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French inflections

This book discusses Shakespeare’s deployment of French material within genres whose dominant Italian models and affinities might seem to leave little scope for French ones. It proposes specific, and unsuspected, points of contact but also a broad tendency to draw on French intertexts, both dramatic and non-dramatic, to inflect comic forms in potentially tragic directions. The resulting tensions within the genre are evident from the earliest comedies to the latest tragicomedies (or ‘romances’). An introduction establishes the French inflection of Italian modes and models, beginning with The Taming of the Shrew, as a compositional paradigm and the basis for an intertextual critical approach. Next, A Midsummer Night’s Dream is related to three French intertexts highlighting, respectively, its use of pastoral dramatic convention, its colouration by the histoire tragique and its parodic dramatisation of the Pyramus and Thisbe story. The third chapter interrogates the ‘French’ settings found in the romantic comedies, while the fourth applies French intertexts to three middle-to-late comedies as experiments in tragicomedy. Finally, the distinctive form given tragicomedy (or ‘romance’) in Shakespeare’s late production is set against the evolution of tragicomedy in France and related to French intertexts that shed new light on the generic synthesis achieved—and the degree of bricolage employed in achieving it.

Lan Loader

make a suggestion as to the political inferences one can best draw from his work. 9780719079740_C04.qxd 22/2/10 15:10 Page 92 92 Beyond the prison The query takes us, with Wacquant as our tour guide, on a journey into the punishing world of neoliberalism. Here part of my task is to draw attention to aspects of that world which Wacquant’s guidance helps us see more clearly. Yet I also want to emphasise the uneven, incomplete and contested character of the neoliberal project; matters that Wacquant’s analysis tends to disregard or reduce to ‘national inflections

in Incarceration and human rights
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Andrew Ginger
Geraldine Lawless

•• Introduction Andrew Ginger and Geraldine Lawless Over the past quarter of a century, the study of nineteenth-century Hispanic culture and society has undergone two major shifts. The first was a rejection of what the economic historian David Ringrose called ‘the myth of backwardness’: the notion that these cultures and societies were exceptions that trailed behind the wider West.1 Replacing this myth, there has been a concerted effort to show how Hispanic cultures and societies were integral parts and inflections of the development of the modern world. The

in Spain in the nineteenth century
Rebecca Munford

of erotic and deathly enthralment, subject to the bloody ‘prick’ of male punishment and violation without end. 5 While Carter confronts the deadly boundaries of the Sadeian body/corpus in The Sadeian Woman, Sadeian inflections of ‘Sleeping Beauty’ reappear through her fiction, most strikingly in The Infernal Desire Machines of Doctor Hoffman and The Bloody Chamber. These Gothic

in Decadent Daughters and Monstrous Mothers
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Karen Throsby

and tracking, and their outputs, are integral both to social world belonging and the consumption of marathon swimming. This technological ambivalence is negotiated via prescriptive and proscriptive social world norms of data gathering, processing and sharing, with users positioning themselves as discriminating and restrained users of technology, rather than its slavish consumers. This highlights marathon swimming as a tradition-oriented practice, but with a profoundly contemporary inflection. Bearing witness Perhaps the most obvious hazard that attaches to an

in Immersion
Making room for France
Richard Hillman

emphasising the particular ‘self-consciousness about the divergences between English and Italian cultures’ evident in ‘Shakespeare’s earliest use of an Italian source’, 17 reflects and reinforces the widespread binary thinking about a number of Shakespearean comedies as essentially English variations on Italian themes. The French ‘inflection’ in this case enters the picture by way of the culminating speech of the ‘shrew’ of the anonymous play (likewise ‘Kate’, although we have ‘Ferando’ instead of ‘Petruchio’), in which she lectures, like Shakespeare’s heroine, on a

in The Shakespearean comic and tragicomic
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Carrie Tarr

narrative structure and mise-en-scène are already problematic. As with Diabolo menthe, Cocktail Molotov’s study of adolescence can be seen to be giving a female-centred inflection to the subject matter of Truffaut’s films. The opening scene at the Odéon is reminiscent of the opening scene at the Salle Pléyel in L’Amour à vingt ans (1962) where Antoine Doinel points out Colette, the object of his desire

in Diane Kurys
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Brian McFarlane
Deane Williams

British inflections. We shall also be concerned with the extent to which he gratifies and/or subverts generic expectations – and, indeed, the whole notion of classical narrative cinema, as defined by the output of the Hollywood studio years in which genre filmmaking became a staple of cinematic entertainment. It will be valuable, perhaps unavoidable, to examine the commingling of several genres in the one film (the road movie

in Michael Winterbottom
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Sean W. Burges

undercut the discontent with neoliberalism’s failures in the 1990s. For Brazil’s agro-industrial sector, which was highly organized and carefully examining the details being discussed in the various trade talks underway, the ground was fraught with danger and held a real threat of seeing Brazil and Mercosul marginalized with extremely unfavourable offers in agricultural trade. The critical inflection point for reconstituting Brazil’s trade policy is the commencement of the Lula presidency in 2003, which explicitly recognized the changes not only in the Brazilian

in Brazil in the world
Silence, historical memory and metaphor
Maria M. Delgado

–Argentine co-production, uses a romance-cum-thriller with the structural conceit of an unsolved murder as the hinge for a probing examination of historical memory, vigilante justice and modes of interrogating the abuses of the past in a country scarred by the collective memory of a brutal military dictatorship. 9 Even Pedro Almodóvar has acknowledged a political inflection to his recent work grounded in issues of historical memory

in Spanish cinema 1973–2010