King＇s narratives exemplify the themes of the uncanny, of masking and unmasking, of the corporeal otherisation and of the questioning of identity. This paper is an invitation to go beyond what may commonly be thought...King＇s narratives exemplify the themes of the uncanny, of masking and unmasking, of the corporeal otherisation and of the questioning of identity. This paper is an invitation to go beyond what may commonly be thought of as a uniform looking-glass so as to discover King＇s particular treatment of the body. Far from shying away from sexuality, the American writer depicts it in an ambivalent or disguised manner （Thinner, Mr. Mercedes, Christine, Misery, Cycle of the Werewolf）. If the female body is mainly connected with the taboos of rape and incest （Gerald＇s Game, Dolores Claiborne, Bag of Bones, Under the Dome）, or with ungenderisation （The Tommynockers, Rose Madder）, the notion of monstrosisation can nevertheless be applied to both male and female bodies （The Shining, Desperation, ＂The Raft,＂ ＂Survivor Type＂）. Oscillating between hypermonstration and avoidance, King pulls the strings of the fragmentation, even of the silencing of the body. The fissure impregnating the characters＇ identity and bodies is enlightened by the shattering of the very connection between signifiers and signified, inserting the reader into a state of non-knowledge： a mesmerising dance of disembodied bodies within disembodied texts.展开更多
Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and ...Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and Nostalghia （1983）---the Russian director helps to build this dimension with the insertion of his father＇s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky＇s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond＇s concept of in-betweeness, as he conceived it in Art, Origins, Otherness--Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni＇s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie＇s spiritual dimension展开更多
文摘King＇s narratives exemplify the themes of the uncanny, of masking and unmasking, of the corporeal otherisation and of the questioning of identity. This paper is an invitation to go beyond what may commonly be thought of as a uniform looking-glass so as to discover King＇s particular treatment of the body. Far from shying away from sexuality, the American writer depicts it in an ambivalent or disguised manner （Thinner, Mr. Mercedes, Christine, Misery, Cycle of the Werewolf）. If the female body is mainly connected with the taboos of rape and incest （Gerald＇s Game, Dolores Claiborne, Bag of Bones, Under the Dome）, or with ungenderisation （The Tommynockers, Rose Madder）, the notion of monstrosisation can nevertheless be applied to both male and female bodies （The Shining, Desperation, ＂The Raft,＂ ＂Survivor Type＂）. Oscillating between hypermonstration and avoidance, King pulls the strings of the fragmentation, even of the silencing of the body. The fissure impregnating the characters＇ identity and bodies is enlightened by the shattering of the very connection between signifiers and signified, inserting the reader into a state of non-knowledge： a mesmerising dance of disembodied bodies within disembodied texts.
文摘Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and Nostalghia （1983）---the Russian director helps to build this dimension with the insertion of his father＇s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky＇s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond＇s concept of in-betweeness, as he conceived it in Art, Origins, Otherness--Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni＇s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie＇s spiritual dimension
