Greece and Platonic Love in E. M. Forster's Maurice, or the greatness and limits of Antiquity as a source of inspiration.

The aim of this article is to show how, although the evident idealization of Greece and Platonic love throughout the Victorian-Edwardian England, both also show their limits. In order to make it clear the author refers constantly to the implicit Greek texts such as Plato's Symposium and Phaedrus and perhaps even to Plutarch¿s Eroticus in search of a Classical Tradition which is highly significant in order to understand that England at the beginning of the twentieth century.

[Illustrations de Génie du Christianisme ou beautés de la religion chrétienne] / A.Villerey, grav. ; Dambrun, grav. [et al...]; Chateaubriand, aut. du texte

Comprend : [Tome I. Frontispice : la Foi chrétienne commandant aux Arts et aux travaux des hommes.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome I. Pl. en reg. p.110 : Chapitre XI. L'extrême-onction.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome I. Pl. en reg. p.319 : Livre V. Partie I. On se console par la douleur.] L'une apportoit son enfant mort, l'autre son enfant vivant (...) Elle mettoient ensuite leurs enfants sur une branche de catalpa, et les balançoient ensemble, en chantant des airs de leurs pays. Hélas! ces jeux maternels, qui souvent endormoient l'innocence, ne pouvoient réveiller la mort! [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome II. Pl. en reg. p.239 : Partie II. Livre IV. Les passions. Amélie décidée à rentrer au couvent.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome II. Pl. en reg. p.250 : Partie II. Livre IV. Les passions. Chateaubriand guettant la fenêtre d'Amélie au couvent.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome III. Pl. en reg. p.368 : Partie III. Livre VI. La mort d'Atala. Le Père Aubry et Chactas enterrent Atala.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome III. Pl. en reg. p.372 : Partie III. Livre VI. Chactas pleure sur la tombe d'Atala.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome IV. Pl. en reg. p.167 : Partie IV. Livre III. Chapitre VI. Vue générale du Clergé. Un moine Trappiste.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635] ; [Tome IV. Pl. en reg. p.217 : Partie IV. Livre III. Chapitre VI. Vue générale du Clergé. Un missionnaire remonte le Rio de la Plata pour évangéliser les Indiens.] [Cote : Res D 5716/Microfilm R 122368 à 122370 et R 132635]

Evolution of the Pelagonian carbonate platform complex and the adjacent oceanic realm in response to plate tectonic forcing (Late Triassic and Jurassic), Evvoia, Greece

The Late Triassic and Jurassic platform and the oceanic complexes in Evvoia, Greece, share a complementary plate-tectonic evolution. Shallow marine carbonate deposition responded to changing rates of subsidence and uplift, whilst the adjacent ocean underwent spreading, and then convergence, collision and finally obduction over the platform complex. Late Triassic ocean spreading correlated with platform subsidence and the formation of a long-persisting peritidal passive-margin platform. Incipient drowning occurred from the Sinemurian to the late Middle Jurassic. This subsidence correlated with intra-oceanic subduction and plate convergence that led to supra-subduction calc-alkaline magmatism and the formation of a primitive volcanic arc. During the Middle Jurassic, plate collision caused arc uplift above the carbonate compensation depth (CCD) in the oceanic realm, and related thrust-faulting, on the platform, led to sub-aerial exposures. Patch-reefs developed there during the Late Oxfordian to Kimmeridgian. Advanced oceanic nappe-loading caused platform drowning below the CCD during the Tithonian, which is documented by intercalations of reefal turbidites with non-carbonate radiolarites. Radiolarites and bypass-turbidites, consisting of siliciclastic greywacke, terminate the platform succession beneath the emplaced oceanic nappe during late Tithonian to Valanginian time.

Political Emotions: Civil Religion and Melodrama in Spielberg's Lincoln

This essay focuses on how Spielberg's film engages with and contributes to the myth of Lincoln as a super-natural figure, a saint more than a hero or great statesman, while anchoring his moral authority in the sentimental rhetoric of the domestic sphere. It is this use of the melodramatic mode, linking the familial space with the national through the trope of the victim-hero, which is the essay's main concern. With Tony Kushner, author of Angels in America, as scriptwriter, it is perhaps not surprising that melodrama is the operative mode in the film. One of the issues that emerge from this analysis is how the film updates melodrama for a contemporary audience in order to minimize what could be perceived as manipulative sentimental devices, observing for most of the film an aesthetic of relative sobriety and realism. In the last hour, and especially the final minutes of the film, melodramatic conventions are deployed in full force and infused with hagiographic iconography to produce a series of emotionally charged moments that create a perfect union of American Civil Religion and classical melodrama. The cornerstone of both cultural paradigms, as deployed in this film, is death: Lincoln's at the hands of an assassin, and the Civil War soldiers', poignantly depicted at key moments of the film. Finally, the essay shows how film melodrama as a genre weaves together the private and the public, the domestic with the national, the familial with the military, and links pathos to politics in a carefully choreographed narrative of sentimentalized mythopoesis.