By G. Douglas Atkins
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By interpreting T.S. Eliot actually and laterally, and getting to his intra-textuality, G. Douglas Atkins demanding situations the ordinary proposal of Eliot as bent on escaping this global for the non secular.
This research culminates within the important, yet likely most unlikely, union of examining and writing, literature and statement.
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In The Lady and the Duke, revolutionary Paris is not at all depicted ‘as people would have seen it at the time’. After all, for ‘people at the time’ Paris was material not artistic, bricks not paint, and it was a lived presence not a digitally enhanced background. In other words, revolutionary Paris was a ‘now’ and it can only be recreated as a ‘now’ through techniques that blast it out of the past. Conventional strategies of going to a place that looks like revolutionary Paris would not work because that has become a cinematic cliché, and so Paris ‘as it would have been seen at the time’ can be seen by present day audiences only if they are forced to engage with it as something previously unseen.
It snatches from life The Period Films: Tragedies and Miracles 31 all its deceptive veils, woven of gleaming moments and infinitely varied moods. Drawn in hard and ruthless outline, the soul stands naked before the face of life’ (Lukács 1974: 153). In the moment of the miracle men and women are revealed for what they truly are. They are shown to be dreamers, deluded and afraid of the reality that they seek. The miracle tears away the deceptions that are the foundations of the Gardens of Eden, and it reveals the secret of the real self to the empirical self: ‘the essence of these great moments’, Lukács says, ‘is the pure experience of self’ (Lukács 1974: 156).
Rohmer himself has speculated that with The Lady and the Duke and Triple Agent, ‘people might say I’ve begun another series: the series of tragedies from history’ (Rohmer 2004). Arguably, ‘people’ would be right to say just that and, moreover, they would also be right to expand the ‘series’ of tragedies from history to include The Marquise of O and Perceval. But it all depends on what is meant by the word tragedy. Tragedy When he mentions how ‘people’ might regard the films as a series, Rohmer uses the word ‘tragedy’ in a fairly straightforward way to refer to sad endings brought about by social pressures.