Portraits-souvenir by Jean Cocteau

By Jean Cocteau

Pix - keepsake (1935) est l'occasion pour Cocteau, qui s'est toujours refusé à écrire ses Mémoires, d'évoquer le Paris littéraire, artistique et mondain d'avant 1914. los angeles fulgurance de ses raccourcis poétiques anime les images de l'impératrice Eugénie à Antibes, de Mistinguett sur l. a. scène de l'Eldorado et d'autres personnages mythiques de l'époque 1900.

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With the death of Hotspur comes, for a moment, the end of rebellion and 'bad' violence. Yet the informing tragedy of the death of Hotspur spontaneously reconfirms the play's complex construction of the issue of violence. The triumph of 'good' 42 Shakespeare's Culture of Violence violence that the defeat of Hotspur implies is subverted by the fact that it is Hotspur himself who has been felled. And no amount of rationalization about the social necessity of Hotspur's death removes the sense of tragic loss that it supplies.

Despite the obviousness of the tendency of Hotspur's last words, Hal's capacity to utter these words - 'For worms' - cements the identification. The scene here is a significant valorization of violence. It is through bloodshed that Hal can fulfil the demands made upon authority. He has not just proven himself strongest. He has done so by strongly indicating the relationship between his physical skill and strength and his willingness to serve the embedded structure of power. The ritualistic emblems and actions of this scene and the oath scene have strengthened the connection.

203-21) This speech reverses the 'doing' of a self. It inverts the structural patterns which have gone into the creation of an identity. Richard enumerates the very forms and ritualized ideologies by which he has been stabilized, and in doing so exposes their essential hollowness, their essentially illusory nature. He reveals his life as a The Containment of Monarchy: Richard II 25 kind of literary text, artificially unified by superimposed structures and culturally determined meanings. To the moment when he breaks the mirror Richard clings to the illusions of patriarchy.

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