April 7, 2010
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Les Liaisons dangereuses - John Malkovich, Uma Thurman Lettre XLVII
These leaves are from The Fables of Aesop by John Ogilby, and illustrated by Wenceslaus Hollar. They are printed in London, 1673-75.
Depicted is the fable The Belly and the Members
See headless
- "la table même sur laquelle je vous écris, consacrée pour la première fois à cet usage, devient pour moi l’autel sacré de l’amour ; combien elle va s’embellir à mes yeux ! j’aurai tracé sur elle le serment de vous aimer toujours ! Pardonnez, je vous en supplie, le délire que j’éprouve. Je devrais peut-être m’abandonner moins à des transports que vous ne partagez pas : il faut vous quitter un moment pour dissiper une ivresse qui s’augmente à chaque instant, & qui devient plus forte que moi."[1]
http://fr.wikisource.org/wiki/Les_Liaisons_dangereuses
Valmont's transfer of passion from Tourvel to Emilie has the effect ..... visual echo to the terms “pupitre” and “table” in Letters XLVIl and XLVIII. ... particularly her backside, juxtaposed with the clothed, powerful presence of ...
- a passionate love letter to Madame de Tourvel, read aloud in Valmont’s voice, is accompanied by shots showing the situation in which it was written: Valmont drafting it upon a makeshift table – which is, in fact, the naked back of a giggling courtesan – revealing the letter to be partially inspired by fresh sexual experiences. Alternately, while the letter is being read aloud, there are shots of the addressee reading, shots which show the agonising impression the letter makes upon her. In this way, in Dangerous Liaisons, not only are some of the masterfully composed letters made part of the script, but their inventive insertion into the story also adds dynamism to the film narrative by combining time levels in an unusual way. --Patricia Rackova
William Hogarth, The reward of cruelty[2], 1697-1764
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