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Paris in the spring of 1968. The city is beginning to emerge from
hibernation and an obscure spirit of social and political renewal
is in the air. Yet Théo, his twin sister Isabelle and Matthew, an
American student they have befriended, think only of immersing
themselves in another, addictive form of hibernation: moviegoing at
the Cinémathèque Française. Night after night, they take their
place beside their fellow cinephiles in the very front row of the
stalls and feast insatiably off the images that flicker across the
vast white screen. Denied their nightly 'fix' when the French
government suddenly orders the Cinémathèque's closure, Théo,
Isabelle and Matthew gradually withdraw into a hermetically sealed
universe of their own creation, an airless universe of obsessive
private games, ordeals, humiliations and sexual jousting which
finds them shedding their clothes and their inhibitions with equal
abandon. A vertiginous free fall interrupted only, and tragically,
when the real world outside their shuttered apartment succeeds at
last in encroaching on their delirium. The study of a triangular
relationship whose perverse eroticism contrives nevertheless to
conserve its own bruised purity, brilliant in its narrative
invention and startling in its imagery, The Dreamers (now a major
film by Bernardo Bertolucci) belongs to the romantic French
tradition of Les Enfants Terribles and Le Grand Meaulnes and
resembles no other work in recent British fiction.
This book articles presents new scholarship on the subject of
imperial expansion through colonization and globalization from a
variety of postcolonial perspectives. The essays in this volume,
grouped in three chapters, scrutinize imperial expansion within the
context of national identities and imageries-deconstructing the
modernist and utopian idea of a nation as a site of homogeneity,
and reviewing the importance of the concept in the different phases
of colonization. Hence the first chapter is entitled 'Neo-Imperial
Traces or Premonitions in Modernism.' The post-classical phase of
colonialism is examined through the representation of the colonized
and the once-colonized. Applying postcolonial theories and often
moving beyond them, scholars scrutinize such textual and filmic
representations as exemplified in Asia. These make up Chapter Two,
'Interference of the Imperial Tradition in Asia, ' which allows for
the re-articulations of cultural heritage in the region within the
different and ever renewed schemes of imperial expansion. Chapter
Three, 'Reformulations of the Imperial Project, ' seeks to explore
the questions surrounding inclusion in and exclusion from the realm
of power as the founding principle of empire, suggesting that they
are discursive and deliberate. Postcolonial societies inherit the
trauma of colonialism that subjected people to a cultural
displacement that is exacerbated by renewed efforts of imperial
influence through globalizatio
London 1946. An actress is murdered, not just on camera but in full
view of a crowded film set. Only six people had an opportunity to
administer the poison yet not one of them had a conceivable motive.
As Evadne Mount, bestselling crime novelist, discovers, however,
all six did have a motive for committing another, earlier, still
unsolved murder yet, on that occasion, not one of them had the
opportunity . . .
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A Void (Paperback)
Georges Perec; Translated by Gilbert Adair
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R327
R265
Discovery Miles 2 650
Save R62 (19%)
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Anton Vowl is missing. Ransacking his Paris flat, a group of his
faithful companions trawl through his diary for any hint as to his
location and, insidiously, a ghost, from Vowl's past starts to cast
its malignant shadow. This virtuoso story, chock-full of plots and
subplots, shows the skill of both author and translator who impart
all the action without a crucial grammatical prop: the letter 'e'.
Rickie Elliot, a sensitive and intelligent young man with an
intense imagination and a certain amount of literary talent, sets
out from Cambridge full of hopes to become a writer. But when his
stories are not successful he decides instead to marry the
beautiful but shallow Agnes, agreeing to abandon his writing and
become a schoolmaster at a second-rate public school. Giving up his
hopes and values for those of the conventional world, he sinks into
a world of petty conformity and bitter disappointments.
Gideon is a lonely, horny young Englishman who arrives in Paris to
take up a teaching post in the local Berlitz, and becomes
increasingly fascinated by the intoxicating atmosphere of erotic
banter and bragging in the school's all-male and virtually all-gay
common room. The moment has surely arrived for him, too, to
overcome his own chronic timidity and actually do what he has only
ever dared fantasize about. Yet Gideon has a secret - one he is
prepared to share with nobody but the reader, a secret he is
finally obliged to confront, with surprising results.
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