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Image et spectacle

Actes du XXXIIe Colloque International d’Etudes Humanistes du Centre d’Etudes Supérieures de la Renaissance (Tours, 29 juin–8 juillet 1989)

Series:

Edited by Pierre Béhar

Exhibited by Candlelight

Sources and Developments in the Gothic Tradition

Series:

Edited by Valeria Tinkler-Villani, Peter Davidson and Jane Stevenson

Exhibited by Candlelight: Sources and Developments in the Gothic Tradition focuses on a number of strands in the Gothic. The first is Gothic as a way of looking. Paintings used as reference points, tableaux, or the Hammer Studios' visualizations of Dracula present ways of seeing which are suggestive and allow the interplay of primarily sexual passions. Continuity with the past is a further strand which enables us to explore how the sources of the Gothic are connected with the origin of existence and of history, both individual and general. Here, the Gothic offers a voice for writers whose perceptions do not fit into those of the dominant group, which makes them sensitive both to psychological and social gaps. This leads to an exploration of the very idea of sources and an attempt to bridge the gaps, as can be observed in the variety of epithets used to clarify the ways that Gothic works, ranging from heroic gothic to porno-gothic. This takes the reader to the main core of Gothic: a genre which is always ready to admit new forms of the unreal to enter and change whatever has become mainstream literature, and a way of reading and a mode profoundly affecting the reading experience. The Gothic mode cultivates its wicked ways in literature, working through it as a leavening yeast.

Andrew P. Wilson

seeking to undermine. The establishment succeeds in shifting its position as the target of de-stabilising criticism to the host of a subversive spectacle. While this move is all too familiar in the case of Duchamp’s Fountain , most recently, this kind of dance between artist and establishment can be seen

Michael Allan and Elisabetta Benigni

syllables. In the end, the scene ceremonializes a ruse of power in an extravagant spectacle—and in a curious twist, it also marks one of the most famous instances in which lingua franca permeates literary form. This scene helps us to highlight the fact that lingua franca delimits far more than a category

Ben McCann

course of G. ’s vast Histoire(s) du cinema project. Ahmet Süner, ‘Reinventing the Everyday in the Age of Spectacle: Jean-Luc Godard’s Artistic and Political Response to Modernity in his Early Works’, SFC , 15:123–137, rejects the notion that G. ’s pre-1968 films are perceived as pure

Sherif H. Ismail

-Ibrīz , such as tiyātrū, sbiktākil , and ūbirā , for the French théâtre, spectacle, and opéra, respectively. 57 Obviously, these neologisms, while they sound imitative and parasitic, also, perhaps against al-Ṭahṭāwī’s will to suppress difference, gesture to untranslatability in their very refusal to permit

Jonathan Bradbury and Nigel Griffin

to stimulate devotion, and discusses post-Tridentine emphasis on spectacle and performance as evinced in processions and religious festivals. Miguel Ángel Núñez Beltrán, ‘Vida de santos y predicación en la Sevilla barroca’, AH , 98:103–120, compares 17th-c. sermons on Ignatius of Loyola with those

John Whittaker

neoclassical ideology directly onto contemporary events for the first time since the French Revolution and the early Republic. 3. Poetry Marie-Clémence Régnier, ‘Le spectacle de l’homme de lettres au quotidien: de l’intérieur bourgeois à l’intérieur artiste (1840–1903)’, Romantisme

Paul Scott

playwright’s intellectual independence. Hardy Sonia Veláquez, ‘Secular Spectacle? Cervantes, Hardy, and the Question of Religion’, RepL , 4.2:1–17, suggests that H. ’s transposition of Christian references to pagan ones in re-writing C. into his La force du sang (1625) is not so

Maurice Olender

this course should be devoted to philology, we shall not ban the study of facts and ideas for that reason. We shall not close our eyes to the brightest light that would ever come from the Orient, for we seek to understand the great spectacle offered to our eyes. It is India, with its philosophy and its