Une charmante baby-sitter (Harlequin Horizon) (French Edition)

With the example of his ancestors in mind and the advice of his counselors in hand, he fulfilled the mission of the monarchy, in theory at least, by preserving the established order of things. They routinely found themselves involved in negotiations as well as contestations with their unruly subjects,. The king, needless to say, played the starring role in the state rituals that embodied the principles of the unwritten constitution of the kingdom.

Following this consecration of wisdom and strength, he was invested with the glorious regalia accumulated by his predecessors. Visibly ordained by God, visibly identified with Clovis, Charlemagne, and Saint Louis, he released prisoners, distributed alms, and cured scrofulous men and women with his thaumaturgic touch, subsequently exercised on major religious holidays. Municipalities extolled his virtues and celebrated his victories in his presence, and eulogists remembered them after his death. The royal funeral ceremony, as elaborated during the sixteenth century, involved a life-size and lifelike effigy of the deceased monarch, which effectively prolonged his reign until the next coronation and thereby ensured the corporeal and juridical continuity of the monarchy.

The individual, physical, and mortal body of the king ended up in the ancestral crypt at. Editions de Paris, On the coronation, see Richard A. Jackson, Vive le Roi! On the entry, see Lawrence M. Heinz Duchhardt, Richard A. Jackson, and David Sturdy Stuttgart: On the funeral, see Ralph E. Librairie Droz, ; and Robert N. Folger Shakespeare Library, , 45— Princeton University Press, ; Mack P.

Holt, "The King in Parlement: Brown and Richard C. Famiglietti, The Lit de Justice: Semantics, Ceremonial, and the Parlement of Paris, — Sigmaringen: Saint-Denis except for the heart and bowels, consigned as a matter of course to various Parisian churches , but the collective, intangible, and immortal body of kingship lived on in the person of his successor. The programs and meanings of these rituals changed after , when Henry IV was assassinated by Ravaillac and the underage dauphin was recognized as king by the Parlement of Paris during a lit de justice.

This unprecedented method of inauguration, replayed when five-year-olds inherited the crown in and , eclipsed the constitutional significance of the funeral and coronation ceremonies. The effigy of the deceased monarch disappeared from the funeral because it was no longer necessary for the purpose of assuring dynastic succession.

The popular acclamation preceding the royal oaths disappeared from the coronation because it suggested a measure of popular consent incompatible with absolutist ideology. Intent on consolidating royal sovereignty over their realm, still divided by countless legal and fiscal distinctions, the Bourbons reworked the ritualistic resources of the monarchy.

They downplayed the practice of collaboration between ruler and ruled and emphasized the principle of the concentration of authority in their own hands. By the time of Louis XV they used lits de justice , staged more frequently than before, to force registration of royal declarations by the troublesome parlementaires, who led the resistance to absolutism in the eighteenth century. They largely abandoned journeys through the provinces, undertaken by their predecessors to pacify or unify the country, and constructed a microcosmic model of religious, social, and political order around themselves at Versailles.

Louis XIV, who traveled through the Midi after the conclusion of the prolonged war with Spain and entered Paris triumphantly with his bride in , settled at Versailles some two decades later. The theatrical life of the French court collapsed the mystical into the physical body of the king, who played the role. The palace and gardens, decorated with Apollonian imagery, manifested and reinforced his authority. They provided a stage for plays and pageants that celebrated his mastery over self and subjects as well as external enemies and forces of disorder in the natural and human worlds.

The Bourbon withdrawal from public view accelerated during the reign of Louis XV, who frequented the private quarters of his mistresses and stopped exercising the royal touch on religious holidays. Isherwood, Music in the Service of the King: France in the Seventeenth Century Ithaca: Librairie Jean Tallandier, , Emmanuel-Henry de Grouchy and Paul Cottin, 4 vols. Flammarion, , 2: The royal body, in the spotlight during the lit de justice , projected not health, courage, or piety, but rather brutality. The public executioners dismembered this regicide, like Ravaillac before him, for attacking the divinely ordained sovereign and thereby endangering the body politic as a whole.

The parlementaires, who claimed to speak for the body politic, had already staked out more independence for it, and for themselves, than absolutist ideology allowed. During the so-called session of the flagellation in , the king had to remind them that "the public order as a whole" emanated from his person and that "the interests of the nation," which they had dared to describe as a corporate body differentiated from the crown, remained inseparable from his own and rested in his hands alone. As late as , when he made his only substantial trip away from Versailles, ordinary people flocked to see him.

He allowed his "children," as he called them, to approach his unguarded person and did not take offense when one woman spontaneously kissed him "like a. Editions du Seuil, Presses Universitaires de Lyon, Jules Flammermont, 3 vols. Imprimerie Nationale, —98 , 2: The "nation," more disengaged from the royal body and less infantilized by the royal father, expressed its sentiments on the occasion of the funeral of Louis XV in and the coronation of Louis XVI in , not to mention the lits de justice of —88 and the ceremonies culminating in the royal excursion to Paris just days after the assault on the Bastille.

French sovereigns may have confined themselves more and more to Versailles, but they dispatched representatives and disseminated representations throughout the country. The royal name, inscribed on laws and invoked in public prayers, and the royal image, stamped on coins and sculpted in public squares, identified the largely invisible king as the embodiment of the kingdom and gave kingship real presence in the daily lives of his subjects, who celebrated the births of his children and the victories of his armies. They disguised, or at least embellished, his person with classical, Christian, and historical references and symbols that illuminated his royal mission and illustrated his royal virtues.

London, —86 , 2: Michel Vovelle, 4 vols. Pergamon Press, , 1: Semantische Studien zum Totenkult in Frankreich, — Stuttgart: Forschungen und Perspektiven , ed. Emmanuel LeRoy Ladurie Paris: Pierre Nora, 2 vols. Une Grande Entreprise de propagande monarchique Paris: Essai sur la mythologie monarchique de la France absolue Paris: Yale University Press, ; Robert W. Berger, The Palace of the Sun: Cambridge University Press, Representations of monarchy repeated traditional themes but also reflected changing sensibilities. In the second half of the eighteenth century, for example, royal monuments shed some of their mythological and military attributes and emphasized the ruler's fatherly concern for the welfare of his people.

Subjects applauded the installation of the monuments but sometimes desecrated these surrogate figures of Louis XV that reigned over urban spaces. Defamatory placards deposited on the pedestals rewrote effusive inscriptions in much less flattering terms. The menacing stick planted in the outstretched hand of the Pigalle statue in Reims one night in , a year after the suppression of the parlements, made the bronze body of the sovereign reveal the despotic sentiments attributed to him by "patriotic" critics.

The rituals of the French monarchy and representations of French monarchs employed verbal and visual versions of a conventional rhetoric of order and disorder. This rhetoric located the crown within con-. In principle, at least, the sun did not scorch the planets, the father did not abuse his wife or children, the mind did not endanger the limbs, and the sovereign did not misuse his prerogatives, intended to preserve the privileges of his subjects and secure the welfare of the realm as a whole.

The corporate kingdom, insofar as it resembled the human body, was composed of a multitude of interdependent parts with a variety of functions to perform. Some texts worked out the comparison in detail, for example by identifying magistrates, soldiers, and artisans and peasants as eyes and ears, arms and hands, and legs and feet, respectively. If the organs and limbs rebelled—as they did in La Fontaine's fable about the stomach—or if the head ignored their needs, the state fell sick.

According to the natural order of things, the mind, which associated humans with the suprahuman Creator and entitled them to dominion over the earth, ruled, or at least should rule, the body, which associated humans with the subhuman animals and involved them in disruptive misconduct. Husbands, fathers, and kings, by the same token, were supposed to rule wives, children, and subjects, all of whom were ruled by their instincts and therefore incapable of ruling themselves.

Oxford University Press, Hale, The Body Politic: Gallimard, , 1: Schochet, Patriarchalism in Political Thought: Essays in Honor of J. Adrianna Bakos Rochester, N. Thanks to the progress of reformed Catholicism and royal absolutism, they consolidated their disciplinary powers over the disorderly bodies of their dependents. These familiar but versatile tropes, at the same time, did not have just one fixed configuration or one fixed signification during the period from the Renaissance to the Revolution.

At different times, in different circumstances, jurists and pamphleteers used them in different ways for different purposes, not only to justify but also to challenge the official version of absolutism. Bodin subordinated kings to God, magistrates to kings, subjects to magistrates, wives to husbands, children to fathers, servants to masters, and "bestial" appetites to. Flammarion, ; idem, L'Invention de l'homme moderne: Fayard, ; and James R. Echec d'un dressage culturel Paris: Bodin distinguished the "royal" monarch, devoted to public welfare and visible to subjects who loved him, from the "tyrannical" monarch, preoccupied with selfish pleasures and inaccessible to subjects who feared him.

Fathers who squandered their estates, abused their children, or lost their senses deserved to be deprived of their powers over others, "inasmuch as they have none over themselves. Bossuet excluded planets, climates, and humors from his analysis of politics, based on "the very words of Holy Scripture" alone, but he endorsed the patriarchal vision of the interconnected state, household, and body outlined by Bodin.

In the s, as in the s, the Creator invested husbands, fathers, and kings with authority over various categories of irrational subordinates identified with the passions that disrupted human society. Moreau, who, like Bossuet, composed his text at the behest of the crown for the instruction of the dauphin, restated many of the same lessons a century later, in more modern and less metaphorical language.

He attributed the authority of husbands over wives, which supposedly ensured the preservation of morals in most countries, to the laws of nature and the difference established by the Creator between the "strengths" presumably in multiple senses of the word—physical, mental, and moral of the two sexes.

Nature granted rights but also imposed obligations, which the multitude, inclined "to let itself be led astray" by unruly passions, could. Jacques Le Brun Geneva: Librairie Droz, , Jacob-Nicolas Morreau, — Paris: Cambridge University Press, , 59— Bodin, Bossuet, and Moreau, writing in different centuries and different circumstances, explicated the body politics of French absolutism in somewhat different terms.

They agreed, nevertheless, that husbands, fathers, and especially kings, in order to prevent the blindness and brutality of their ignorant and irresponsible dependents from turning the world upside down, must, in their persons and their policies, embody the dominance of reason over the passions. Richelieu incorporated this exhortation into his political testament, addressed to the temperamental Louis XIII. He declared that humans, as a species, should obey the faculty that distinguished them from beasts and specified that kings "more than all others should be motivated by reason," both because God made them responsible for enforcing its authority and because subjects automatically loved rulers who were guided by its dictates.

He urged Louis XIII to exercise foresight, avoid precipitousness, weigh the judicious advice of male counselors, and shun the destructive influence of female favorites, who inevitably subordinated "public interest" to "private affections. The masculinist myth of royal rationality, like other types of gendered discourse identified by Joan Scott, articulated relationships of power. The Significant Chapters and Supporting Selections , ed.

Henry Bertram Hill Madison: Columbia University Press, , 28— Bodin, Bossuet, Moreau, and Richelieu all supported royal authority in prescriptive literature by linking personal order in the male self with public order in the lawful state, which was peopled by infantilized subjects. They insisted that kings, like husbands and fathers, must discipline themselves, as well as their subordinates, because they recognized that the passions of these patriarchal figures, if not carefully regulated, might cause injustice and legitimize disobedience.

Critics of royal policies throughout the early modern period fixated on the dangerous consequences of the fallibility of ministers and monarchs. They challenged royal authority, or at least abuses of royal authority, in polemical literature by linking personal disorder in the feminized and animalized self with public disorder in the lawless state, which was reduced to slavery or even savagery. During the sixteenth-century civil wars, for example, pamphleteers accused Catherine de Medici and Henry III of tyranny not only by cataloguing their misdeeds but also by characterizing them as diseased, depraved, and diabolical.

During the Fronde critics of the regency government denounced Anne of Austria and, even more aggressively, Jules Mazarin for mismanaging their own bodies as well as the body politic.

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Working within the flexible framework of conventional principles outlined above, pamphleteers blamed misrule on the disruptive passions of the Spanish queen, who corroborated traditional stereotypes about female indiscipline, and the Italian cardinal, who betrayed traditional expectations about male discipline. The disorderly couple, allegedly obsessed with the pleasures of the flesh, effectively repudi-. Teasley, "Legends of the Last Valois: Armand Colin, ; Christian Jouhaud, Mazarinades: La Fronde des mots Paris: Les Mazarinades , 2 vols.

On the theme of the undisciplined body in these texts, see Jeffrey Merrick, "The Cardinal and the Queen: Seifert, "Eroticizing the Fronde: Instead of preserving "the legitimate liberty that makes kings reign in the hearts of the people," they surrendered themselves to debased and despotic appetites that degraded the monarchy and alienated the affections of the population. Pamphleteers, who blamed Mazarin, more often than not, for the mis-government of the country, inscribed his many offenses on his disfigured body and in his perverted biography.

One of them anatomized his monstrous person, described as a sewer full of refuse, from head to foot—or rather, the other way around. His feet guided him into "sordid places" and directed him toward prey and booty. His hands, "completely crooked," were suitable only for grabbing and pillaging. His stomach consumed "enough food to provision a well-ordered kingdom.

His lungs filled him with pride and presumption that choked his heart, which engendered thoughts "darker than hell. His eyes, like those of the legendary basilisk, emitted deadly vapors. His physiognomy, marked by ferocious veins, revealed his tyrannical disposition. His head, full of devious and malicious spirits, plotted the despoliation of the French people and misled all the other parts of his body into "the most enormous crimes.

The diabolical minister, animalized or at least feminized by his destructive and debilitating appetites, disrupted and disintegrated the state. In his case the body, which should have been the "slave," instead usurped the role of "master," such that he spent his entire life in the state of sat-. He graduated to the active role, without losing his feminine characteristics, by the time he settled in Paris, where he reportedly buggered numberless pages and priests, as well as Anne of Austria herself, who was quickly seduced by and completely infatuated with him.

Enslaved by "the passion that tyrannizes her," she allowed him to enslave the country. By exposing his grotesque body and carnivalesque biography, the Mazarinades condemned "the Italian sausage" for inverting and corrupting the divine and natural order of things in the cosmos, household, self, and state. He ran away from home to escape the beneficial discipline imposed by his father and later disunited households throughout France by turning "the father against the son, the brother against the sister, the uncle against the nephew, the wife against the husband, and the servant against the master.

Paris, , 1: He renounced the rule of reason, identified with men, and embraced the yoke of passion, associated with women and animals. Having acquired unnatural authority through unnatural means, the minister ruled his ruler but not himself. Out of place and out of control, he could not embody royal rationality or dispense royal justice. In doing "whatever he wants with his body," he left the country littered with the bodies of his victims. Some pamphleteers, speaking like doctors, prescribed purgation to cure the sickness caused by the kingdom's ingestion of "abominable monsters," one of which, "all red with her blood" a reference to the sanguinary cardinal's scarlet robes , lacerated her entrails.

The Mazarinades projected the disobedience of the Frondeurs as well as the chaos of the Fronde onto the fictionalized figure of their namesake "you who govern yourself according to your passions" , whose unruly genitals broke down the distinctions between law and license that regulated both sexuality and politics.

In denouncing the heartless and mindless cardinal, whose body was not, of course, linked with the body politic through ceremonial and symbolic traditions, they nevertheless articulated standards of accountability for monarchs as well as ministers.

Mazarin's critics reminded Louis XIV that he must regard his people as "the members of the body of which he is the head" and that he, unlike Mazarin, must subordinate his own desires to the collective welfare. Having rebelled against the monstrous minister who embodied rebellion in so many ways, French men and women clamored for the underage monarch to restore the health of the metaphorical body and the unity of the metaphorical family. Their sovereign, moved by his "paternal affection" for the people subjected to him by God, chastised and then forgave them.

As the head of the figurative body and the collective household, he also instructed them to obey him unconditionally in the future. They turned the world right side up again by reasserting the authority of the crown and repossessing the rhetoric of cosmological, familial, and corporeal order. They represented the Sun King, on paper and canvas, as the incarnation of "masculine" virtues, as opposed to "feminine" vices.

The royal Apollo included many of their lessons, which he could not have learned from the Mazarin portrayed by the pamphleteers, in memoirs addressed to his son. He condemned rebellion in no uncertain terms but denied that divine ordination, which exempted the sovereign from accountability to his subjects, entitled him to conduct his life "in a more disorderly way. Through ritual, representation, and rhetoric, the Bourbon monarchy reaffirmed the principle that the head of the monarch, who served as the. Louis XIV, perpetually on stage at Versailles, subjected himself, as well as his entourage, to rules and routines intended to promote and preserve religious, social, and political order at court and throughout the country.

He disciplined parlementaires, peasants, and Protestants but failed, at least according to domestic and foreign critics, to live up to his own prescriptions. Unlike poets and painters in the service of the crown, these critics did not disguise or decorate the mortal body of the Sun King with classical, Christian, and historical trappings. They portrayed him, on the contrary, as debauched, diseased, defeated, and despotic. They defamed the profligate Louis XV, who evidently could not control his unruly libido, and the impotent Louis XVI, who apparently could not control his unruly wife.

In the eighteenth century, as during the Fronde, critics of royal policies reprimanded ministers and monarchs for violating in practice obligations that apologists of absolutism like Bodin, Bossuet, and Moreau acknowledged in principle. Parlementaires legitimized resistance by expropriating the religious and familial language deployed by the monar-. Unauthorized Sexuality During the Enlightenment , ed. Robert Purks Maccubbin Cambridge: Libel and Political Mythology," in Revolution in Print: The Press in France, — , ed.

Robert Darnton and Daniel Roche Berkeley: Marie-Antoinette dans les pamphlets Paris: These standards turned out to be much more ambiguous and flexible than they looked in prescriptive sources, especially during constitutional conflicts, when the deceptive consensus about figurative ways of describing relations of authority and subordination broke down.

The magistrates generally interpreted them in such a way as to justify their own political pretensions, without discarding the traditional metaphorology and reconstructing the state in disembodied style as some of their "patriotic" and "philosophic" contemporaries did. Pamphleteers, meanwhile, supported parlementary opposition to despotism by exposing and exaggerating depravity at court and throughout French society. They suggested that the bodies of Louis XV and his grandson, who seemed less visible and also less reliable than their predecessors, actually endangered the realm, instead of unifying, guiding, and disciplining it.

The conventional rhetoric, in the last analysis, was largely reversible, and critics of the official version of absolutism, even before , manipulated it more effectively than the monarchy itself did. Most studies of the representation of Louis XIV focus on the absolutist king at the height of his power, portraying a king who was largely autonomous. Indeed, portraits of the king that were associated with military triumph relied heavily on the depiction of other bodies: As a marriage treaty was negotiated, and images of kingship moved toward what Thomas Kaiser describes in this volume as "the pastoral image of monarchy based on love, harmony, and.

In this shift, Louis XIV's political body was further framed and complemented by supporting characters and props. It is important to note that the images of the young Louis XIV examined in this essay emerged from a period of transition and flux. Even though it is accepted today that the events in Flanders in and occasioned the marriage of Louis XIV and lay the groundwork for the political stability on which Louis XIV would begin his personal rule after the death of Mazarin, during the campaigns proper the outcome of the military engagements was of course an unknown.

As late as early the treaty marriage, with its attendant political triumphs, was only a goal coming into view, a fantasy of the fixed, socially and politically stable state to which the French aspired. Images of the king's body produced during this transitional time differ significantly from the now canonical fictions of "the king's two bodies" elucidated by Ernst Kantorowicz and Ralph Glesey.

It was the aim of these conceptions of sovereignty to attenuate that crisis by downplaying the importance of the king's mortal body and by creating the conditions in which one ruler's body could be substituted for another. It was the aim of these conceptions to reduce multiplicity multiple bodies or rulers to divine unity. Fictions of the king's body produced during the period between war and marriage were not primarily a response to the threat of a monarch's death.

They arose out of the activity of diplomatic interaction and emphasized how adjudication of territorial disputes and the exchange of kin could stabilize power in a period of change. Representations of the king during such flux depended on his interaction with other bodies—courtiers, generals, the queen mother, the minister, a future queen—and with the props of sovereign performance—clothing, royal limbs, even the frames that surround and highlight such performances or representations.

These images of sovereignty relied heavily on the perception that the king's mortal body was vigorous, not to counter fears of his death, but to counter questions about his viril-. Princeton University Press, ; and Ralph E. For a more specific critique of the paradigm of the "king's two bodies," see Abby Zanger, "Making Sweat: Indeed, in the years before he took power, images of the king's virile—hence mortal—body were fundamental to relaying the potential strength of his rule.

It was thus that in the period before his prise de pouvoir , the king's sexual body was not seen as detrimental to displays of his power, but as constitutive of it. The representation of other bodies around him was necessary to drive home that potency. Almanac engravings from and depicting the king's military triumphs and suggesting the possibility of royal military and matrimonial success provide an example of the visual and rhetorical strategies of representing kingship and its bodies on the as yet unstabilized stage of Louis XIV's absolutist reign.

Projecting images of long-desired peace and prosperity, the almanacs shift between visions of war and marriage. Their fictions emerge from what the anthropologist Victor Turner termed the "betwixt and between," the liminal, the neither here nor there: As such, liminal periods are often marked by ambiguity and paradox, by a confusion of customary categories and divisions and by the unknown, unbounded, limitless. Despite this general tendency toward disorder and dissolution, it must be understood that liminality is linked to reordering. Preceding or bordering stable, familiar states, liminal periods help transform and reformulate old elements into new patterns.

As Turner noted, if "liminality may perhaps be regarded as the Nay to all positive structural assertions," it must also be seen as, "in some sense, the source of them all, and more than that, as a realm of pure possibility whence novel configurations of ideas and relations may arise. Cornell University Press, , Turner focuses on other writings about liminality: Mary Douglas's Purity and Danger: The University of Chicago Press, It is the uneasy yet productive relation between the flux of liminality and the fixity of established, stable, recurrent states or conditions that is of particular interest for this discussion.

For such images of military triumph that point toward the dream of a stable state emerging out of military victory and out of the empire building of royal marriage were efforts on the part of the representational apparatus of the absolutist state under Mazarin to freeze the flux of historic events, to contain their unknowns and uncertainties and reestablish the fundamental oppositions and hierarchies on which the performance of sovereign power rested. These images thus offer a unique glimpse into the struggle of representational forms to maintain fixity in a situation of liminality or flux, of betwixt and between.

This struggle is especially evident in an iconography whose two most salient images are of legs and frames—most particularly, but not exclusively, of the king's legs, and most particularly, but also not exclusively, of frames that contain cameo images of potential queens.

The play between the visual role of the leg or limb as a space of demarcation, a limit indeed limb and liminal share a common etymology in the Latin limes , limit, and limen , threshold , on the one hand, and the nature of what is being demarcated, limited, encircled, and framed i. For limits and frames appear in these almanac images precisely where fixed boundaries and the order they imply are threatened, that is, at the meeting of the liminal and the fixed, what Turner characterized as "that realm of pure possibility.

It is precisely that play between fixing and unfixing evidenced on the microscopic level of iconography and reproducing the larger historic movement from war before marriage to marriage after war that is pertinent to an analysis of these almanac images. The properties of the representation of this "realm of pure possibility," a realm stirred up and constructed from this encounter, differ significantly from the characteristics of the portrait of the mature king.

Before examining the almanac images, it is important to note that the genre of almanac engravings itself engages in the mediation of flux and stability on two levels. Almanacs incarnated both the transitory nature of time and the attempt to foretell and fix that ephemerality. They encapsulated both recovery and anticipation, insofar as their upper register recaptures and freezes images of a year recently completed, while their lower half lays out and projects the as yet unknown year ahead in a grid of num-.

Often almanacs made elaborate observations about planets and such conditions as their eclipses, [6] although the almanacs studied here simply list saints' days or predict the weather. The first set examined, produced to mark the year , refers to events that occurred during the summer of The second set, produced to mark the year , pertains to events from They also allude to the agreement of nonintervention negotiated with the Electors of the Austrian Hapsburg Empire, the king's recovery from a near-fatal illness contracted while on a military campaign in July, and again—much more specifically this time—to the possibility of a marriage match for the young monarch.

Looking back, they also look toward and claim to predict the future. This play between past and future as well as the condensation of several events from throughout the year into one image that seems to freeze the flux of time may also be seen to function more generally for the status of the almanac in the larger sphere of print culture. These one-page broadsides covered with visual images and numbers were in fact a par-ticularly potent medium for fixing ideas in the public imagination.

Saffoy, Bibliographie des almanachs et annuaires Paris: Essaie d'histoire sociale Paris: Mouton, [subsequent page references in the text are to this last book]. Seen in this light, almanacs participated in the very flux of events; by anchoring these events in the French field of vision, that is, by moving the stage of the king's out-of-sight battlefield activities onto the streets and into the households of the kingdom, they served the machinery of symbolic power.

The term stage is used literally here, because the various scenes shown in the almanacs are often depicted on the Italian proscenium-arch stage. Richelieu had promoted this design in a rationalization of the space of illusion that is now understood as founding the performance of absolutist power by organizing and controlling the gaze of the spectator. With their combination of iconography, information, prognostication, and political allegory, these bycentimeter sheets cut a broad swath across a large audience of viewers and readers.

The first almanac image considered here, The Magnificent Triumph fig. It presents a topos common to military triumph: Librairie Droz, , 1: Martin uses the term feuille volante to refer to broadsides as well as short livrets such as factums , occasional pamphlets reporting on natural wonders, and almanacs.

Dating from the period of Philip II's occupation of Flanders, the painting features a chariot of allegorical women crushing Envy. These limbs and snakes suggest the powerful and predatory nature of passions. They are sexualized images of potency and penetration, the kind Jeffrey Merrick links to personal disorder and state lawlessness in the political pamphlets of the Fronde he discusses in this volume.

It is not surprising that the king is figured above these problematic passions. He is placed on a higher plane, surrounded by higher-order images, the historical figures of the court situated behind him to the right and the other trophies of his victories off to the left. These trophies are to be contrasted with Rage, Sedition, and Envy; they are not invidious limbs being crushed, but cities, controlled not by dismemberment but by containment. Put into relief, they are miniaturized, immobilized, and placed on a portable surface carried high above the heads of the soldiers in the fashion of a Roman triumph.

If disorder and movement mark the limbs of Rage, Envy, and Sedition, the cities are the model of civic order and constraint, as are the neatly covered limbs of the soldiers who carry them. The prose text at the top center of the engraving offers further indices for reading the figures below. Interestingly, the prose does not open with a reference to the moral victory over the disorderly allegorical limbs.

Nor does it refer to the military victory over the now ordered, contained cities.

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Instead the text speaks of another kind of triumph, one not figured visually in the engraving: Where our august monarch is seen mastering himself and his enemies because he places his passions among his war trophies. Invoking a king's self-mastery is not an unusual rhetorical move in this sort of celebratory material.

One sees as well the soldiers who march in front, laden with the spoils of the enemies and carrying on their shoulders in the Roman manner the cities of Montmedy, St. Venant, Bourbourg, and Mardic represented in relief, which has been conquered by the very great king with all the [military] standards carried off in the various battles with the Spaniards as well as their shameful retreat from Ardre. All translations of texts in engravings are by the author of this essay. Original French spelling, punctuation, and capitalization are retained throughout. The text's frontispiece is an engraving in which the king's portrait in a medallion is held by an angel in a chariot.

The third engraving in the text shows the king on a throne and is accompanied by the following verse:. In reading the text, it seems that this verse refers to the king's tireless military endeavors. It seems a bit paradoxical, however, to draw attention to an invisible kind of mastery in the heading over an image that is meant to make the king's authority visible.

It also seems paradoxical to attempt to make authority visible by drawing attention to the king's mastery over passions he should not have. Suggesting that the king may have had uncontrollable urges would, one might think, only emphasize his humanness. As the work of Ernst Kantorowicz has demonstrated, an early modern European king's constitutional entitlement rested largely on his ability to repress the fact of his humanness via elaborately ritualized fictions of his divine status.

It would seem that underlining a dimension of the king such as his passions—a dimension he is not supposed to have—might serve not only to fit the king into a traditional stoic framework, but also to arouse the viewer's curiosity by drawing him or her outside the fixed moral and military boundaries to reflect on the passions and personal disorder edging those boundaries, in particular a king's own potentially disordering passions: The prose text thus invites the viewer to comb the image for residues of such disarray emerging from the vision of domination and reordering.

And indeed, if the dismembered limbs of Rage, Envy, and Sedition suggest a world of such lawlessness, the curious viewer can also find traces of the potentially unfixed passions of the king by easily matching the limbs of defeated passions first to those of the horses, and then, moving higher, to those of the king, as muscled and sinewy as the legs of the animals.

Of course, all limbs in the picture are always lower-order members. One goal of the image seems to be to reprocess lower-order images into containable trophies. The diorama as trophy epitomizes this movement, for, as the text notes, the king placed his passions "among his war trophies. The work of Michel Foucault has made critics aware, furthermore, that exclusion and policing, framing sexuality out of the picture which is what often happens in the representation of a monarch's body , are methods for deal-. Although in pieces, these figures, objects to be crushed by military and visual mastery, are nonetheless always hovering at the edge, as if it is their energy that keeps the wheels of the king's machinery of domination moving forward.

Like the burlesque king discussed by Mark Franko in this volume, the king mastering these liminal forces makes royal power, both political and personal, visible. If The Magnificent Triumph leaves the viewer more interested in the king's disorderly and uncontrolled ephemeral passions than in the parading of his permanent military control, other almanac images from the same year bring these passions into relief, containing them in a manner that makes them more visually available, if perhaps less powerful and interesting.

This image more overtly organizes the relation between disorderly affairs of passion and the ideally more stable affairs of state, legitimizing the king's passions, which had been, so to speak, rolled under the bed—or under the triumphal chariot of the previous image.

From the Royal to the Republican Body

Indeed, "legitimation" is the first modifier in the descriptive heading:. An Introduction New York: Routledge, , — The legitimate wishes of France for the marriage of the king, dedicated and presented by the love of virtue and by that of France itself to our invincible monarch Louis XIIII followed by the joy of the people, the desires for peace, and the wishes of renown, one in the hope of one day seeing a dauphin born, the other of soon seeing the Christian princes in perfect harmony, and the third the empire united to the crown of France; and below, the conquests of Monmedie, Mardic, St.

Venant, the shameful flight of the Spaniards from Ardres with the representation and victory, firm and solid support of the French monarchy. As the prose text states, the legitimized wishes or hopes for the legitimate passion of marriage are placed center-stage in this engraving, displayed in the middle of the image in a framed picture of the king holding out his hand to a woman dressed in the French queen's traditional wedding garb. A banner inside this interior image reads, "Great King place. Note as well that the interior picture is being presented to the king by the allegorical figure France, and that each of the two central figures, France and the king, is surrounded by similar characters: This combination of right and left imagery allegorical and historical echoes the visual play seen in The Magnificent Triumph see fig.

Here, however, the allegorical emerges not as dismembered Rage, Sedition, and Envy, but as full-bodied Peace, Joy, and Renown, legitimate passions carrying legitimate wishes for a Bourbon heir, for reconciliation between Philip IV and Louis XIV, and for an agreement with the Electors not to interfere in the events in Flanders.

As such, these allegorical figures and their passions can be revealed and advertised. Particularly important is how this meeting of now-legitimated allegorical figures and the historical personages allows the entry of the king's passion into the scenario. Or rather, how it allows the emergence of a legitimated and civilized form of the king's passion, the royal and regulated productive, heterosocial marriage represented within the framed image as if in an equation: To understand more fully how this equation factors passion into the scenario albeit now a stable and contained passion because set apart, legitimized and sanitized , it is necessary to find a way to re-bisect this image, shifting from the grid set out to frame our gaze, that is the division between left allegory and right history , to a different split between top and bottom high and low.

To do so, one must resist the temptations of the framing scene and look at details or limits—in this case, limbs. Despite examining a large number of engraved images, however, we found it difficult to be sure of exactly who is in the picture. Note, as well, the addition of Anne of Austria to the group. She was not present in the battle scene of Le Triomphe Magnifique. In adopting this perspective, it is evident that even legitimized sexuality that is, the framed image is a lower-order member, occupying the domain of the king's own lower-order member, his iconic leg.

The idea that procreation, and therefore sexual bodies erect penises or women , are a necessary if knotty or naughty aspect of monarchy is also reinforced by the fact that the king's limb is situated opposite the medallion held by the Wishes of the people: The restrained, legitimized, framed scenario of heterosociality that the allegorical figure France offers the king thus plays off the less restrained sexuality of the leg.

The status of framed images as a basis or limb of the monarch's power can be more fully examined in another almanac engraving in which the king is being shown a collection of portraits of potential queens fig. In this image, where the issue of marriage takes center stage, the passion eliminated from or crushed in The Magnificent Tirumph and allowed,. Knopf, , — Schama notes that legs are seen as lower order, a sign of a fallen woman and wantonness in Dutch painting of the period. Misprints are not uncommon in these images, and, of course, the rules of grammar were not conventionally followed or even in existence as we know them today.

The gifts estrennes are probably those given on the New Year, a theme in keeping with the almanac, although a second possibility might be that these are gifts offered at the beginning of a new undertaking, a foretaste of things to come. As such they would mark the king's maturity and potential entry into matrimony upon the successful completion of the military campaigns.

The latter, figured in the top corners of the graphic, recede into the margins or frame of the page, acting as pendants to the cameos below depicting the king's new field of action. The banner above focuses exclusively on the field of the portraits, the scene within the proscenium arch, emphasizing that the king will make a choice from among the offered gifts, women chosen by the Virtues from "all the provinces of Europe. The virtues, charmed by the merit of our great monarch, after having chosen from all the provinces of Europe, those they found the most perfect and accomplished, come to present to him whom they consider their protector, ex-.

Perhaps the most useful overview of the genre of the portrait-within-an-engraving is the chapter on portraiture in Erica Harth's Ideology and Culture in Seventeenth-Century France Ithaca: Cornell University Press, For an interesting discussion of the nature of portraits of women in Renaissance Italy, see Patricia Simons, "Women in Frames: Although it is disappointing that Simons does not actually fulfill her proposed agenda to offer not only a social and historical analysis of the female gaze but also a psycho-sexual one, her readings of portraits of women, particularly her analysis of the use of such portraits for dynastic purposes marriage, displaying riches and of the way women were positioned within the portraits, are quite suggestive for understanding the portraits within almanac engravings.

For information on portraiture in classical France that is not specifically concerned with the issue of portraying women, see Francis Dowley, "French Portraits of Ladies as Minerva," Gazette des beaux arts , May—June , —86; and Lorne Campbell, Renaissance Portraits: The emphasis on choice here is important and can be understood in terms of the framework provided by Marcel Mauss's observations about the activity of gift exchange as a practice in which relations of submission transform the physical violence of the battlefield into symbolic interaction.

One possible action, albeit a dangerous one, is for the recipient to choose not to reply with a gift in turn. According to Mauss, such behavior is the strongest possible response, for it is a display of independence and this is the sovereign position. Here the king adopts a version of that posture by not accepting just any gift, but by choosing among gifts, in a kind of fairy-tale fantasy of the king choosing from the fairest in the land. Thus, if there is a veritable explosion of choice in this image, that multiplicity does not privilege the possibility of royal disorder because of either submission, sexual excess, or polygamy.

Rather, it offers the king the possibility of displaying his power over his passions and over the allegorical women who present him with gifts, in that it shows him exercising his power to make "a happy choice. Looking at the image, one cannot help but recognize that a choice has already been made. Only one of the five cameos is completely visible, the one suggestively situated to the right of the king's leg, as if ready to slide up along the limb—the limit separating the allegorical and historical registers—to join the royal family.

Even if the king does not look directly at his chosen princess, she is the choice displayed for the viewer. Ian Cunnison New York: Von Sturmer, and Rodney Needham Boston: Situated diagonally opposite an unframed image of her predecessor, Louis XIV's mother, Anne of Austria, the cameo is the only image that might compete with the king's for the viewer's interest.

The other portraits are partly obscured by plants and by the bodies of the Virtues holding them. Something is also missing from the portrait of the chosen princess: Indeed, the dissonance between the king's full body and the truncated, framed, cameo image of the queen is striking. Her body seems to be another version of the truncated historical figures surrounding the king, although in the case of the queen the truncation echoes the tension of the gift-exchange paradigm. Just as gift exchange abbreviates and reprocesses potential social violence into a containable, symbolic activity, so too does the cameo "police" the potentially disruptive parts of the woman.

If an unmarried woman has been allowed to enter into the picture, it is only insofar as she is framed and contained in a form as easily distributed among the courts of Europe as the almanac engraving could have been passed around among the streets of the realm. There is no danger of this female image walking around: In both cases gift exchange and kinship exchange , tension over the unseen social aggression does not disappear; it is simply policed by the structure.

So, too, the almanac engraving has found a way to circumscribe the necessity of the limbs sexual body parts supporting the sovereign performance by making them at once visible and invisible. This image was brought to my attention in a talk by Sarah Hanley given at Harvard in March She showed several images illustrating the adage "femme sans teste tout en est bon," including one by Jacques Lagnet that dates to BN, Cabinet des Estampes, Collection Hennin, no.

The illustrated proverb seems to suggest that if you can separate women's bodies from their heads they will be rendered harmless. In the image, however, the idea seems to be to get rid of the head. In the almanacs it is the bodies that are missing. Since no other information is available about this proverb, it is impossible to comment further except to suggest that the contrast merits further consideration. The iconographic topoi of The Gifts are not new to the marriage of Louis XIV, but actually repeat and popularize an image predicated on many of the same dynamics between war and marriage, framing and curiosity, politics and sexuality, seen in the almanac images: Rubens's painting of Henri IV receiving the portrait of his intended bride fig.

In the Rubcns image, illustrated here by an eighteenth-century engraved reproduction, Henri IV has discarded the trappings of war at the sight of his intended wife. In The Gifts of see fig. Is it possible that The Gifts makes a subtle pun on Rubens's painting by replacing the cheerful cherubs at the bottom with two caryatid-like figures straining to support the proscenium arch? The lion's skin between them underlines their herculean effort, reminding the viewer of at least two forms of labor behind making a royal alliance: And they are not playing with the trappings of war, but seriously displaying them, exhibiting the lion's head-helmet on the right and tail-helmet on the left along with the medallions of the battlefield.

Rubens's image also includes the battlefield in the distance, evaporating in a wisp of smokc. Indeed, in the Rubens it seems as if there is no need for any boundary between the allegorical and the historical images. Likewise, there seems to be no need to place the object of desire the framed image on a lower register than the king. Of course, Rubens's painting and the almanac engraving are different genres with different formats.

The first is a large, 3. The works are also the product of two distinct historical moments: Rubens's piece was painted in the s to describe earlier events, and the almanacs were printed in the late s contemporaneous with the events they depict. One might, nonetheless, pause over the way sexuality seems less fraught, more noble, in the portrayal of Henri IV looking at Marie. Perhaps that is because the image was painted after the king's death and his establishment as the virile Roi vert gallant. It seems as if queens are allowed out of their frame only after the consummation of marriage and of the accords on which it was founded.

The relation between the full-bodied king and framed queen is clarified when Rubens's painting is juxtaposed with another almanac from the year , "The Celebrated Assembly of the Court. This engraving illustrates both the similarities with and differences from Rubens's image, most particularly in the position of the cameo portrait as it is being shown to the king, but also in the relation between the registers of history and allegory and in the juxtaposition of the images of war and passion, all of which affect the presentation of the potentially disorderly political bodies' roles in the it is to be hoped more ordered affairs of the body politic.

Once again, it is the banner over the image that guides our reading: A new element in the staging of the period between war and marriage appears in this heading: Auguste Durand, , During the course of the illness, the king almost died: Of course, in recording the progression of the ailment, the king's physician Vallot was understandably reluctant to suggest that the illness was in any way connected to the monarch's being a weak physical specimen. Concern expressed for the young king during the crisis and convalescence was, therefore, also concern expressed for the health of the Bourbon dynasty.

Less than a decade after the crises of the Fronde, and in the midst of victories against the long-time enemy, Hapsburg Spain, the tide seemed to be turning in favor of the Bourbon dynasty, which could at last look forward to the assumption of power by a young and virile king. Were Louis XIV to have succumbed to his illness in July , the vigor of the body politic would have been far less certain.

For the crown would have passed to his younger brother, the duke of Anjou. He would have been a less compelling monarch in the French imaginary, since there were already grave reservations about his ability to procreate, let alone rule. It was apparently no secret that the duke of Anjou took after his father, Louis XIII, a king more interested in the bodies of other men than in the more manly affairs of the body politic or state.

Thomas E Mayer and D. University of Michigan Press, , — In this context it seems likely that Louis XIV's "scandalous" romance with Marie Mancini, begun during the king's convalescence and coming to an end only with his marriage in , may have been utilized or even staged by Mazarin to demonstrate to the country that the king's body was once again in good working order after his brush with death. Note how, in figure 2. Such usage is not surprising in a genre popular in this period not only as a way to introduce potential queens, but also as a way to memorialize dead persons.

In the face of such dire events, it is not surprising that he king's mortal body, framed or missing in France Resuscitated , is the very first focus of The Celebrated Assembly see fig. The contributors unearth forgotten monsters and reconsider familiar ones, examining the audience taboos and fears they embody. Through the transgressive works of prominent writers like Octavia Butler, Nnedi Okorafor, and Nalo Hopkinson, Medicine and Ethics in Black Women's Speculative Fiction explores the fraught history of medicine as it relates to black women and the inconsistent application of medical ethics in today's world.

Bibliography, , Helsinki, Avain, , pages. Utopia — ja tieteiskirjallisuus Suomessa: Immortal and Deadly Icons: Nuptial Dreams and Toxic Fantasies: Sleeping Beauties in Representations of Antiquity and their Reception — Covering authors from Mercedes Lackey and Brandon Sanderson to Christopher Paolini and Stephenie Meyer, the author finds that it is the nature of tropes and the language used that make a fantasy story, for bad or good.

Past Futures showcases work by more than a dozen artists, including the biomorphic cosmic spaces and hybrid alientotemic figures painted by the Chilean artist Roberto Matta ; the utopian Hydrospatial City envisioned by Argentine Gyula Kosice ; and Incidents of MirrorTravel in the Yucatan, in which Robert Smithson layered tropes of time travel atop Mayan ruins.

The artists respond to science fiction in film and literature and the media coverage of the space race; link myths of Europeans' first encounters with the New World to contemporary space exploration; and project futures both idealized and dystopian. Gothic Science Fiction is a comprehensive account of the rise of a fascinating genre that has grown out of the Gothic. From the dark and mysterious world of mad scientists to the horrors and terrors associated with monsters and aliens, Sian MacArthur takes the reader through a madcap journey to identify those features of the Gothic that have influenced and continue to influence the world of science fiction.

From Frankenstein to Doctor Who and from H. G Wells to Stephen King, the book explores several aspects, beginning with Mary Shelley and bringing the subject matter right up to date with the inclusion of works by Justin Cronin and Daniel Wilson. Gothic Science Fiction gives the crazy and always interesting world of Gothic science fiction detailed attention in an account that is both accessible and engaging. To what extent can the future-oriented narratives of science fiction, emerging alongside modernism during the last years of the nineteenth century, be described as 'modernist'?

To what extent did modernism, responding to the scientific and technological breakthroughs of Darwin, Edison and Einstein, draw upon a grammar of ideas and images that we would call 'science fiction'? This book pursues these questions through a wide-ranging series of examples, drawn from literature, film and the visual arts in Britain, Eastern and Western Europe, and the Americas, from Edward Bulwer-Lytton's The Coming Race to J.

Individual chapters examine key topics from within this period including scientific romance, utopia, pulp sf, and the New Wave. With his usual argumentative rigor, he elucidates the distinction between science fiction, a genre in which science remains possible in spite of all the upheavals that may attend the world in which the tale takes place, and fiction outsidescience, the literary concept he fashions in this book, a fiction in which science becomes impossible.

This comprehensive bibliography covers writings about vampires and related creatures from the 19th century to the present. What is utopia if not a perfect world, impossible to achieve? Anahid Nersessian reveals a basic misunderstanding lurking behind that ideal. In Utopia, Limited she enlists William Blake, William Wordsworth, John Keats, and others to redefine utopianism as a positive investment in limitations. Scientific progress is usually seen as a precondition of modern utopias, but science and utopia are frequently at odds.

Utopian Literature and Science traces the interactions of sciences such as astronomy, microscopy, genetics and anthropology with 19th- and 20th-century utopian and dystopian writing and modern science fiction. Ranging from Galileo's observations with the telescope to current ideas of the post-human and the human-animal boundary, the author's examination of key literary texts brings a fresh perspective to the paradoxes of utopian thinking since Plato.

Quand la science explore les croyances. Numerous dimensions of the Gothic are still underexplored. With this in mind, The Gothic and the Everyday aims to draw attention to one facet of the Gothic in particular: While the Gothic has been embodied in various cultural trends and behaviours, the broader idea of 'living Gothic', as a term encompassing histories, practices, and legacies, has yet to find a coherent definition and place. This book offers a clearly written, entertaining and comprehensive source of medical information for both writers and readers of science fiction.

Science fiction in print, in movies and on television all too often presents dubious or simply incorrect depictions of human biology and medical issues. This book explores the real science behind such topics as how our bodies adapt to being in space, the real-life feasibility of common plot elements such as suspended animation and medical nanotechnology, and future prospects for improving health, prolonging our lives, and enhancing our bodies through technology.

Arpita Das, ''Abnormals' or 'Exceptions': Evie Kendal, 'Utopian Visions. Selena Middleton, 'Decolonizing the Future: Space, Biopower, and Resistance' 8. Rasmus Simonsen, 'Eating for the Future: Cameron Barrows, 'Utopia and Biopolitics: Visiting topics such as care work, sexuality, sport, and the military in these works, the book demonstrates that acknowledging a more fully embodied age is not only necessary for the individual subject, but will also enrich our understanding of other social categories, including gender and race.

A Reader, New York, Routledge, , pages. Science Fiction and Cultural Theory: A Reader is an essential resource for literature students studying science fiction, science and popular culture, and contemporary theory. Examining the intersection of occult spirituality, text, and gender, this book provides a compelling analysis of the occult revival in literature from the s through the course of the twentieth century.

Bestselling novels such as The Da Vinci Code play with magic and the fascination of hidden knowledge, while occult and esoteric subjects have become very visible in literature during the twentieth century. This study analyses literature by women occultists such as Alice Bailey, Dion Fortune, and Starhawk, and revisits texts with occult motifs by canonical authors such as Sylvia Townsend Warner, Leonora Carrington, and Angela Carter.

This material, which has never been analysed in a literary context, covers influential movements such as Theosophy, Spiritualism, Golden Dawn, Wicca, and Goddess spirituality. Past, Present, and Future Chapter 1. Renaissance Demons and Posthuman Cyborgs: Unnatural Reproduction s Chapter 5. Monstrosity, Monument and Multiplication: Death, Disease and Discontent: Serial Death and the Zombie: Dangerous Maternity and Monstrous Mothers Chapter 8. Monstrous Mothers and the Ultimate Sacrifice: Monstrous Children Chapter Gender, Genetic Engineering, and Ethics: This book illuminates the racialized nature of twenty-first century Western popular culture by exploring how discourses of race circulate in the Fantasy genre.

It examines not only major texts in the genre, but also the impact of franchises, industry, editorial and authorial practices, and fan engagements on race and representation. Approaching Fantasy as a significant element of popular culture, it visits the struggles over race, racism, and white privilege that are enacted within creative works across media and the communities which revolve around them. Introduction Helen Young Part I: The Afterlives of Middle-earth Chapter 1: Dirt and Grit Chapter 3: Rewriting the Fantasy Archetype: Grim and Grimdark Gillian Polack Chapter 5: Our minds are in the gutter, but some of us are watching Starz…: Science Fiction Medievalisms Chapter 6: Expanding the Medieval Chapter 8: Arielle Saiber and Umberto Rossi.

Dark Matter or Black Hole? Fantascienza Outside the Ghetto: My Name Is Pantera: The Weight of History: Errinerung an ein zerrissenes Leben, Bamberg, Weiss Verlag, , pages. Avant-propos de Tim Powers. Internet Memes and The Hobbit: A Bibliography, , London, Bloomsbury Academic, , xxviii, pages.

Outlander is much more than a television romance about a World War II nurse and a Jacobite soldier in a fetching kilt. The series—and the massive serial novel on which it is based—has been categorized as a period drama, adventure saga, military history and fantasy epic. Inspired by the Irish legends of Fionn Mac Cumhaill and the prophecies of Brahan Seer, the storyline is filled with mythology and symbolism from around the world, from the Fair Folk and the Loch Ness monster to wendigos, ghosts, zombies and succubae.

Gender on the Disc; Jacob M. Plato, the Witch and the Cave: Millennium Hand and Shrimp: The Care of the Reaper Man: Preface by Richard Blair. Nineteen Eighty-Four in A Portrait of the Artist as a Collector: Trust the Teller and Not the Tale: Sectarians on Wigan Pier: Critiquing Communist Dictatorship East and West: Greek and Roman Allusions in J. Heinrich Heine Liest E. Hoffmans, Berlin, Schmidt, , pages. Foreword by David C. Lewis and His Circles: Essays and Memoirs from the Oxford C.

Introduction de Antonella Fulci. Less well known—even to avid horror fans—are the many other memorable films based on literary works. Beginning in the silent era and continuing to the present, numerous horror films found their inspiration in novels, novellas, short stories and poems, though many of these written works are long forgotten.

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Both the written works and the films are analyzed critically, with an emphasis on the symbiosis between the two. Background on the authors and their writings is provided. Gente di Cinema, , pages. A Space Odyssey, New York, et al. The Force Awakens Edition: Ridley Scott vs Philip K. Dick, Soveria Manelli, Rubbettino, Cinema , , pages. Ten Billion Tomorrows brings to life a whole host of science fiction topics, from the virtual environment of The Matrix and the intelligent computer HAL in , to force fields, ray guns and cyborgs.

We discover how science fiction has excited us with possibilities, whether it is Star Trek's holodeck inspiring makers of iconic video games Doom and Quake to create the virtual interactive worlds that transformed gaming, or the strange physics that has made real cloaking devices possible. Mixing remarkable science with the imagination of our greatest science fiction writers, Ten Billion Tomorrows will delight science fiction lovers and popular science devotees alike. The essays explore the shifting transnational meanings of Doctor Who, Thor, and the Phantom, as these characters are reimagined in world culture.

La famiglia, il falso documentarismo e i rimandi intertestuali, Piombino, Ass. Culturale Il Foglio, Cinema , , pages. The horror genre is continually being reinvented as societal fears evolve. As technology has developed and become ubiquitous in modern life, horror films have effectively played upon our increasing reliance on technology as a source of anxiety. The platonic paradox of Darth Plagueis: Lindenmuth -- Anakin and Achilles: Decker -- Episode II: Camosy -The ballad of Boba Fett: Eberl -- Episode III: McMahon -- Of battle droids and zillo beasts: Okapal -- Episode V: Dunn -- What is it like to be a Jedi?

Cook and Nathan Kellen. In Science Wars through the Stargate: Explorations of Science and Society in Stargate SG-1, Steven Gil offers the first in-depth analysis of the series and places it in the context of contemporary debates about the nature of scientific thought. Gil contends that representations of science within SG-1 can be more fully understood through the prism of the Science Wars. Scientific ideas put forth in SG-1 demonstrate how such complex intellectual exchanges and debates have a place in popular culture and can be further understood through these fictional articulations.

Although SG-1 serves as the principal case study, the analysis also casts light on the role and position of science in science fiction television more generally. Kirk, London, Titan Books, , pages. The Autobiography of James T. Kirk chronicles the greatest Starfleet captain's life — , in his own words. From his birth on the U. Kirk's singular voice rings throughout the text, giving insight into his convictions, his bravery, and his commitment to the life—in all forms—throughout this Galaxy and beyond.

Excerpts from his personal correspondence, captain's logs, and more give Kirk's personal narrative further depth. Pourquoi faut-il redouter l'Hiver qui arrive? Atheism and Anticlericalism S. Dal nomadismo al cyborg, Eus — Ediz. Drawing on critical analyses, film reviews and cultural commentaries, this book examines the development of science fiction film and its representations of gender, from the groundbreaking films of —including The studio also produced films in the adventure, comedy, fantasy, mystery and western genres.

This volume covers these movies in detail with critical and historical analysis, in-depth plot synopsis and numerous contemporary reviews. Telotte -- A danger to self and others: Is there an end to it? The Horror of it All: In Sex, Sadism, Spain, and Cinema: Schlegel looks at movies produced, distributed, and exhibited under the crumbling dictatorship of General Franco. In addition to discussing the financing and exhibiting of these productions, the author examines the tropes, conventions, iconography, and thematic treatments of the films.

Schlegel also analyzes how these movies were received by audiences and critics, both in Spain and abroad. Finally, he looks at the circumstances that led to the rapid decline of such films in the late s and early s.

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In Adapting Science Fiction to Television: Iconic characters from Flash Gordon and Captain Nemo to Superman and Professor Quatermass all play a role in this history, along with such authors as E. Forster and Wernher von Braun. The real stars of this study, however, are the pioneering producers and directors who learned how to bring imagined worlds and fantastic stories into living rooms across the globe. In The Politics of Magic: DEFA Fairy-Tale Films, Qinna Shen fills this gap by analyzing the films on thematic and formal levels and examining their embedded agendas in relation to the cultural politics of the German Democratic Republic.

Why did it seem strange when Battlestar Galactica ended its narrative on a religious note instead of providing a scientific explanation? And what does this have to do with gender? This book explores the connection between the triumph of religion and the dominance of femininity in Battlestar Galactica and its prequel series Caprica.

The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody. History, Form and Culture, London, Bloomsbury, , xix, pages. Classifying Comics -- Comic Book Genres: The Superhero -- Comic Book Genres: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre.

The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles. He considers the aesthetic and entrepreneurial innovations that established the conditions for the rise of the graphic novel all over the world. For military cartoonists the absurdity of war inspires a laugh-or-cry response and provides an endless source of unfunny amusement. Cartoons by hundreds of artists-at-arms from more than a dozen countries and spanning two centuries are included in this study—the first to consider such a broad range of military comics.

War and military life are examined through the inside jokes of the men and women who served.

Nanny Dogs🐶👶Cute Dogs as Babysitter (Part 1) [Epic Life]

The author analyzes themes of culture, hierarchy, enemies and allies, geography, sexuality, combat, and civilian relations and describes how comics function within a community. A number of artists included were known for their work with Disney, Marvel Comics, the New Yorker and Madison Avenue but many lesser known artists are recognized. Les Bijoux de la Castafiore. Il lui restitue toute sa richesse constitutive. A community in chalk -- The castle on the hill -The little schnook -- Kurtzman in uniform -- "We of a certain milieu" -- The three musketeers -- Desperation -Son of Gaines -- From zero to sixty -- Editor.

Forword by Alan Oppenheimer. Staging Sexual Violence in. This People in the News title discusses the life and work of Robert Kirkman originator of the Walking Dead comic books which has lead to the popular AMC television series, websites, games and other merchandise. Pour les autres, voici en quelques mots pourquoi Marginalia signale sa disparition. Had Custer prevailed at the Little Bighhorn, the victory would have been noteworthy at the moment, worthy of a few newspaper headlines.

Introduction

In defeat, however tactically inconsequential in the larger conflict, Custer became legend. They explain how Custer became mythic, shaped by the press and changing sentiments toward American Indians, and show the many ways the myth has evolved and will continue to evolve as the United States continues to change. Karl May en France: Karl May et la France: Trop tard en France pour Karl May? A flop on release, the film became a box office hit.

This book tells the behind-the-scenes story. An examination of the various screenplay drafts and the writers' source material--Kurosawa's Seven Samurai--shows who. Like his Harvard friend Theodore Roosevelt, Wister was the sickly scion of an eastern family who recuperated in the West before returning to his home and inherited social position. His life story is punctuated with appearances by such contemporaries as Frederic Remington, Rudyard Kipling, and Ernest Hemingway. Forster's writing about his Red Cross work in Alexandria to National Velvet author Enid Bagnold's Diary Without Dates about her experience in war hospitals, this volume opens up our sense of war writing.