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Journal articles on the topic 'Ruines – Au cinéma'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Habib, André. "Le temps décomposé." Protée 35, no. 2 (2008): 15–26. http://dx.doi.org/10.7202/017463ar.

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Une façon d’aborder « l’imaginaire de la ruine au cinéma » consiste à interroger moins la présence de la ruine au cinéma que la ruine du film en tant que tel et les usages singuliers auxquels elle donne lieu. Cet article se penche sur une « poétique des ruines » contemporaine, à l’oeuvre dans la pratique de plusieurs cinéastes expérimentaux qui explorent les possibilités expressives de la pellicule abîmée ou fragmentée, et sur le singulier « goût de l’archive » qui lui est associé, en insistant tout particulièrement sur un film de Bill Morrison, Light is Calling (2003). L’auteur tente d’analys

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Habib, André. "Ruines, décombres, chantiers, archives : l’évolution d’une figure dans le cinéma en Allemagne (1946-1993)." Cinémas 18, no. 1 (2008): 29–52. http://dx.doi.org/10.7202/017845ar.

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Résumé Dans le présent article, l’auteur se penche sur le rôle qu’occupent les « ruines » en tant que figure privilégiée de la médiation cinématographique de la mémoire de l’après-guerre en Allemagne, de Die Mörder sind unter uns (Wolfgang Staudte, 1946) et d’autres Trümmerfilme de la jeune DEFA, à un bref épisode de Zweite Heimat (Heimat II, 1993) — deuxième chapitre de la chronique-fleuve d’Edgar Reitz. En comparant les différents traitements des ruines dans ces films, il s’agira avant tout de les envisager comme des objets de mémoire et de temps paradoxaux qui s’inscrivent au coeur de la mu

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3

Domínguez Leiva, Antonio. "L’invasion néo-zombie." Articles 23, no. 1 (2011): 19–25. http://dx.doi.org/10.7202/1003583ar.

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Dans le cadre de l’esthétique contemporaine du cadavre, il est peu d’images aussi marquantes que la surenchère transmédiatique et véritablement planétaire des morts vivants. Passant des jeux vidéo à la bande dessinée et au nouveau cinéma d’horreur marqué par le traumatisme du 11 septembre 2001, les zombies envahissent aussi la littérature et la critique universitaire qui les avaient jusque-là ignorés. Fidèle au modèle romérien, cette invasion néo-zombie prolonge les grands thèmes du maître : la ville en ruines et l’anomie sociale ; la pandémie et le cannibalisme des morts ; le triomphe de l’ic

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Habib, André. "Survivances du Voyage en Italie." Transmettre, no. 5 (August 10, 2011): 61–80. http://dx.doi.org/10.7202/1005492ar.

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Cet article se penche sur Viaggio in Italia (1954) de Roberto Rossellini. L’auteur montre que l’enjeu principal de ce film consiste à démonter et remonter, par un jeu subtil de réfractions et de mise en abîme, l’idée et la pratique de l’héritage, de la transmission d’une tradition (en passant par la tradition des voyages en Italie), et ce, à partir d’une rhétorique de l’écart et du faux-raccord, de la survivance, en creux, du passé dans les ruines du temps. Le sens de ce qui reste, alors, devient le sens d’une perte de sens du monde qui révèle dans sa complexité ce qui a été perdu. Si l’on peu

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5

Balsom, E. "A cinema in the gallery, a cinema in ruins." Screen 50, no. 4 (2009): 411–27. http://dx.doi.org/10.1093/screen/hjp028.

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Harvey, James. "Kriss Ravetto-Biagioli (2017) Mythopoetic Cinema: On the Ruins of European Cinema." Film-Philosophy 24, no. 2 (2020): 241–44. http://dx.doi.org/10.3366/film.2020.0141.

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Gibbons, Luke. "Romanticism in Ruins: Developments in Recent Irish Cinema." Irish Review (1986-), no. 2 (1987): 59. http://dx.doi.org/10.2307/29735280.

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8

Wells, Sarah Ann. "Brazil’s Deferred 1968." South Atlantic Quarterly 119, no. 3 (2020): 493–509. http://dx.doi.org/10.1215/00382876-8601362.

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The consignment of industrial wage labor and its central figures to the status of ruins has become something of a cliché in contemporary scholarship and artistic practice. On this view, its demise first became apparent in the 1970s, the precise moment when Brazilian labor movements experienced their first significant gains. This article identifies, describes, and analyzes the emergence of a cinema-labor cycle in São Paulo (1977–82) that constitutes a key instance of Brazil’s “deferred 1968”: a complex response to the distinct pressures of a repressive military regime, entrenched paternalistic

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Val, Perrine. "Imaginer une Allemagne socialiste : le rôle du cinéma dans la construction de l’identité nationale est-allemande." Caietele Echinox 40 (June 28, 2021): 89–104. http://dx.doi.org/10.24193/cechinox.2021.40.07.

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"DEFA, the company responsible for film distribution and production in the Eastern part of Germany, was founded in 1946, three years before the GDR. This shows the central place of cinema in the GDR, which seeks to build a socialist German identity in the ruins of post-war and fascism while asserting itself against the neighboring FDR. The DEFA’s cinema first served the official socialist ideology by proposing historical productions depicting communist heroes fighting against fascism. Whether the film directors agree with this ideology or not, their films also illustrate the flaws that charact

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Tapajós, Ricardo. "A comunicação de notícias ruins e a pragmática da comunicação humana: o uso do cinema em atividades de ensino/aprendizagem na educação médica." Interface - Comunicação, Saúde, Educação 11, no. 21 (2007): 165–72. http://dx.doi.org/10.1590/s1414-32832007000100017.

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Atividades de ensino-aprendizagem no campo da Competência Comunicacional (tais como aquelas que dizem respeito à comunicação de notícias ruins para pacientes) podem usar as Artes Cinemáticas e ser informadas por um corpo de princípios teóricos derivados da Teoria Comunicacional (que estuda a comunicação humana nos seus aspectos sintáticos, semânticos e pragmáticos). Tópicos na sintática da comunicação de notícias ruins incluem o uso de eufemismos médicos e linguagens não-verbais. A semântica das notícias ruins foca naquilo que está sendo comunicado, e não em como está sendo comunicado. Aspecto

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Sahu, Ipsita. "From the Ruins of Chanakya: Exhibition History and Urban Memory." BioScope: South Asian Screen Studies 9, no. 1 (2018): 73–96. http://dx.doi.org/10.1177/0974927618767285.

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Unlike the somewhat natural decay of other single screen theatres of Delhi, the demolition of the famous Chanakya cinema (1969–2008) was an iconoclastic event. When the theatre was demolished in 2008 to pave the way for a multiplex and shopping mall, a wide and intensifying wave of dissent reigned, as the city was rudely awakened to the realities of urban transformation. At a time when film theatres had started to decline in India with the emergence of home entertainment in the 1970s and 1980s, Chanakya theatre offered a distinctive culture of cinema and urban leisure to the middle-class resid

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Boletsi, Maria, and Ipek A. Celik Rappas. "Introduction: Ruins in Contemporary Greek Literature, Art, Cinema, and Public Space." Journal of Modern Greek Studies 38, no. 2 (2020): vii—xxv. http://dx.doi.org/10.1353/mgs.2020.0020.

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Carter, Erica. "Cinema of ruins gender and history in the postwar “rubble film”." Debatte: Journal of Contemporary Central and Eastern Europe 4, no. 1 (1996): 109–22. http://dx.doi.org/10.1080/09651569608454529.

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Nornes, Markus. "Filmless Festivals and Dragon Seals: Independent Cinema in China." Film Quarterly 72, no. 3 (2019): 78–86. http://dx.doi.org/10.1525/fq.2019.72.3.78.

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Markus Nornes, who documented the Chinese independent film festival scene for Film Quarterly in 2009, returns with a report on the changes this sector has experienced in the intervening decade. Borrowing a metaphor from Beijing Film Academy professor Zhang Xianmin, he offers an “update from the ruins,” as government censorship and an absence of institutional support has taken a toll on what had been a thriving festival scene. Nornes reviews the challenges faced by the Beijing International Film Festival, and its innovative responses to them, and finds hope for the future at the Shanghai Intern

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Craven, Allison Ruth. "The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema." Studies in Australasian Cinema 14, no. 3 (2020): 162–77. http://dx.doi.org/10.1080/17503175.2020.1845284.

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Reis Filho, Lúcio. "No Safe Space: Zombie Film Tropes during the COVID-19 Pandemic." Space and Culture 23, no. 3 (2020): 253–58. http://dx.doi.org/10.1177/1206331220938642.

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As COVID-19 spreads across the globe, reports on the crisis evoke many tropes of horror cinema, reinforcing the role of pandemics in apocalyptic imagination. More tied to the zombie film subgenre, horror tropes re-emerge daily in the news and mainstream culture: the unexplainable disease, the silence or denial of the authorities, the political disarticulation, the buzz of the media, the government conspiracy, the collapse of the social order, and the big cities as vast, ruined spaces. Considering the profound changes in urban landscapes, the analogy I intend to establish with a specific horror

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Ben Shoshan, Liat Savin. "Architecture, cinema, and images of childhood in 1950s Britain." Architectural Research Quarterly 22, no. 2 (2018): 115–26. http://dx.doi.org/10.1017/s135913551800043x.

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In 1956, Independent Group member Eduardo Paolozzi, close friend and collaborator of Alison and Peter Smithson, starred in the film Together, directed by Lorenza Mazzetti, who had met him while a student at the Slade School of Fine Art. Strikingly, the imagery and setting of the film shares much in common with the images used by the Smithsons in their work, particularly those by Nigel Henderson, of children playing in the East End. Together is a 52-minute film screened in 1956, as part of Free Cinema programme. East London, with its narrow streets, riversides, docks, and multiple bomb sites, a

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Martin, Adrian. "A little fiction: person, time and dimension in Raúl Ruiz's figural cinema." Critical Arts 29, no. 5 (2015): 689–701. http://dx.doi.org/10.1080/02560046.2015.1125098.

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Ishwarrao, Pallavi Taru, and DR Rajpalsingh Chikhlikar. "Godan, The Film: What It Replicates and What It Hides." IJOHMN (International Journal online of Humanities) 5, no. 4 (2019): 71–76. http://dx.doi.org/10.24113/ijohmn.v5i4.107.

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The present research paper compares the novel Godan by Munshi Premchand written in 1936 in pre independence era and the film directed by Trilok Jetly in 1962 in post independence era. It simply underlines the scene, plot, persons and events etc. the cinema replicates or hides. Literature and cinema seems to have one similar motif or seems to work on the similar ground that is to reflect society. Literature doesn’t lie but “not mentioning something” or “saying it in different way” also ruins history. Generally we consider literature as a piece of history and what is written in it, we take it as

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Pinto, Carlos Eduardo. "A razão agoniza em uma casa vazia: modernismo arquitetônico no filme O Desafio." Revista Prumo 5, no. 8 (2020): 22–31. http://dx.doi.org/10.24168/revistaprumo.v0i8.1243.

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Paulo César Saraceni’s The dare (1965) is a milestone of the Brazilian Cinema Novo. Considered the first cinematographic movie to openly address the 1964 civil-military coup, it also inaugurated a lineage of intimate Rio films, committed to reading beyond the representation of the city through postcard images. The film pays special attention to the scenarios, especially houses and apartments, defining the political and psychological contours of the characters through their interaction with the environments. In this article I make explicit the impact caused by this new form of urban representat

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Dos Santos, Rodrigo Faustini. "Materia Obscura (2009): metamorfose alquímica e a transmigração analógico-digital." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 8, no. 1 (2019): 35–59. http://dx.doi.org/10.22475/rebeca.v8n1.549.

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Propõe-se analisar a performance audiovisual Materia Obscura (2009-), de Jürgen Reble e Thomas Köner, considerando sua visualidade híbrida entre a tecnologia digital e a matéria analógica como formulação do pós-cinemático. A obra surge como transcodificação de um filme anterior, Instabile Materie (1995), composto por quimigramas em película 16mm, escaneados e trazidos para a performance, no qual um software de processamento ao vivo permite que a passagem fotograma a fotograma seja trabalhada “elasticamente” através de frame blendings e pixel motion, resultando num filme em fluxo contínuo de mo

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Winkler, Martin M. "Helenê kinêmatographikê; or, Is this the face that launched a thousand films?" Nuntius Antiquus 12, no. 1 (2016): 215–57. http://dx.doi.org/10.17851/1983-3636.12.1.215-257.

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In ancient Greece and Rome, Helen of Troy was the most beautiful woman among mortals. Her beauty, an almost divine quality, made Helen immortal. Its praise was an integral part of Greek and Roman letters. The cinema has eagerly followed in the footsteps of classical and later authors and artists by retelling her story. Beautiful actresses have variously portrayed her as unhappy wife of Menelaus, romantic lover of Paris, and ruinous cause of the Trojan War. This paper pays homage to Helen’s beauty by presenting, in word and image, her most notable screen incarnations from 1911 to 2013.

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23

Cadieu, Morgane. "Afterword: The Littoral Museum of the Twenty-First Century." Comparative Literature 73, no. 2 (2021): 237–54. http://dx.doi.org/10.1215/00104124-8874117.

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Abstract The museum, the mausoleum, and the memorial are key concepts for theorizing beaches and ports in twenty-first-century literature and cinema. On the littoral, these constructions suggest the very opposite of a sealed off monumentality to become living museums of women’s labor in modern and contemporary France (Sciamma, Varda), bodily mausolea of migration on the Senegalese shoreline (Diop), and shapeshifting war memorials in Atlantic and Pacific tidelands (Darrieussecq, Rolin, Virilio). Examples of anamorphic seascapes, especially in photography, underscore the reversibility of sand an

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Stewart, Janet. "Filming Vienna 1900: The Poetics of Cinema and the Politics of Ornament in Raúl Ruiz’s Klimt." Journal of Austrian Studies 46, no. 2 (2013): 49–79. http://dx.doi.org/10.1353/oas.2013.0027.

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Rogers, Kathryn E. "Story First, Technology Second." Advances in Archaeological Practice 8, no. 4 (2020): 428–33. http://dx.doi.org/10.1017/aap.2020.37.

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OVERVIEWCombining the strengths of “traditional” documentary filmmaking (as “creative treatments of actualité”) with the immersive power of interactive digital technologies (from 360° video to VR to data mining to algorithms), i-Docs can transform audiences into participants, co-creators, and collaborators in nonfiction storytelling, allowing them to not only explore and experience a story on their own terms but to remix, share, and contribute their own content to a collective story. i-Docs are cross- and multiplatform, screening across cinema, computers, smartphones, and gallery installations

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Roos, Liina-Ly. "Post-Soviet Trauma in the Nordic Imagination: Occupation and Sex Trafficking in Purge and Lilya 4-Ever." Baltic Screen Media Review 2, no. 1 (2014): 22–35. http://dx.doi.org/10.1515/bsmr-2015-0013.

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Abstract The traumas of the twentieth century affected the development of trauma narrative in literature and cinema. Much of the trauma theory in different disciplines developed largely from the Holocaust literature as well as from gender-based violence. The criticism of many examples in contemporary trauma theory has been that they are applicable only to Western countries and do not take into account the difficult transitions between the non-Western and Western world. The countries that had gone through a brutal occupation of the Soviet Union also experienced the trauma of transformation, as

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Perepelkin, Mikhail A. "«Song about Volga» by V. Vysotsky: text and context." Semiotic studies 1, no. 2 (2021): 55–64. http://dx.doi.org/10.18287/2782-2966-2021-1-2-55-64.

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This article is devoted to the Song about Volga by V. Vysotsky and its place in the development of the Volga plot in Russian culture and literature. In order to indicate the context, the Volga works of I. Kondratiev and A. Navrotsky are studied; the main meanings fixed in the culture relating to the Volga in the late XIX and early XX centuries are revealed. Furthermore, we study the transformation of these meanings in the literature of the first decades of the twentieth century (A. Shiryaevets, Artem Vesely) and in the cinema (G. Alexandrovs feature film Volga-Volga). A special place is given

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (2008): 105–58. http://dx.doi.org/10.1163/13822373-90002492.

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Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (e

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (2006): 105–58. http://dx.doi.org/10.1163/22134360-90002492.

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Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (e

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Da Silva, Marco Antonio Guimarães. "Apurar a vida até chegar à borra." Fisioterapia Brasil 12, no. 6 (2017): 403. http://dx.doi.org/10.33233/fb.v12i6.945.

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Dizem que as pessoas costumam priorizar as leituras que fazem dos cadernos de jornais pelas idades que tem: até os vinte e poucos anos, se preocupam em dar uma olhadela na parte do cinema e de shows; a partir dos trinta, já se interessam pelos temas políticos; e a partir dos sessenta, vão direto para o necrológico, para ver se há ali um convite para o enterro de algum amigo ou conhecido ou quem sabe até mesmo o anúncio de sua própria morte, considerando-se aqui a versão mediúnica da coisa.Mas há algumas exceções para essa divisão didática e cronológica da leitura de cadernos dos jornais que ac

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Stynen, Andreas. "De blik gericht op het witte doek. Vier recente studies over filmbeleving in Vlaanderen." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 71, no. 3 (2012): 257–74. http://dx.doi.org/10.21825/wt.v71i3.12253.

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Filmhistorici beperkten zich lange tijd tot de studie van inhoudelijke en vormelijke aspecten enerzijds en van regisseurs anderzijds. In de jaren 1990 verbreedde de focus en sindsdien worden ook het publiek en de hele kijkervaring als relevante geschiedkundige thema’s erkend. Dat perceptie vanuit diverse invalshoeken kan worden geanalyseerd, blijkt uit enkele recente publicaties van Vlaamse auteurs. In De verlichte stad (2007), een bundel onder redactie van Daniël Biltereyst en Philippe Meers, staat de geschiedenis van de infrastructuur en (verzuilde) kaders achter het bioscooplandschap centra

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Forbes, Alex. "Mythopoetic cinema: on the ruins of European identity." Studies in European Cinema, May 26, 2019, 1–3. http://dx.doi.org/10.1080/17411548.2019.1621721.

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Lacerda, Rodrigo. "O PLANO, O CONTRAPLANO E O “PLANO SEM PLANO”: IMAGENS OCIDENTAIS E MBYA GUARANI DAS RUÍNAS DE SÃO MIGUEL." ILUMINURAS 19, no. 46 (2018). http://dx.doi.org/10.22456/1984-1191.85245.

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Resumo:O artigo analisa as inúmeras produções imagéticas sobre as Missões Jesuítico-Guarani, com especial destaque para as ruínas de São Miguel (RS). Em primeiro lugar, examino como aquelas estruturas foram construídas, inclusive através de processos patrimoniais, enquanto “plano”, isto é, como visualidade do poder colonial no sentido de fomentar imagens positivas do Estado-Nação e, atualmente, de uma sociedade multicultural. Num segundo momento, exploro a realização de filmes por Mbya Guarani sobre as Missões e a sua história e cultura enquanto “contraplano” àquela produção de imagens. Por fi

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Schmidt, Andrea. "Kriss Ravetto-Biagioli, The Mythopoetics of Cinema: On the Ruins of European Identity." Film Criticism 42, no. 3 (2018). http://dx.doi.org/10.3998/fc.13761232.0042.321.

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Cieśliński, Marek Kosma. "Destrukcja jako tworzywo. Ikonografia ruin Warszawy w polskim kinie dokumentalnym po II wojnie światowej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 27, no. 36 (2020). http://dx.doi.org/10.14746/i.2020.36.11.

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The image of Warsaw in ruins after World War II is an important motif in Polish documentary and feature cinema in the years 1944–1956. In the text, I discuss the images of the city captured by the first chroniclers as ‘basic’, which then became archetypical icons of the city’s destruction. I point out that the aesthetics of destruction, recorded in Andrzej Panufnik’s early film Ballada f-moll [Ballade in f minor], Jerzy Bossak’s Most [Bridge] and Tadeusz Makarczyński’s Suita warszawska [Warsaw Suite] proved to be exemplary for other artists. I show that the destruction of urban and architectur

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Ramos, Rubén Marín. "La configuración archivística en el cine de no ficción contemporáneo." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a154.

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This article deals with the works of filmmakers and artists who self-impose certain protocols linked to archival configuration to structure and make sense of their films or videos. In this way, collecting, classifying, making lists, series or catalogues will be common practices in this type of work, thus following some of the steps of the art-archive binomial that starts at the beginning of the 20th century with photographic archives such as Augène’s Atget or August Sander and that expands and develops through various artistic practices to this day. Radical documentary pieces with a clear allu

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Vodanovic, Lucia. "Luxurious Dump: Wasted Buildings and the Landscape of Pure Suspension." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.251.

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The recent announcement that the Costanera Center building in Santiago will finally open in 2012 is the latest episode in the building’s troubled history, during which it has been both the emblem of Chile’s booming economy and the grand symbol of its downturn in the context of the global recession. The mixed-use development –which includes what will be South America’s tallest building, standing 300 meters high— will feature a shopping mall with a number of restaurants and a cinema, two hotels, two shopping markets and office space.The previous chapter in its history was much less optimistic: d

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Seale, Kirsten, and Caroline Hamilton. "Waste." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.286.

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Taking our cue from one of the original theorists of waste, Walter Benjamin, and his exhortation to read “the rags, the refuse” of culture, this issue of M/C Journal aims to reconsider what we throw away, what we leave behind, what we do not value. The range of responses to our call for participants in this conversation testifies not only to the ubiquity of waste in contemporary cultural, social and environmental landscapes, but demonstrates unequivocally that there is value in waste. Our contributors propose remarkably diverse modes of reading the matter and metaphor of waste in a number of c

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Ludewig, Alexandra. "Home Meets Heimat." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2698.

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   Home is the place where one knows oneself best; it is where one belongs, a space one longs to be. Indeed, the longing for home seems to be grounded in an anthropological need for anchorage. Although in English the German loanword ‘Heimat’ is often used synonymously with ‘home’, many would have claimed up till now that it has been a word particularly ill equipped for use outside the German speaking community, owing to its specific cultural baggage. However, I would like to argue that – not least due to the political dimension of home (such as in homeland security and homela

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Dernikos, Bessie P., and Cathlin Goulding. "Teacher Evaluations: Corporeal Matters and Un/Wanted Affects." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1064.

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Introduction: Shock WavesAs I carefully unfold the delicate piece of crisp white paper, three rogue words wildly jump up off the page before sinking deeply into my skin: “Cold and condescending.” A charge of anger surges up my spine, as these words begin to now expand and affectively resonate: “I found the instructor to be cold and condescending.” Somehow, these words impact me both emotionally and physiologically (Brennan 3): my heart beats faster, my body temperature rises, my stomach aches. Yet, despite how awful I feel, I keep on reading, as if compelled by some inexplicable force. It is n

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