon Lubkemann Allen

familiar horizons, but 34 Mário de Andrade, ‘Epilogue’ to Macunaíma, in Obras Complétas (São Paolo, 1944; Paris, 1988). 35 José Luiz Passos, ‘Macunaíma’, trans. Sharon Lubkemann Allen, in Franco Moretti (ed.), The Novel (Princeton: Princeton University Press, 2006). 36 Aileen Kelly, ‘The Chaotic City’, Toward Another Shore (New Haven: Yale University Press, 1998), 207–10. 37 Ibid. 38 Cf. Petersburg, trans. Maguire and Malmstad, 207; Kelly, Toward Another Shore, 205. Lubkemann Allen, EccentriCities.indd 371 28/10/2013 12:20:35 372 An encompassing eccentric

in EccentriCities
On Elephant
Caroline Bassett

of mass consumer society, after all (see Moretti, 1983: 231 and Chapter 1). Elephant, in the end, as it appears on screen, both offers choices (multiple ways around the site, multiple reasons for the killings) and withdraws them, through a form of interactivity that finds multiple pathways but refuses to offer anybody a choice about which of them to take, and perhaps through a refusal to say, ultimately, if the explanation chosen was right. In tracking these tales through long shots, exposing these fragments, and in returning over and over again to these spaces and

in The arc and the machine
The Crystal Palace portrait gallery, c.1854
Jason Edwards

). For more on distant reading, see F. Moretti, Distant Reading (London: Verso, 2013).  2 For an account of the commercial underpinnings of the Palace, see H. Atmore, ‘Utopia Unlimited: The Crystal Palace Company and Joint-Stock Politics, 1854–1856’, Journal of Victorian Culture, 9:2 (2004), 189–215. For a more sensitive analysis of working-class cultures at Sydenham, see D. S. Ryan, ‘Staging the Imperial City: The Pageant of London, 1911’, in F. Driver and D. Gilbert (eds), Imperial Cities: Landscape, Display and Identity (Manchester: Manchester University Press

in After 1851
Exhibitors and their networks
Jasmine Allen

via carriage, rail, and steamboat.76 Of course, accidents happened. The only Italian window exhibited at the Paris 1867 Exposition, 137 Competition and exchange a Coronation of the Virgin by Perugian artist Francesco Moretti (1833–​ 1917), was damaged in transit.77 Upon arrival, stained glass, like other exhibits, was often subject to import duties as well as the costs of packing, insurance, wharfage, and freight (by carriage, rail, and ship). Analysis of Hardman’s Glass Day [Sales] Books reveals that these charges could range from 6 per cent to 20 per cent of

in Windows for the world