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
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
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.
P e n i t e n t si n n e r s
89 Mazzi 1991, p. 398; S. Cohen 1992, pp. 61–2, 64
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
62 Scarabello 2004: 91–2, 100.
63 Canosa 1993, pp. 227–9; also Gozzi ed. Zardi 1915, p. 414 and Tassini ed. Moretti 1964,
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
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  (London: Adam and
Charles Black, 1948), p. 96.
. 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
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
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
In tracking these tales through long shots, exposing these fragments,
and in returning over and over again to these spaces and
). For more on distant reading, see F. Moretti, Distant Reading (London:
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
via carriage, rail, and steamboat.76 Of course, accidents
happened. The only Italian window exhibited at the Paris 1867 Exposition,
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