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Eliza Deac

writing only that survives the poet and grants him a form of immortality, despite the fact that it constitutes a poor replacement for his bodily presence. Consequently, his written poem becomes the transcription of a voice from beyond the grave or the

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Shadows, Screens, Bodies, and Light

Reading the Discursive Shadow in the Age of American Silent Cinema

Amy E. Borden

published a four-stanza poem, “Deus Ex Machina,” that gently mocked the “part mechanical, part make-believe” quality of the age of the “moving-talking, ten-cent picture show” ( Bowling 1912: 114 ). The third stanza questions what is lost and gained when

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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

an inexperienced soldier trapped in a terrifying battle, Baudelaire’s early wanderings through the streets of Paris, in this account, left him in a state of emotional disarray. The writing of poems emerges from this diagnostic point of view as a

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer

less of a sustained academic argument than a scrap-book of the contemporary life experience of being HIV positive. A turn of the page is just as likely to solicit a poem materializing the loss of memory (9) as it is a theoretical alignment of how “tact

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Andrew J. Webber

popular landscape poem by Matthias Claudius after Paul Gerhardt, to which Thomas responds by humming the tune antiphonally. Expelled from the nursery, they recuperate something of its effects of rest and care, and thus achieve a moment of cross

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

structure. The medieval French poem Le Roman de la Rose ( The Romance of the Rose ), for example, assembles its characters within a walled garden to debate over matters of chivalric love through the disposition of individually personified human traits