Results found: 2

Search results

Search:
in the keywords: Edith Wharton

Sort By:

Limit search:

Jane Austen (dla) Josepha Conrada

100%

Samsel K.

Przegląd Humanistyczny

2019

vol. 63(2 (465))

77-90

The understanding of Jane Austen was for Joseph Conrad (probably) the condition of the understanding of the English soul as such. And, even if we roam around fascinating hypotheses, it is worth formulating them – mainly because they are a new key to the reading of the works of the author of Lord Jim. His problems with the literary heritage of Austen could be affected by different, numerous factors: 1) the growing popularity of Janeites; 2) the authority of, appreciating the author of Mansfield Park, Henry James; 3) the feeling of being lost of the Polish writer in the situation of the late novelist debut; 4) the literary tradition of the Ukrainian School in the Polish Romanticism, in which he was raised and he formed his personality. Conrad could make an attempt of dealing with, incomprehensible for himself, Austen in the 1910s, in the period of jubilees of the editions of her novels. In this spirit, it is worthy to read again such prose texts of Conrad, as: Zwycięstwo (1915) and Ocalenie (1920), but above all – the earliest from this group – Gra losu (1913).

Lacan Frames Scorsese’s Paintings in The Age of Innocence

80%

Farca P. A.

American, British and Canadian Studies Journal

2014

vol. 23

issue 1

40-59

This article, which brings together film, psychoanalysis, literature, and art, focuses on the role of paintings in Martin Scorsese’s The Age of Innocence (1993). Scorsese conveys the imprisonment of New York aristocrats within the framework of social conventions and their evasions of social restrictions through his employment of paintings. Because the protagonists’ emotions are not revealed often, the director communicates their dramas and actions with the help of the paintings they own or appear next to. The paintings operate as Jacques Lacan’s Other, an entity that watches over the characters to make sure they conform to its selfperpetuating rules. Scorsese’s use of paintings shows that the characters perform for the Other and seek to maintain the status quo. While most characters perform within a Lacanian symbolic order, their different responses to a variety of paintings underscore the flexibility of the symbolic order.

Refine search results

1 American, British and Canadian Studies Journal

1 Przegląd Humanistyczny

1 Farca P. A.

1 Samsel K.

1 2019

1 2014

Search results

Jane Austen (dla) Josepha Conrada

Lacan Frames Scorsese’s Paintings in The Age of Innocence