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earlier in this paper, and which I would like now to consider in a different light. That quote is the following: ‘Future generations, looking at the history of the 20th century, will never be able to tell fact from fiction, having the media as material evidence. But then, will this distinction still matter to them?’ I expect most readers will be vaguely troubled by this quote, troubled by the idea that
recycled for later retrospective editions to accompany Victoria’s jubilees in 1887 and 1897, and were again recycled for obituary issues on her death in 1901. 7 These souvenir editions of the ILN mediated the representation of the Queen for readers in the early 1900s. Reflecting Samuelson’s three-part chronology, three different actors played Victoria at three different ages
spectacles ), Dienstag does not comfort and flatter his reader by affirming the view that democratic communities are strengthened when the right kind of people appreciate the right kind of movies. There is no satisfying reconciliation of critique and community, which, quite appropriately, makes his essay more like The Rule(s) of the Game than The
. Vincendeau (ed.), Film/Literature/Heritage: A Sight and Sound Reader (London: BFI, 2001 ), p. 133. 31 Shawn Shimpach, Television in Transition: The Life and Afterlife of the Narrative Action Hero (Oxford: Wiley-Blackwell, 2010 ), p. 7. 32
The apparatus of Disjecta provides a translation of the letter by Martin Esslin, which glosses ‘ausschalten’ as ‘eliminate’ (172). Viola Westbrook, in the more recent edition of Beckett's letters, translates it as ‘dismiss’ ( 2009a , 518). Helpful as they are, both renditions misdirect the reader unversed in the German tongue: ausschalten means to ‘switch off’, primarily in the electrical sense, especially when combined with the adverbial ‘all at once’ ( 1984 , 172). Thus, the idea of dissolving language into silence by somehow switching it
perceived and recoil in horror. As Beckett scholars have amply discussed, Beckett uses the device of the ‘angle of immunity’ for a playful yet serious engagement with the idealist eighteenth-century philosopher George Berkeley's dictum that ‘esse est percipi (aut percipere)’, that ‘to be is to be perceived (or to perceive)’. In Beckett's take on Berkeley, O is a naive, literal reader of the Irish philosopher who flees from perception in a quest for non-being only to realise the impossibility of that quest when, at the end of the film, he finds that the persistence of self
). Quadrat II confirms through exception one's sense that Quad marks Beckett's fullest emancipation from those ‘function[s] of humanity’ that operate the regime of theatrical signs. If Quad represents a determinate shift away from the qualified humanism of language, toward a radically posthumanist regime of the televisual signal, it is imperative to resist all the thematic lures that have entranced even the best of this play's readers. Be it Hans Hiebel's insistence that Quad concerns the ‘compulsive repetitions’ that fixate subjects in the orbit
Tonea Stewart (Gwen Hailey in the film) echoes Richard Rorty when she says ‘There’s almost a ministry in what we’re doing . . . presenting it [the South] as it is’. 26 Around six hundred locals took part as extras. John Grisham’s imaginary Clan-ton in the 1989 novel became Canton, with the blessing of the locals. Readers of The Summons (2002) in which Grisham returns to Clanton find Hollywood
public figures including Joseph Chamberlain, Lord Kitchener and Churchill. 5 Filmwelt (2 February 1936), p. 26. A staff member reassured an anxious reader, ‘C.M.G.’ from Chemnitz: ‘Haben Sie nur keine Sorge. Wohlbrück filmt natürlich wieder.’ (‘Have no worries, of course Wohlbrück will make more films
‘real-world’ personages and the book’s characters. Elizabeth I appears fictionalised in the novel; an illustration ‘informs’ readers that Mary Curzon’s likeness is ‘of’ the Archduchess Harriet (who turns out, in Woolf’s story, to be a dissembling Archduke Harry in drag); the painting of Curzon resembles a well-known portrait of Elizabeth I. To put this more explicitly: Mary, who is dressed like Elizabeth, is