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Nia Tsivtsivadze [ 80 ] , [ 81 ]. Nana Ama Benson [ 82 ] , [ 83 ]. Star Isabel Farrugia [ 84 ] , [ 85 ]. Maria Lepida [ 86 ] , [ 87 ]. Gianna Sgambelluri [ 90 ]. Elizabeth Gramajo Arreaga [ 91 ] , [ 92 ]. Silvia Adjomo Ndong Ada [ 93 ] , [ 94 ]. Rubiato Nhamajo [ 95 ] [ D 6 ]. Ambika Ramraj [ 96 ] , [ 97 ]. Stephie Morency [ 98 ] , [ 99 ].

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Hong Kong. Wing Wong [ ]. Andrea Szarvas [ ] , [ ]. Kelsie Woodman-Bodden [ ] , [ ]. George Town. Reihanna Koteka-Wiki [ ] , [ ]. Yadali Thomas Santos [ ] , [ ]. Anukreethy Vas [ ] , [ ]. Alya Nurshabrina [ ] , [ ]. Aoife O'Sullivan [ ] , [ ]. Irlande du Nord. Katharine Walker [ ] , [ ]. Nunzia Amato [ ] , [ ]. Kadijah Robinson [ ]. Kanako Date [ ]. Yekaterina Dvoretskaya [ ]. Finali Galaiya [ ]. Kadoumphet Xaiyavong [ ] , [ ]. Rethabile Thaathaa [ ] , [ ].

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Pays de Galles. Bethany Harris [ ] , [ ]. Aloy indeed chooses to play up the religious fervour of the governess and her crisis of faith far more than in any previous adaptation. Similarly, every Sunday, the governess presses the children to go to Confession at church, and, on other occasions, she can be seen walking around with her Bible and her rosary in hand.

The religious question also makes its way into the schoolroom, as Miles and Flora taunt the governess by drawing parallels between the Catholic faith and believing in ghosts. Miles, for example, shows the governess a drawing of Lazarus and asks why he was resurrected, why he was not admitted into heaven, and if he was then a ghost. When the governess dances around his question and predictably declares that there are no such things as ghosts, Miles corners her by asking her if she then believes in the Holy Ghost, a semantic trap from which the governess, despite her recourse to use of a dictionary, cannot escape.

However, in nearly every instance, Aloy has not simply borrowed but expanded upon the motif or technique. We also again find the now obligatory dream sequences, this time two in number, which again showcase several of the main themes and symbols chosen by the director. However, in one sequence, her dream seems to be premonitory, as one of the quickly shifting images is that of the Master at Raixa frowning and uncovering the body of a dead child, clearly an external prolepsis giving us a glimpse of what will occur after the final scene.

Here, there is again a clever modification, for the mirrors and panes in which the governess sees herself are never perfectly flat surfaces and never faithfully reflect their subject. In sequences both more powerful and yet subtler than those used in the Nightcomers , the possibly incestuous relationship between Miles and Flora is presented in a manner that is both aesthetically pleasing and morally ambiguous to the extreme. Three key scenes put forth this notion.

Indeed, she too will be taken aback by the third scene pointing to incest, which occurs when the governess, much like the protagonist in the film, hears what sounds like Quint and Jessel in the throes of passion and follows the sound to its source, only to find Miles and Flora in an abandoned room. This time the children are wearing make-up and are undressed, Miles sitting behind his sister and caressing her shoulder, his sister admiring herself in a hand-mirror. Once again, Aloy has managed to take themes from previous adaptations and make their representation both more beautiful and more disturbing.

Again, Aloy starts with an image borrowed from The Innocents , in this case the music box that links Flora to her dead governess. When the governess approaches the lake from atop a hill, the sight of the gazebo below with Flora spinning within it is like a life-size recreation of that same music box. Aloy decides to reiterate the use of this clever device. However, the music box here becomes a double symbol, for the object represents a ship on which the ballerina is dancing, a ship that reminds us of the repeated images of the governess making her great voyage over rough seas to Raixa.

In addition, Aloy multiplies the motifs underlining a mise-en-abyme. There is thus also the importance given to dolls at Raixa. Then, later in the film, clever staging gives us a striking image of the governess and Flora preparing for bed. The doll motif is then brought back throughout the film and in the end the dolls seem more to symbolize Miles and Flora than the governess and Jessel. Indeed, when the governess packs her bags and plans to leave Raixa, she packs her Bible and her Rosary but decidedly leaves two dolls, one a boy and the other a girl, behind on her bed.

Then, at the end of the film, after the damage has been done to both Flora and Miles, the governess can be seen nearly catatonic on her bed surrounded by the shattered remains of those two dolls. Inside she finds an outer chamber disturbingly decorated with suggestive statues and, even more disturbingly, with a photograph of Fosc and the Master after a successful hunt for wild game.

Finally, Aloy added one other rather clever mise-en-abyme motif. When the governess sees Quint on the tower, she thinks to herself how she would like the Master to see her and admire how well she is doing. It is as if the governess herself were caught checking the original text of her own tale. In fact, on a few occasions, Aloy visually represents passages from the original tale that no filmmakers had hitherto transposed.

In the film, Aloy stages this, predictably perhaps, by starting with a close-up of the governess apparently directly interrogating the children, and finishing the short scene by panning back to show that the two chairs are in fact empty. Picking up on what in modern times seems far more macabre than nostalgic, Aloy not only shows the governess cringingly posing with the dead body of her tyrannical father, but has her later receive the photograph by post at Raixa, discuss the life and death ambiguity of the image with Flora, and finally remove the disturbing photo from a locked drawer in order to burn it in the fireplace before the final confrontations begin.

Towards the end of the film, the device becomes far more obvious. The governess, immediately before and after her final confrontation with Miles, is shown with her long hair down, as Jessel used to wear it. More strikingly, she is shown looking out of a window at Miles with a mad look in her eye and twice walking down a long, dark corridor towards the spectator, her arms loosely folded across her chest and her head hanging down to one side, her face partly covered by her long hair. Although cast and crew members are quick to point out the blatant differences in the two stories, few critics or spectators seem to deny the link.

One need only look at one of the movie posters used to promote the film in the U. James of course tried to recreate this matrix of retellings through the mise-en-abyme of his narrative levels involving the governess, Douglas and the I-narrator of the Prologue, and through the inherent and perfectly balanced ambiguity of the tale. In turn, for nearly a century, the chain of retellings would go on and on among literary critics, many of whom would propose widely varied and extremely radical interpretations of the tale.

Each filmmaker brings to the public his own interpretation of the ambiguities of the original work, with various readings of, for example, the ending of the tale that are in line with the most radical interpretations put forth by Jamesian critics over the years. Beidler, Peter G. New York: Bedford Books of St. Capote, Truman. Other Voices, Other Rooms. NY: Vintage International, Clarke, Gerald. Truman Capote. Henri Robillot. Paris: Gallimard, Colonna, Francesco. Hypnerotomachia Polyphili. Hypnerotomachia Polyphili Project.

Boston: Delft University of Technology and M. Press, Le Songe de Poliphile. Jean Martin. Gilles Polizzi, ed. Dupperay, Max ed. Griffin, Susan M. Henry James Goes to the Movies. Lexington: University Press of Kentucky, Tom McLoughlin, ed. Teleplay by Hugh Whitemore. Rosemont Productions, Video Odyssey, Innocents, The. Jack Clayton. Twentieth Century Fox, James, Henry.

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The Library of America Collection. The Notebooks of Henry James. Matthiessen and Kenneth B. Murdock, eds. NY: Oxford University Press, Lefevre, Liane. Cambridge, Mass. Nightcomers, The. Michael Winner, ed. Along the way she crosses paths with the Morgans, a group of outlaw brothers who just happen to live in town. Jenny finds herself attracted to the handsome Luke Morgan as well as two his two sad, I love this book! Jenny finds herself attracted to the handsome Luke Morgan as well as two his two sad, lost children left heart-broken at the loss of their mother.

The story follows Jenny and Luke as they help each other heal from their pasts and move forward into a future together. She also explores the damage war does to soldiers' psyches and the difficulty returning to a normal life after seeing and participating in such soul-crushing bloodthirsty and ruthless savagery.

If you're a fan of historical fiction I think you'll enjoy this. Yes, it glosses over the cruelty and degradation of slavery but it does offer an interesting glimpse into the viewpoint of Southerners who were not slave-owners and supported the Confederacy. Apr 22, J Jares rated it really liked it Shelves: historical-romance , read-in Not far into the story, the reader understands that something terrible has happened to the heroine, Jenny Leigh Colter, five years in the past. Now Jenny is trying to start over as a school teacher in Missouri. While on the train to her job, the train is robbed and Jenny accidently sees the face of one of the robbers.

Timid and fearful, Jenny is thankful that she will never see the robbers again. However, she soon sees Luke Morgan and his brothers in the town where she is settling. People know t Not far into the story, the reader understands that something terrible has happened to the heroine, Jenny Leigh Colter, five years in the past. People know that they are robbers but do not report them because they, and their parents, are solid citizens of the area.

The men are wanted in five states for various crimes. Oddly enough, Luke was studying to be a lawyer before he turned to crime. Luke has an interesting backstory; he was married before but his beautiful wife left him and ran off with another man.

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Luke was left with two young children. Luke and Jenny are instantly attracted to each other but his career choice keep them apart. This is an original take on an outlaw family of sons. Once I got involved, I found it hard to put down. Bien sans plus. Oct 12, Mercedes Keyes added it. Gotta read it again, it was a long time ago! Genessa Waite rated it really liked it Aug 11, Stephania Galeas rated it it was amazing May 06, Heidi rated it it was amazing Feb 02, Jeannie rated it really liked it Mar 22, Adonela rated it it was amazing Aug 14, M rated it really liked it Feb 04, Alyse rated it liked it May 14, Marijane rated it it was amazing Nov 17, Jackie Sproul rated it liked it Apr 16, Kristi King rated it it was amazing Oct 29, Johanna rated it really liked it Apr 23, Brandi rated it it was amazing Dec 25, Nichole rated it it was amazing Jun 28, Chelli rated it it was amazing Jun 09, Adi Vera rated it really liked it May 01, Lreeves rated it it was amazing Apr 04, Debbie Hayward rated it liked it Aug 07, Bonita Meyer rated it really liked it Jun 22, Melita rated it liked it Jun 07, Robindina rated it really liked it May 07, Priscilla rated it really liked it Nov 19, There are no discussion topics on this book yet.

Readers also enjoyed. About Rebecca Brandewyne.

Rebecca Brandewyne. Born in Knoxville, Tennessee, Rebecca lived in Knoxville and then, later, Chattanooga for the first few years of her life. After that, she and her family moved to Kansas, where she grew up, spending her summers in Alabama, visiting both sets of her grandparents.