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Abstract only
Sam Rohdie

Classicism Je ne m’intéresse pas tant aux acteurs qu’aux ‘personnalités.’ Un acteur lit le script et joue la scène comme elle est écrite, ou suivant les indications que lui donne le metteur en scène. Tandis qu’une ‘personnalité’ a une façon à elle de le faire et c’est ça qui fait les scènes intéressantes. Je ne me soucie pas d’une intrigue, je suis intéressée par des personnages et par les rapports qui peuvent exister entre eux. Mais pour avoir des personnages sur l’écran, il faut que vous ayez des ‘personnalités’ sur le plateau, alors les choses marchent bien

in Film modernism
James Uden

Scholars of eighteenth-century literature have long seen the development of the Gothic as a break from neoclassical aesthetics, but this article posits a more complex engagement with classical imitation at the origins of the genre. In Horace Walpole’s formative Gothic novel The Castle of Otranto, his Gothic drama The Mysterious Mother, and in the curiosities in his villa, classical elements are detached from their contexts and placed in startling and strange juxtapositions. His tendency towards the fragmentation of ancient culture, frequently expressed through the imagery of dismemberment, suggests an aesthetic not of imitation, but of collection. Moreover, rather than abandoning or ignoring the classical, Walpole reconfigures literary history to demonstrate elements of monstrosity and hybridity already present in Greek and Roman texts.

Gothic Studies
Andrew James Johnston

This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.

Bulletin of the John Rylands Library

Thomas Heywood was unusual in the diversity and sheer quantity of his output, and fascinatingly individual in his classicism. This volume offers a ground-breaking investigation of his engagement with the classics across a writing career that spanned more than 40 years. It is the first in-depth study of his classicism, and it features a variety of perspectives. The introduction and twelve essays trace how the classics shaped Heywood’s writing in a wide variety of genres – translation, drama, epyllic and epic verse, compendia, epigrams, panegyrics and pamphlets – and informed both his many pageants and the warship he helped design for Charles I. Close readings demonstrate the depth and breadth of his classicism, establishing the rich influence of continental editions and translations of Latin and Greek texts, early modern mythographies, chronicles and the medieval tradition of Troy as revived by the Tudors. The essays probe Heywood’s habit of juxtaposing different and often disjunctive layers of a capaciously conceived ‘classical tradition’ in thought-provoking ways, attend to his use of the multiplicitous logic of myth to interrogate gender and heroism, and consider the way he turns to antiquity not only to celebrate but also to defamiliarise the theatrical or political present. Different contributions focus on A Woman Killed with Kindness, Oenone and Paris, Loves School, The Rape of Lucrece, Troia Britanica, the Ages plays, Gynaikeion, Pleasant Dialogues and Dramma’s, Apology for Actors and Sovereign of the Seas. Classical reception thus provides an illuminating, productively cross-generic angle for approaching Heywood’s prolific output and idiosyncratic aesthetic.

Abstract only
Sam Rohdie

exterior to it (the world outside, the instance of forming the image). This ‘classical’ system has prevailed in the cinema for a long time (until today). Critics and filmmakers in the late 1930s and particularly after 1945 were able to see within that classicism another, apparently contrary system that they called ‘modern’. What was seen was a sense of unrealised possibilities, of a cinema (and world) other than the one that prevailed. That sense of possibility had to do with the fact that the classical system was neither stable nor coherent and thus possibility was in

in Film modernism
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Constructing Classicism: architecture in an age of commerce
Elizabeth McKellar

process changed from being a locally organized craft-based activity into a commercial industry. Alongside this the post-1660 era is notable for another development, the introduction of classicism on a widescale for the first time in Britain. The classical style was transformed in this period from being the exclusive possession of the Court, as it had been in the sixteenth and earlier seventeenth century

in The birth of modern London
Abstract only
Author: Sam Rohdie

This book consists of 50 categories arranged in alphabetical order centred on film modernism. Each category, though autonomous, interacts, intersects, juxtaposes with the others, entering into a dialogue with them and in so doing creates connections, illuminations, associations and rhymes which may not have arisen in a more conventional framework. The categories refer to particular films and directors that raise questions related to modernism, and, inevitably thereby to classicism. The book is more in the way of questions and speculations than answers and conclusions. Its intention is to stimulate not simply by the substance of what is said, but by the way it is said and structured. Most attention is given to the works of Michelangelo Antonioni, Bernardo Bertolucci, John Ford, Jean-Luc Godard, Howard Hawks, Alfred Hitchcock, João César Monteiro, Pier Paolo Pasolini, Nicholas Ray, Alain Resnais, Roberto Rossellini, Luchino Visconti and Orson Welles. The apparent arbitrary order and openness of the book, based as it is on the alphabet is indebted to Jean-Luc Godard’s interrogation of History and of film history especially true in his stunning Histoire(s) du cinema.

Abstract only
Sam Rohdie

della rivoluzione (1964). And Giuseppe Verdi is everywhere in Bertolucci’s films. What is important in the doubling of Bacon’s paintings by Bertolucci in Ultimo tango is less the specific duplications in his work and their re-­ creation in film than a more general practice in Bertolucci’s work at once classical and resistant to classicism. Bertolucci’s narratives turn back on themselves, are enigmatic and elliptical, sometimes obscure, often unresolved, as in Ingmar Bergman’s films, especially Persona (1966) where identity and doubling are central as they are in the

in Film modernism
Brett Bowles

publication in 1966. Modern classicism While extricating himself from Fortunio Pagnol was still searching for a style of his own between classicism and modernism. Having already rejected traditional verse dialogue as commercially unviable, he also disliked contemporary dramatists such as André Gide and Jean Cocteau, ‘des exemples à ne pas suivre qui défigurent prétentieusement la langue

in Marcel Pagnol
From pathos to bathos in early English tragedy; or, the comedy of terrors
Richard Hillman

1911, Elizabeth Jelliffe Macintire opined in PMLA ( 1911 ) that ‘English classicism’, which ‘made firm roots in Elizabethan soil’, was an ‘exotic’ plant that ‘came of French stock’ (p. 496). But her idea of what that meant was rather restrictive: The French mind tends to orderliness of idea and rule of procedure. It is the land of

in French origins of English tragedy