Andrew Lang

#2

Summary:"A Queer Film Classic on 1974's Arabian Nights by Pier Paolo Pasolini, the controversial Italian director who was murdered under mysterious circumstances in 1975. Already internationally distinguished as a poet, novelist, and outspoken social critic of the postwar period, Pasolini turned to filmmaking around 1960. In little more than a decade, he produced one of the most remarkable bodies of work in cinema history, beginning with his early film-portraits of the struggles of underclass youths and extending through his adaptations of such sacred or mythic narratives as the stories of Oedipus and Medea and the Gospel of St. Matthew. In what turned out to be the last years of his career, Pasolini turned to several classic works of chain-narrative--The Arabian Nights, The Decameron, The Canterbury Tales, and Sade's The 120 Days of Sodom--as models for his own radical expansion of cinema's capacities for telling, showing, and enacting embodiment, nudity, and sexual desires and behaviours. This book explores the legacy and context of Arabian Nights, in many ways the most optimistic and appealing of Pasolini's late films, not only in the final explosive phase of Pasolini's career but also more broadly in the global history of film spectacle from Douglas Fairbanks to Maria Montez."-- Provided by publisher

#3

The Antiquary, the third of the Waverley novels published in 1816 by Walter Scott, centres on the character of an antiquary: an amateur historian, archaeologist and collector of items of dubious antiquity. He is the eponymous character and for all practical purposes the hero, though the characters of Lovel and Isabella Wardour provide the conventional love interest. The Antiquary was Scott's own favourite of his novels, and is one of his most critically well-regarded works; H. J. C. Grierson, for example, wrote that "Not many, apart from Shakespeare, could write scenes in which truth and poetry, realism and romance, are more wonderfully presented." Scott wrote in an advertisement to the novel that his purpose in writing it, similar to that of his novels Waverley and Guy Mannering, was to document Scottish life of a certain period, in this case the last decade of the 18th century. The action can be located in July and August 1794. It is, in short, a novel of manners, and its theme is the influence of the past on the present.