Matthew Wright
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199274512
- eISBN:
- 9780191706554
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199274512.003.0007
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This short conclusion sums up the argument of the book as a whole. It repeats the view that the escape-tragedies are a trilogy, or at least a thematically connected group of plays very closely ...
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This short conclusion sums up the argument of the book as a whole. It repeats the view that the escape-tragedies are a trilogy, or at least a thematically connected group of plays very closely linked. It is argued that the escape-tragedies are in fact ‘tragic’ in not only a historical, Greek sense of the word, but also in a looser, ahistorical sense: they are profoundly dark, pessimistic plays which raise awful questions about human life.Less
This short conclusion sums up the argument of the book as a whole. It repeats the view that the escape-tragedies are a trilogy, or at least a thematically connected group of plays very closely linked. It is argued that the escape-tragedies are in fact ‘tragic’ in not only a historical, Greek sense of the word, but also in a looser, ahistorical sense: they are profoundly dark, pessimistic plays which raise awful questions about human life.
Sanford Schwartz
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195374728
- eISBN:
- 9780199871506
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195374728.001.0001
- Subject:
- Religion, Religion and Literature
This study of C. S. Lewis’s popular Space Trilogy—Out of the Silent Planet (1938), Perelandra (1943), and That Hideous Strength (1945)—departs from the prevailing emphasis upon Lewis’s affection for ...
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This study of C. S. Lewis’s popular Space Trilogy—Out of the Silent Planet (1938), Perelandra (1943), and That Hideous Strength (1945)—departs from the prevailing emphasis upon Lewis’s affection for the “Medieval Model” of the universe and situates Lewis’s work in the context of modern intellectual, cultural, and political history. It demonstrates that Lewis did not simply dismiss the modern “Developmental Model,” as is often assumed, but discriminated carefully among different kinds of evolutionary theory and the manner in which they influenced modern thinking about human nature, social practice, and religious conviction. It also shows that the “unfallen” imaginary worlds that Lewis constructs on Mars and Venus are derived not only from classical and medieval sources but also from the transfiguration or “taking up” of the same modern evolutionary paradigm he is ostensibly putting down. This perspective on the Space Trilogy (an appendix is devoted to the abortive “Dark Tower”) brings out the enduring relevance of Lewis’s “scientific romances” to contemporary concerns on a wide variety of issues, including our relations to the natural world and the other species with whom we share Earth, the ethical and political problems surrounding the emerging revolution in bio-technology, and the seemingly intractable struggle between religious and naturalistic worldviews in the twenty-first century. Far from a simple struggle between an old-fashioned Christian humanism and a newfangled heresy, Lewis’s Space Trilogy is the searching effort of a modern religious apologist to sustain and enrich the former through critical engagement with the latter.Less
This study of C. S. Lewis’s popular Space Trilogy—Out of the Silent Planet (1938), Perelandra (1943), and That Hideous Strength (1945)—departs from the prevailing emphasis upon Lewis’s affection for the “Medieval Model” of the universe and situates Lewis’s work in the context of modern intellectual, cultural, and political history. It demonstrates that Lewis did not simply dismiss the modern “Developmental Model,” as is often assumed, but discriminated carefully among different kinds of evolutionary theory and the manner in which they influenced modern thinking about human nature, social practice, and religious conviction. It also shows that the “unfallen” imaginary worlds that Lewis constructs on Mars and Venus are derived not only from classical and medieval sources but also from the transfiguration or “taking up” of the same modern evolutionary paradigm he is ostensibly putting down. This perspective on the Space Trilogy (an appendix is devoted to the abortive “Dark Tower”) brings out the enduring relevance of Lewis’s “scientific romances” to contemporary concerns on a wide variety of issues, including our relations to the natural world and the other species with whom we share Earth, the ethical and political problems surrounding the emerging revolution in bio-technology, and the seemingly intractable struggle between religious and naturalistic worldviews in the twenty-first century. Far from a simple struggle between an old-fashioned Christian humanism and a newfangled heresy, Lewis’s Space Trilogy is the searching effort of a modern religious apologist to sustain and enrich the former through critical engagement with the latter.
Matthew Wright
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199274512
- eISBN:
- 9780191706554
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199274512.003.0002
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter examines the critical reception of the escape-tragedies in 19th- and 20th-century scholarship. The plays have often been thought ‘un-tragic’ for various reasons. The chapter explores ...
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This chapter examines the critical reception of the escape-tragedies in 19th- and 20th-century scholarship. The plays have often been thought ‘un-tragic’ for various reasons. The chapter explores exactly what it means to say that a play is, or is not, ‘tragic’, and examines how and in what ways genre has affected scholarly understanding of the plays. A case is made for reading Helen, Andromeda, and Iphigenia as a connected trilogy.Less
This chapter examines the critical reception of the escape-tragedies in 19th- and 20th-century scholarship. The plays have often been thought ‘un-tragic’ for various reasons. The chapter explores exactly what it means to say that a play is, or is not, ‘tragic’, and examines how and in what ways genre has affected scholarly understanding of the plays. A case is made for reading Helen, Andromeda, and Iphigenia as a connected trilogy.
Alan H. Sommerstein
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199568314
- eISBN:
- 9780191723018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568314.003.0002
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter argues that the titles now attached to Greek tragedies, comedies, and satyr-dramas (but not the ‘sur-titles’ or epithets used to distinguish plays of the same name) were given to them at ...
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This chapter argues that the titles now attached to Greek tragedies, comedies, and satyr-dramas (but not the ‘sur-titles’ or epithets used to distinguish plays of the same name) were given to them at the time of production and recorded in state-held archives, except for plays produced before about 450 BC that formed part of connected suites (trilogies or tetralogies). After about 450 the titles were publicly announced in advance of performance, and dramatists exploited them either to inform the audience about the content of a play or else to keep them guessing about it (often wrongly) before the performance and in its early scenes.Less
This chapter argues that the titles now attached to Greek tragedies, comedies, and satyr-dramas (but not the ‘sur-titles’ or epithets used to distinguish plays of the same name) were given to them at the time of production and recorded in state-held archives, except for plays produced before about 450 BC that formed part of connected suites (trilogies or tetralogies). After about 450 the titles were publicly announced in advance of performance, and dramatists exploited them either to inform the audience about the content of a play or else to keep them guessing about it (often wrongly) before the performance and in its early scenes.
Alan H. Sommerstein
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199568314
- eISBN:
- 9780191723018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568314.003.0007
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter — following Wofgang Rösler's view that Aeschylus' Suppliants was the second (not the first) play of his Danaid trilogy and that the trilogy's action turned on an oracle given to Danaos ...
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This chapter — following Wofgang Rösler's view that Aeschylus' Suppliants was the second (not the first) play of his Danaid trilogy and that the trilogy's action turned on an oracle given to Danaos that his daughter's bedfellow would kill him — argues, firstly, that the oracle came from Zeus (Ammon); secondly, that the trilogy's first play, The Egyptians, presented the quarrel between Danaos and his brother Aigyptos arising from the latter's proposal to marry his sons to Danaos' daughters; and thirdly, that the final play, The Danaids, centred on a scheme by Aigyptos' surviving son, Lynkeus, to avenge the murder of his brothers by their brides. The trilogy's main themes were the inevitable fulfilment of oracles; tyranny and democracy, and the need for vigilance in defence of the latter; and the idea that marriage is deeply rooted in the order of nature, and that mutual desire and affection are essential to it.Less
This chapter — following Wofgang Rösler's view that Aeschylus' Suppliants was the second (not the first) play of his Danaid trilogy and that the trilogy's action turned on an oracle given to Danaos that his daughter's bedfellow would kill him — argues, firstly, that the oracle came from Zeus (Ammon); secondly, that the trilogy's first play, The Egyptians, presented the quarrel between Danaos and his brother Aigyptos arising from the latter's proposal to marry his sons to Danaos' daughters; and thirdly, that the final play, The Danaids, centred on a scheme by Aigyptos' surviving son, Lynkeus, to avenge the murder of his brothers by their brides. The trilogy's main themes were the inevitable fulfilment of oracles; tyranny and democracy, and the need for vigilance in defence of the latter; and the idea that marriage is deeply rooted in the order of nature, and that mutual desire and affection are essential to it.
Simone Tosoni and Trevor Pinch
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780262035279
- eISBN:
- 9780262336550
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035279.001.0001
- Subject:
- Society and Culture, Technology and Society
Based on several rounds of academic interview and conversations with Trevor Pinch, the book introduces the reader to the field of Science and Technology Studies (STS), and in particular to the social ...
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Based on several rounds of academic interview and conversations with Trevor Pinch, the book introduces the reader to the field of Science and Technology Studies (STS), and in particular to the social constructionist approach to science, technology and sound. Through the lenses of Pinch’s lifetime work, STS students, and scholars in fields dealing with technological mediation, are provided with an in-depth overview, and with suggestions for further reading, on the most relevant past and ongoing debates in the field. The book starts presenting the approach launched by the Bath School in the early sociology of scientific knowledge (SSK), and follows the development of the field up to the so called “Science wars” of the ‘90s, and to the popularization of the main acquisitions of the field by Trevor Pinch and Harry Collins’ Golem trilogy. Then, it deals with the sociology of technology, and presents the Social Construction of Technology (SCOT) approach, launched by Trevor Pinch and Wiebe Bijker in 1984 and developed in more than 30 years of research, comparing it with alternative approaches like Bruno Latour’s Actor-Network theory. Five issues are addressed in depth: relevant social groups in the social construction of technology; the intertwining of social representations and practices; the importance of tacit knowledge in SCOT’s approach to the nonrepresentational; the controversy over nonhuman agency; and the political implications of SCOT. Finally, it presents the main current debates in STS, in particular in the study of materiality and ontology, and presents Pinch’s more recent work in sound studies.Less
Based on several rounds of academic interview and conversations with Trevor Pinch, the book introduces the reader to the field of Science and Technology Studies (STS), and in particular to the social constructionist approach to science, technology and sound. Through the lenses of Pinch’s lifetime work, STS students, and scholars in fields dealing with technological mediation, are provided with an in-depth overview, and with suggestions for further reading, on the most relevant past and ongoing debates in the field. The book starts presenting the approach launched by the Bath School in the early sociology of scientific knowledge (SSK), and follows the development of the field up to the so called “Science wars” of the ‘90s, and to the popularization of the main acquisitions of the field by Trevor Pinch and Harry Collins’ Golem trilogy. Then, it deals with the sociology of technology, and presents the Social Construction of Technology (SCOT) approach, launched by Trevor Pinch and Wiebe Bijker in 1984 and developed in more than 30 years of research, comparing it with alternative approaches like Bruno Latour’s Actor-Network theory. Five issues are addressed in depth: relevant social groups in the social construction of technology; the intertwining of social representations and practices; the importance of tacit knowledge in SCOT’s approach to the nonrepresentational; the controversy over nonhuman agency; and the political implications of SCOT. Finally, it presents the main current debates in STS, in particular in the study of materiality and ontology, and presents Pinch’s more recent work in sound studies.
Robert Welch
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198121879
- eISBN:
- 9780191671364
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198121879.003.0004
- Subject:
- Literature, Drama, 20th-century Literature and Modernism
The thirty years after 1968 saw great contributions in all aspects of creative activity in Ireland. This was the period of immense growth in the arts; for people, it was not unusual to witness some ...
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The thirty years after 1968 saw great contributions in all aspects of creative activity in Ireland. This was the period of immense growth in the arts; for people, it was not unusual to witness some of the finest literary achievements, like Seamus Heaney's North or Brian Friel's Translations. A lot of these works were brought about by the playwright's experience and opinion on the piling up of atrocities, injustices, lies, and humiliations amongst the people of Ireland, and people widely received these themes. The Dublin Trilogy — the Gunman, Juno, and The Plough — were a compound of emotional readiness and dramatic technique, answers to the public and private feelings of persuasion. Further into the chapter, T. C. Murray's series of lectures on the Irish Theatre for the Catholic Writers Guild is presented.Less
The thirty years after 1968 saw great contributions in all aspects of creative activity in Ireland. This was the period of immense growth in the arts; for people, it was not unusual to witness some of the finest literary achievements, like Seamus Heaney's North or Brian Friel's Translations. A lot of these works were brought about by the playwright's experience and opinion on the piling up of atrocities, injustices, lies, and humiliations amongst the people of Ireland, and people widely received these themes. The Dublin Trilogy — the Gunman, Juno, and The Plough — were a compound of emotional readiness and dramatic technique, answers to the public and private feelings of persuasion. Further into the chapter, T. C. Murray's series of lectures on the Irish Theatre for the Catholic Writers Guild is presented.
Joel Williamson
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195101294
- eISBN:
- 9780199854233
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195101294.003.0001
- Subject:
- History, Cultural History
The Mansion reflected the saving force in the South that shows the innate goodness in white people of all classes. This optimism was not present in The Sound and the Fury, where ...
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The Mansion reflected the saving force in the South that shows the innate goodness in white people of all classes. This optimism was not present in The Sound and the Fury, where the only saving grace was Dilsey. Light in August, on the other hand, gave the readers an idea of optimism amidst the land of desolation. Faulkner seemed contented when he wrote Light in August. The main character in The Wild Palms found peace in the Parchman penitentiary. Faulkner ended the Snopes trilogy while he was in Virginia. This was when the “the Greenfiled phase” of his work ended. He then began to write The Reivers. This work was a pulling back of the idea that the plain whites were going to save Southern humanity. The main character was Lucius Quintus Cincinnatus Priest. In his last years, Faulkner believed that there was an internal being in the end. During this time, he ended the Snopes trilogy.Less
The Mansion reflected the saving force in the South that shows the innate goodness in white people of all classes. This optimism was not present in The Sound and the Fury, where the only saving grace was Dilsey. Light in August, on the other hand, gave the readers an idea of optimism amidst the land of desolation. Faulkner seemed contented when he wrote Light in August. The main character in The Wild Palms found peace in the Parchman penitentiary. Faulkner ended the Snopes trilogy while he was in Virginia. This was when the “the Greenfiled phase” of his work ended. He then began to write The Reivers. This work was a pulling back of the idea that the plain whites were going to save Southern humanity. The main character was Lucius Quintus Cincinnatus Priest. In his last years, Faulkner believed that there was an internal being in the end. During this time, he ended the Snopes trilogy.
Dominique Goy-Blanquet
- Published in print:
- 2003
- Published Online:
- January 2010
- ISBN:
- 9780198119876
- eISBN:
- 9780191705601
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198119876.003.0002
- Subject:
- Literature, Shakespeare Studies
This chapter examines the continuity of historical facts and characters, development of themes and images, and the dramatic links tying present to past and future events in Henry VI and Richard III. ...
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This chapter examines the continuity of historical facts and characters, development of themes and images, and the dramatic links tying present to past and future events in Henry VI and Richard III. It presents a brief description of the events in Shakespeare's trilogy. It also shows a genealogy of Henry VI and examines its sources. It evaluates the chronology of events in the trilogy as well as the conflicts between its sources brought by the complex sequence of events. It argues that a reading of the chronicles shows how close the playwright kept to his material, and how independent he was in rearranging facts, compressing or expanding details, and most of all, infusing historical episodes with meanings his sources had never imagined. It discusses that thematic coherence showed the need for readjustments of the original material; stage necessities explain a number of others.Less
This chapter examines the continuity of historical facts and characters, development of themes and images, and the dramatic links tying present to past and future events in Henry VI and Richard III. It presents a brief description of the events in Shakespeare's trilogy. It also shows a genealogy of Henry VI and examines its sources. It evaluates the chronology of events in the trilogy as well as the conflicts between its sources brought by the complex sequence of events. It argues that a reading of the chronicles shows how close the playwright kept to his material, and how independent he was in rearranging facts, compressing or expanding details, and most of all, infusing historical episodes with meanings his sources had never imagined. It discusses that thematic coherence showed the need for readjustments of the original material; stage necessities explain a number of others.
George Slusser
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038228
- eISBN:
- 9780252096037
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038228.003.0010
- Subject:
- Literature, 20th-century and Contemporary Literature
This conclusion considers one particular aspect of Gregory Benford's science fiction, an open process of creation, which means not only his interest in collaborating with other writers, but in ...
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This conclusion considers one particular aspect of Gregory Benford's science fiction, an open process of creation, which means not only his interest in collaborating with other writers, but in actually writing sequels to their work, in which he continues a story they started, and in the manner of a creative dialogue, blends his vision skillfully with theirs. One notable example is Beyond the Fall of Night (1990), a rewrite of Arthur C. Clarke's Against the Fall of Night (1953). Writing this novel seems to have spurred Benford, in turn, to write a sequel to his own sequel, the novel Beyond Infinity (2004). This chapter looks at Benford's collaborations with authors such as Gordon Eklund, William Rotsler, and David Brin, as well as his participation in the project known as the Second Foundation Trilogy, a series of novels that proposed to fill in gaps in Isaac Asimov's original Foundation cycle.Less
This conclusion considers one particular aspect of Gregory Benford's science fiction, an open process of creation, which means not only his interest in collaborating with other writers, but in actually writing sequels to their work, in which he continues a story they started, and in the manner of a creative dialogue, blends his vision skillfully with theirs. One notable example is Beyond the Fall of Night (1990), a rewrite of Arthur C. Clarke's Against the Fall of Night (1953). Writing this novel seems to have spurred Benford, in turn, to write a sequel to his own sequel, the novel Beyond Infinity (2004). This chapter looks at Benford's collaborations with authors such as Gordon Eklund, William Rotsler, and David Brin, as well as his participation in the project known as the Second Foundation Trilogy, a series of novels that proposed to fill in gaps in Isaac Asimov's original Foundation cycle.
Douglas Kerr
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9789622099340
- eISBN:
- 9789882206892
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099340.003.0008
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter discusses the figure of rule, which is different from the figures of the jungle and the crowd, and is both more abstract and more polymorphous. It looks at anarchy in the East, which is ...
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This chapter discusses the figure of rule, which is different from the figures of the jungle and the crowd, and is both more abstract and more polymorphous. It looks at anarchy in the East, which is found in the Malayan trilogy of Anthony Burgess. The novels are about history and follow the fortunes of Victor Crabbe in Malaya. The chapter discusses the British and the rule of law, which is an institution and a story about the East and West. Further on in the chapter, the author discusses the other orders (the contesting local practices and jurisdictions) and the hard cases. The latter involves conversations between the ruler and the ruled, as presented in the works of Coates, Woolf, and Scott.Less
This chapter discusses the figure of rule, which is different from the figures of the jungle and the crowd, and is both more abstract and more polymorphous. It looks at anarchy in the East, which is found in the Malayan trilogy of Anthony Burgess. The novels are about history and follow the fortunes of Victor Crabbe in Malaya. The chapter discusses the British and the rule of law, which is an institution and a story about the East and West. Further on in the chapter, the author discusses the other orders (the contesting local practices and jurisdictions) and the hard cases. The latter involves conversations between the ruler and the ruled, as presented in the works of Coates, Woolf, and Scott.
Gina Marchetti
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9789622098015
- eISBN:
- 9789882206601
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098015.003.0001
- Subject:
- Film, Television and Radio, Film
The Infernal Affairs trilogy provides the illusion of an epic sweep (from 1991–2003) that covers the issues of government legitimacy, global capitalist expansion, individual alienation, and the ...
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The Infernal Affairs trilogy provides the illusion of an epic sweep (from 1991–2003) that covers the issues of government legitimacy, global capitalist expansion, individual alienation, and the implosion of a system that blurs “legitimate” political authority with an underground “illegitimate” economic reality. As part of the New Hong Kong Cinema Series, this short book attempts to highlight the significance of Infernal Affairs within the context of contemporary Hong Kong cinema as well as within global film culture by examining all three films in the trilogy. This analysis of Infernal Affairs concludes with a look at the trilogy's self-reflexive allusions to the mass media and the current state of Hong Kong film culture within a global context. In particular, the Infernal Affairs and the New Wave are discussed.Less
The Infernal Affairs trilogy provides the illusion of an epic sweep (from 1991–2003) that covers the issues of government legitimacy, global capitalist expansion, individual alienation, and the implosion of a system that blurs “legitimate” political authority with an underground “illegitimate” economic reality. As part of the New Hong Kong Cinema Series, this short book attempts to highlight the significance of Infernal Affairs within the context of contemporary Hong Kong cinema as well as within global film culture by examining all three films in the trilogy. This analysis of Infernal Affairs concludes with a look at the trilogy's self-reflexive allusions to the mass media and the current state of Hong Kong film culture within a global context. In particular, the Infernal Affairs and the New Wave are discussed.
Nathaniel Deutsch
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520231917
- eISBN:
- 9780520927971
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520231917.003.0002
- Subject:
- History, European Modern History
This chapter addresses the scenes in the dybbuk trilogy, first examining Stella Klein's recollection of Bela-Risha's possession. It then explains Ansky's Between Two Worlds: The Dybbuk. The third ...
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This chapter addresses the scenes in the dybbuk trilogy, first examining Stella Klein's recollection of Bela-Risha's possession. It then explains Ansky's Between Two Worlds: The Dybbuk. The third scene is S. A. Horodezky's 1909 Russian-language article on the Maiden of Ludmir. These scenes share the same basic story: a young Volhynian girl who is engaged to be married visits the grave of her dead parent(s) before the wedding and is possessed by a dybbuk. Their juxtaposition raises the cluster of issues, namely how, why, and when stories about the Maiden of Ludmir entered the public imagination, and whether it is possible to untangle the complex web of interrelationships among the different accounts of her life. At a time when women in Kilchizne still cried for the “Moid” when their children fell ill, Ansky and Horodezky, especially, began the process of communicating her story to the wider world.Less
This chapter addresses the scenes in the dybbuk trilogy, first examining Stella Klein's recollection of Bela-Risha's possession. It then explains Ansky's Between Two Worlds: The Dybbuk. The third scene is S. A. Horodezky's 1909 Russian-language article on the Maiden of Ludmir. These scenes share the same basic story: a young Volhynian girl who is engaged to be married visits the grave of her dead parent(s) before the wedding and is possessed by a dybbuk. Their juxtaposition raises the cluster of issues, namely how, why, and when stories about the Maiden of Ludmir entered the public imagination, and whether it is possible to untangle the complex web of interrelationships among the different accounts of her life. At a time when women in Kilchizne still cried for the “Moid” when their children fell ill, Ansky and Horodezky, especially, began the process of communicating her story to the wider world.
Esther M. K. Cheung
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099777
- eISBN:
- 9789882206953
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099777.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter explores Chan's realist mode in the traditions of Chinese-language cinemas. There are many modes of realism and Chan's case illustrates this concept clearly. His concern for ...
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This chapter explores Chan's realist mode in the traditions of Chinese-language cinemas. There are many modes of realism and Chan's case illustrates this concept clearly. His concern for underprivileged people and social injustice brings him close to this realist tradition. His so-called “Handover Trilogy” and his later films such as Durian Durian and Hollywood Hong Kong embody certain basic traits: the story of ordinary people, the theme of marginality, on-location shooting, jerky hand-held camerawork, frequent use of objective point of view camera, and the casting of non-professional actors. All these characteristics have led critics to conclude that he belongs safely to the tradition of social realism and that the Hong Kong through his lens is a “real” one.Less
This chapter explores Chan's realist mode in the traditions of Chinese-language cinemas. There are many modes of realism and Chan's case illustrates this concept clearly. His concern for underprivileged people and social injustice brings him close to this realist tradition. His so-called “Handover Trilogy” and his later films such as Durian Durian and Hollywood Hong Kong embody certain basic traits: the story of ordinary people, the theme of marginality, on-location shooting, jerky hand-held camerawork, frequent use of objective point of view camera, and the casting of non-professional actors. All these characteristics have led critics to conclude that he belongs safely to the tradition of social realism and that the Hong Kong through his lens is a “real” one.
Esther M. K. Cheung
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099777
- eISBN:
- 9789882206953
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099777.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter examines the surreal and ghostly elements in Fruit Chan's films. Hong Kong in Chan's “Handover Trilogy” is frequented by surreal, ghostly intrusions of various kinds. They are the ...
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This chapter examines the surreal and ghostly elements in Fruit Chan's films. Hong Kong in Chan's “Handover Trilogy” is frequented by surreal, ghostly intrusions of various kinds. They are the allegorization of recalcitrant elements of the past that resist erasure. The surreal in Chan's films evokes the heavy weight of melancholic sentiment in “The Swan” and reminds us of the ambiguous status of the ghostly subjects. As ghosts always return with a story to tell, the ghostly subjects in Chan's films stubbornly persist in the space of the present that does not want them.Less
This chapter examines the surreal and ghostly elements in Fruit Chan's films. Hong Kong in Chan's “Handover Trilogy” is frequented by surreal, ghostly intrusions of various kinds. They are the allegorization of recalcitrant elements of the past that resist erasure. The surreal in Chan's films evokes the heavy weight of melancholic sentiment in “The Swan” and reminds us of the ambiguous status of the ghostly subjects. As ghosts always return with a story to tell, the ghostly subjects in Chan's films stubbornly persist in the space of the present that does not want them.
Wendy Gan
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789888028566
- eISBN:
- 9789882206991
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888028566.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter explores dissemination in the context of Hong Kong cinema and in particular it looks at two films made back-to-back by award-winning independent director Fruit Chan, Little Cheung, and ...
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This chapter explores dissemination in the context of Hong Kong cinema and in particular it looks at two films made back-to-back by award-winning independent director Fruit Chan, Little Cheung, and Durian Durian. Little Cheung as the final installment of Chan's “Handover Trilogy” is of interest for its disseminatory take on Hong Kong as Chan highlights both the hidden heterogeneity of the territory with his attention to marginalized ethnic groups such as the Filipinas and South Asians amid the dominant Cantonese-speaking locals and the homogeneity that nonetheless holds these diverse communities together. Little Cheung balances centripetal and centrifugal forces at work within Hong Kong, revealing differences and divisions but also using the tropes of money and friendship to act as bridges between fragmented groups. Chan's next film after Little Cheung and Durian Durian, though the beginning of a different trilogy, can be usefully seen as developing the ideas of fragmentary nationhood explored in its predecessor.Less
This chapter explores dissemination in the context of Hong Kong cinema and in particular it looks at two films made back-to-back by award-winning independent director Fruit Chan, Little Cheung, and Durian Durian. Little Cheung as the final installment of Chan's “Handover Trilogy” is of interest for its disseminatory take on Hong Kong as Chan highlights both the hidden heterogeneity of the territory with his attention to marginalized ethnic groups such as the Filipinas and South Asians amid the dominant Cantonese-speaking locals and the homogeneity that nonetheless holds these diverse communities together. Little Cheung balances centripetal and centrifugal forces at work within Hong Kong, revealing differences and divisions but also using the tropes of money and friendship to act as bridges between fragmented groups. Chan's next film after Little Cheung and Durian Durian, though the beginning of a different trilogy, can be usefully seen as developing the ideas of fragmentary nationhood explored in its predecessor.
Ann Davies
- Published in print:
- 2009
- Published Online:
- July 2012
- ISBN:
- 9780719073649
- eISBN:
- 9781781702093
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719073649.003.0015
- Subject:
- Film, Television and Radio, Film
This chapter discusses the interaction of the director Calparsoro and the star Calparsoro. Calparsoro has not made his six films unaided and others participated in his work have collaborated to a ...
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This chapter discusses the interaction of the director Calparsoro and the star Calparsoro. Calparsoro has not made his six films unaided and others participated in his work have collaborated to a greater or lesser extent. This collaboration both in terms of its significance for Calparsoro's own work but also in terms of how an individual director's work leaches into and interacts with other aspects of the Spanish film scene, in this case the Spanish star system. It expands to a consideration of the presentation of women in his films, particularly the Basque trilogy, ultimately linking this debate back to the role of Nimri in Calparsoro's work. Nimri certainly has her place within this matrix. Nimri's personal life has impinged on the perception of her star persona; the latter is founded primarily on the roles she has undertaken. Calparsoro's films contributed to her viability as a star, but she also began to develop a repertoire separate from that of Calparsoro's work, starting with Abre los ojos in 1997. Reviews of Calparsoro's work refer time and again to the idea of Nimri as Calparsoro's muse.Less
This chapter discusses the interaction of the director Calparsoro and the star Calparsoro. Calparsoro has not made his six films unaided and others participated in his work have collaborated to a greater or lesser extent. This collaboration both in terms of its significance for Calparsoro's own work but also in terms of how an individual director's work leaches into and interacts with other aspects of the Spanish film scene, in this case the Spanish star system. It expands to a consideration of the presentation of women in his films, particularly the Basque trilogy, ultimately linking this debate back to the role of Nimri in Calparsoro's work. Nimri certainly has her place within this matrix. Nimri's personal life has impinged on the perception of her star persona; the latter is founded primarily on the roles she has undertaken. Calparsoro's films contributed to her viability as a star, but she also began to develop a repertoire separate from that of Calparsoro's work, starting with Abre los ojos in 1997. Reviews of Calparsoro's work refer time and again to the idea of Nimri as Calparsoro's muse.
Evgeny Dobrenko
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780748634453
- eISBN:
- 9780748653607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748634453.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter focuses on the film Gorky Trilogy, directed by Mark Donskoi and based on the autobiography of Maxim Gorky. It suggests that Gorky's creation of a biography of a certain Alyosha Peshkov ...
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This chapter focuses on the film Gorky Trilogy, directed by Mark Donskoi and based on the autobiography of Maxim Gorky. It suggests that Gorky's creation of a biography of a certain Alyosha Peshkov who really existed, and Donskoi's creation of the film trilogy which transformed the life of the character described by Gorky into a saint's life, compel one to think that the purity of biographical film genres is entirely conventional. The chapter also discusses Grigory Vinokur's view that the author of an autobio/bio/hagiography has to deal with the continually elusive subject of ‘graphy’, which is related both the genre and the object of the representation itself.Less
This chapter focuses on the film Gorky Trilogy, directed by Mark Donskoi and based on the autobiography of Maxim Gorky. It suggests that Gorky's creation of a biography of a certain Alyosha Peshkov who really existed, and Donskoi's creation of the film trilogy which transformed the life of the character described by Gorky into a saint's life, compel one to think that the purity of biographical film genres is entirely conventional. The chapter also discusses Grigory Vinokur's view that the author of an autobio/bio/hagiography has to deal with the continually elusive subject of ‘graphy’, which is related both the genre and the object of the representation itself.
John Orr
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748640140
- eISBN:
- 9780748671090
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640140.003.0009
- Subject:
- Film, Television and Radio, Film
In the latter part of the twentieth century, two indigenous visions arguably dominate in terms of vision, not in terms of output: in Scottish cinema that of Bill Douglas, in English cinema that of ...
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In the latter part of the twentieth century, two indigenous visions arguably dominate in terms of vision, not in terms of output: in Scottish cinema that of Bill Douglas, in English cinema that of Terence Davies. Both careers were haunted by failure to realise key projects. Douglas had devoted much of his time to a screen version of James Hogg's classic Scottish novel The Confessions of a Justified Sinner, for which there exists an extant screenplay but little more; Davies has tried for many years to bankroll a version of Lewis Grassic Gibbon's Sunset Song — two great Scottish artworks but neither in the end brought to the big screen. This chapter explores mimetic modernism and family mysteries in the Douglas trilogy: My Childhood, My Ain Folk and My Way Home. It also discusses romanticism and the poetry of memory in Davies' films such as Distant Voices, Still Lives, Children, Death and Transfiguration, Madonna and Child, The Long Day Closes and The House of Mirth. The chapter also looks at Iain Softley's The Wings of the Dove.Less
In the latter part of the twentieth century, two indigenous visions arguably dominate in terms of vision, not in terms of output: in Scottish cinema that of Bill Douglas, in English cinema that of Terence Davies. Both careers were haunted by failure to realise key projects. Douglas had devoted much of his time to a screen version of James Hogg's classic Scottish novel The Confessions of a Justified Sinner, for which there exists an extant screenplay but little more; Davies has tried for many years to bankroll a version of Lewis Grassic Gibbon's Sunset Song — two great Scottish artworks but neither in the end brought to the big screen. This chapter explores mimetic modernism and family mysteries in the Douglas trilogy: My Childhood, My Ain Folk and My Way Home. It also discusses romanticism and the poetry of memory in Davies' films such as Distant Voices, Still Lives, Children, Death and Transfiguration, Madonna and Child, The Long Day Closes and The House of Mirth. The chapter also looks at Iain Softley's The Wings of the Dove.
Richard K Sherwin
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780199272235
- eISBN:
- 9780191699603
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199272235.003.0005
- Subject:
- Law, Philosophy of Law
This chapter examines motion pictures from the perspective of jurisprudence, focusing on director Krzysztof Kieslowski's trilogy Three Colours. Kieslowski's main collaborator in this trilogy was ...
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This chapter examines motion pictures from the perspective of jurisprudence, focusing on director Krzysztof Kieslowski's trilogy Three Colours. Kieslowski's main collaborator in this trilogy was Krzysztof Piesiewicz, whose idea was to attempt to return elementary values destroyed by communism. This chapter suggests that Kieslowski and Piesiewicz consciously set themselves the task of confronting the core values that constitute the mythical foundation of the European Enlightenment and contends that the film embodies a vital mythical presence in society.Less
This chapter examines motion pictures from the perspective of jurisprudence, focusing on director Krzysztof Kieslowski's trilogy Three Colours. Kieslowski's main collaborator in this trilogy was Krzysztof Piesiewicz, whose idea was to attempt to return elementary values destroyed by communism. This chapter suggests that Kieslowski and Piesiewicz consciously set themselves the task of confronting the core values that constitute the mythical foundation of the European Enlightenment and contends that the film embodies a vital mythical presence in society.
