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His Excellency the Minister
Reproduction of the original: His Excellency the Minister by Jules Claretie
Prince Zilah — Complete
In 'Prince Zilah — Complete,' Jules Claretie offers readers a compelling narrative imbued with the intricacies of Romance and the human condition. As a classic of world literature, it mirrors the tradition of French realism and skillfully blends it with unique sentimental elements. Claretie's literary prowess is revealed through his exquisite prose and nuanced characters that navigate a world of emotion and complexity. Set against the backdrop of European high society, the work unfolds as both a journey and a critique, resonating with the universal themes of love, honor, and the inexorable passage of time. The book is emblematic of its era, engaging with the socio-cultural paradigms of the...
Bulletin
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Performing Queer Modernism
Focusing on some of the best-known and most visible stage plays and dance performances of the late nineteenth- and early twentieth-centuries, Penny Farfan's interdisciplinary study demonstrates that queer performance was integral to and productive of modernism, that queer modernist performance played a key role in the historical emergence of modern sexual identities, and that it anticipated, and was in a sense foundational to, the insights of contemporary queer modernist studies. Chapters on works from Vaslav Nijinsky's Afternoon of a Faun to Noël Coward's Private Lives highlight manifestations of and suggest ways of reading queer modernist performance. Together, these case studies clarify ...
Possessed
Silent cinema and contemporaneous literature explored themes of mesmerism, possession, and the ominous agency of corporate bodies that subsumed individual identities. At the same time, critics accused film itself of exerting a hypnotic influence over spellbound audiences. Stefan Andriopoulos shows that all this anxiety over being governed by an outside force was no marginal oddity, but rather a pervasive concern in the late nineteenth and early twentieth centuries. Tracing this preoccupation through the period’s films—as well as its legal, medical, and literary texts—Andriopoulos pays particular attention to the terrifying notion of murder committed against one’s will. He returns us ...
The New Review
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