The Modern Language Review

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ISSN : 0026-7937
Total articles ≅ 27,716
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Marini
The Modern Language Review, Volume 116; https://doi.org/10.5699/modelangrevi.116.2.0281

Abstract:
Accattone, Pier Paolo Pasolini's first film, focuses on a marginal microcosm represented in all its desperation, yet also transfigured by the high forms of religious, scriptural, and figurative traditions. The cornerstone of Pasolini's project is his work with the actor. This article focuses on the character Balilla (Mario Cipriani), in whom Pasolini's figurative project is clearly visible, through the composite medium of the image and the diegetic function and cultural references that Balilla's words and gestures recall. The scriptural allusions reveal a conscious project of investiture in relation to the character, transforming him into the bearer of a universal message.
González
The Modern Language Review, Volume 116; https://doi.org/10.5699/modelangrevi.116.2.0295

Abstract:
Fernando de Rojas's masterpiece, La Celestina, is indebted to the medical treatises that circulated widely in fifteenth-century Iberia. Celestina scholarship has aptly traced Calisto and Melibea's lovesickness (amor hereos) to the epistemology that dealt with this life-threatening condition. These scholars, however, have not gone beyond commenting on and analysing the ways in which lovesickness affected the star-crossed lovers. This study shows that Melibea suffers from other melancholic illnesses, which predispose her to amor hereos, while the latter evolves into more virulent forms of melancholy.
Schmid
The Modern Language Review, Volume 116; https://doi.org/10.5699/modelangrevi.116.3.0428

Abstract:
This article examines the visualization and function of Baroque architecture, notably the works of Francesco Borromini, in Eugène Green's La Sapienza (2014). Reading the film in tandem with Green's essays on cinema and Baroque art, it analyses the film-maker's harnessing of architecture as a means to elucidate questions that are central to his philosophical enquiry: the tension between rational and spiritual forms of experience, the invisible realm behind appearances, and the mystery of salvation. I argue that La Sapienza develops a complex analogy between architecture and cinema, crystallizing Green's aesthetic philosophy as part of a wider interrogation of intermedial influence.
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