Abstract This paper will discuss the book "Amour Dure" by Vernon Lee. By understanding the gender value that is within the text, we can see how to identity with the author in this way. By realizing the certain things that make the story male, an argument will be made for male ways of gender creation that are so much a part of this tale. The main themes of gender seem to be instilled in the plot, and the scenes that illuminate the situations of male gender throughout the book.
A comparison of the treatment of reality and illusion in the novels, "Un Amour De Swann" (Swann's Love), by Marcel Proust, and Andre Gide's "Les Faux-Monnayeurs" (The Counterfeitors).
Abstract This paper is a discussion of how, in both "Un Amour de Swann" and "Les Faux-Monnayeurs," fictional realities are exposed for their illusory nature, and the inner life of characters' fantasy and imagination is shown to be more real than the outer world they inhabit. In both cases, outer reality is shown to be a limited, disappointing, and inherently false area, and the artifice in a fictional reality is highlighted in order to direct our attention to the artifice in our own lived reality. It explains that, while Proust directs readers towards the 'time of our inner lives' as the space of true meaning and experience, Gide believes that action can be taken to expose the falsity inherent in the outer world and emancipate ourselves from the illusions we are enslaved to.
From the Paper "Proust's Un Amour de Swann and Gide's Les Faux-Monnayeurs are both concerned with the borderline between reality and illusion, and between the inner world of the self and the outer world of physical reality. Both novels contain characters who live in a reality they can neither experience fully, interpret objectively, or escape from, and both novels present a fictional reality exposed for its falsity in order to lead the reader to question the 'sincerity' of his own self and the nature of his own reality."
Abstract The paper explores Maurice Pialat's use of sudden breaks, shifts, clashes and contrasts to emphasise the emotive value of a scene or dramatic sequence. The paper bases the analysis on an in-depth study of three of Pialat's films; "Nous Ne Vieillirons Pas Ensemble" "L'enfance Nue" and "A Nos Amours".
Outline:
Introduction
Nous Ne Vieillirons Pas Ensemble
L'enfance Nue
A Nos Amours Conclusion
From the Paper "Maurice Pialat made his first feature length film, L'Enfance nue (1968), at forty-three years old, and proceeded to make only ten films in thirty years, a significant number of which he wished he had not made. He was also known for the difficulties surrounding the production of his films and compared to the amount of films produced by his contemporaries, he was an outsider. His relationship to the Nouvelle Vague movement is what Rene Predal (2005:7) called a 'rendez-vous manque'. This could be a metaphor for his work. Through filming the banal and the repetitions, shifts, breaks in seemingly insignificant events in everyday life, Pialat missed a certain element that made the narratives of the films of the Nouvelle Vague so elaborate. His blunt and anti-romantic narration however, somehow succeeds in reaching the emotional core of the stories he seeks to tell, leaving out the artifice of transitions, which he does not even take the time to film, and framing the characters in a very intimate way."
Critical review of this epic adventure tale and the use of the protagonist to praise the cultural contributions of Arab culture and Islam to 12th Century Europe.
1,350 words (approx. 5.4 pages), 1 source, 1999, $ 47.95
From the Paper "Although Louis L'Amour's The Walking Drum is clearly meant to be an epic adventure yarn, L'Amour just as clearly has written a work meant to praise Arab culture, its dominant religion Islam, and its many contributions to the development of Western civilization. This study will examine L'Amour's novel and its descriptions of how essential Arabic culture was to scholarship and the exchange of ideas in 12th century Europe. L'Amour usually does not abstractly describe these contributions but connects them meaningfully to the education and character development of the protagonist, Mathurin Kerbouchard. The study will focus on the relationship of Arabic culture and Kerbouchard's identity and the achievement of his objectives.
Again, L'Amour is not primarily writing a study of the history of the Arabic culture and people or its contributions to ..."
A book review. The article looks at the contemporary significance of Rousseau's ideas about education and social responsibility. It views some of the current practices in the light of those ideas.
Abstract The paper examines Rousseau's educational philosophy in "Emile" against the background of its period and from a contemporary perspective. The author believes that it may seem to us that his ideas are widly held nowadays, but in fact the modern education system does not practice or implement these notions.
From the Paper "Rousseau stressed that a child's way of dealing and looking at the world is indeed a child's way and not that of a little adult. (90) According to the philosopher, rushing a child would produce immature fruits. When it comes to moral development, "one cannot advance too slowly nor consolidate oneself too well at each step." (99) While there is much debate over this subject and it may not be our intention, the reality is that we don't allow children to be children in society today. Through the media they are exposed to the adult world. In fact, considering that Rousseau thought it was best to take a child out of 18th century society altogether for his education, imagine then how corruptive he would have considered our own pervasive culture with its continual negative and avaricious influences. "Each age, each condition of life, has its suitable perfection, a sort of maturity proper to it." (158)"
Abstract This paper discusses how "courtly love" is a term that was retroactively developed to describe a medieval French concept known as ?Fin Amour.? It examines how this concept became widespread in the 12th century and referred to a code of behavior that was to formulate our modern conceptualization of chivalrous romance. This concept was reflected in Francesco Petrarch's "Italian sonnets", which introduced the concept of lyrical poetry in the 14th century. It analyzes how by Shakespeare's time, a renewed interest in medieval court behavior coincided with a growing interest in Italian ducal courts as depicted in "Othello", "Romeo and Juliet" and "12th Night". It also evaluates how Shakespeare's sonnets, which differed from Petrarch's format, invoke medieval romantic concepts of unrequited love and long periods of courtship while taking a more humanistic approach to these themes.
From the Paper "In that jealousy ultimately destroys Desdemona and Othello, Shakespeare's portrayal of love is ultimately a tale of how people shouldn?t behave when they are in love. The way that the ill-fated couple conduct themselves before they leave Venice is essentially anti-social: when they secretly marry and elope, they implicitly reject the values of society and the desires of Desdemona's family. Whereas a modern audience might see Desdemona's refusal to respect her family's wishes as a not to what were to become the cosmopolitan values of liberal, sexually and racially emancipated Europe, a Shakespearean audience would have recognized this action as a serious breach of conventional norms that characterized European society. "
Abstract This paper examines "Therese Raquin", a novel by Emile Zola, which was first published in serial form in 1867 under the title of "Un Mariage d'Amour". It looks at how in the novel Zola used the "analytic method" to tell the story in which Therese finds herself. It demonstrates how while the literary ideal of the time was to use the "scientific method" to observe characters' behavior, Zola moves away from this with a moral, unscientific tone. It also discusses how Marcel Carne, a French filmmaker, adapted Zola's novel in his 1953 version of the story.
From the Paper "Edward Baron Turk (1989), upon meeting the elderly Carne during the 1980's, professes that the filmmaker saw himself as young. He was moved by the feeling of unfinished work. Thus, despite criticism to the effect that the quality of his films declined during the years both before and after "Therese Raquin", his ambition to make films never did. There is evidence of this in the film itself. The filmmaker recognizes that times have changed and thus the element of suspense is combined with the dark poetry of his previous works. The fact that he never believed his career to be over, moved him to continue exercising his profession in his old age. Even though these films never again attained either the quality or popularity of "Th?r?se Raquin", the fact remains that the filmmaker never lost his enthusiasm for his art or the values he depicted through it. The fact that he was working on a film when he died, demostrates this."
