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Ambiguities in Literature and Film: Selected Papers from the by Florida State University Conference on Literature and Film

By Florida State University Conference on Literature and Film (7th : 1982), Hans P. Braendlin

Publication by means of Florida kingdom collage convention on Literature and movie (7th : 1982), Braendlin, Hans P.

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Additional resources for Ambiguities in Literature and Film: Selected Papers from the Seventh Annual Florida State University Conference on Literature and Film (Florida State University ... on Literature and Film Selected Papers)

Example text

Her lover, the narrator Jacques Hold, will bring his lover, Tatiana, to the window of the hotel in which they rendezvous so that Lol, lying in a field near their hotel, can see her. All of these scenes reiterate the formal framing of the scene that originally displaced Lol and which now constitutes her daily fantasmatic cinema. Lol's fantasy cinema replays a version of the ball scene which repeats her dislocation. This simple repetition is, however, not so simple. Lol's scenario repeats her gazeshe sees the treacherous and enraptured couplebut it elides the gazes that set her in her place as displaced.

Like Le Ravissement de Lol V. Stein, India Song stages desire. The framing devices of the novel are in evidence here. The film is, of course, projected onto a screen. The minors repeat the frame but play with the space represented. We see reflections which allow us to see more than what the camera can frame. We understand the limits of the frame, but we mistrust what we see indirectly, in the mirror. Characters and details which we have come to understand as already past are offered to us in mirrors, in frames, and in doorways and windows.

Now, in the frozen, brutal world of Siberia, Dostoevsky envisions all the convicts with new eyes. He sees them through the metaphorthe figureof his experience with the peasant Marey. The convicts have been transformed by way of his remembrance in that each now has the potential to be Marey. " And yet, the Dostoevsky of 1876 questions whether it is possible to know for certain if these convicts contain such goodness within themselves "for I have no way of peering into the human heart" (210). Clearly the remembrance of Dostoevsky the prisoner speaks metaphorically of his present condition in 1850 in the same way that the sudden remembrance of this memory by Dostoevsky the writer in 1876 speaks metaphorically of his present interestthe goodness of the Russian peasantryeven while their manners would support the view of a people debauched and cruel.

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