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"Campbell, Donna M."
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Val Lewton’s Naturalism and Historical Trauma
Off-brand for a studio known for its glossy Fred Astaire and Ginger Rogers musicals, the epigraph, set against a backdrop of a knight holding aloft a cat pierced by his sword, references respectively a fictitious quotation, book, and author (see figure 1). In the Introduction to a collection titled The Simple Art of Murder, Raymond Chandler outlined the overall code and structure of his detective fiction featuring private investigator Philip Marlowe (such as The Big Sleep, 1939; Farewell, My Lovely, 1940; and The Lady in the Lake, 1943): according to Chandler, detective fiction tells of \"a world gone wrong, a world in which, long before the atom bomb, civilization had created the machinery for its own destruction\" (vii). \"[D]own these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid,\" Chandler concludes, providing a \"quality of redemption\"-or, more properly, a detective functioning as an heroic redeemer-unavailable to the naturalistic sufferers of a modern \"world gone wrong\" (\"The Simple Art of Murder\" 193). Identified as a discrete genre by French critics after its heyday in the 1940s, film noir comprises not only a cinematic style but also themes, plots, and characters located in postwar disillusionment and a loss of confidence in the ability of institutions to restore order in the naturalistic \"mean streets\" of the urban jungle.2 Beginning with the movie version of Double Indemnity (1944), with its moody atmospherics of smoky, shadowed daytime interiors punctuated with strips of lights through Venetian blinds, films noir placed the viewer in the position of the point-of-view character forced to interpret situations in which nothing is as it seems.
Journal Article
The Death of Pip
The comic remedy of baking Pip recurs here as the tragedy of a baby that can be neither warmed nor fed, for, as Beth learns from Pip's death, death is final, and the loss of one living thing cannot be consoled by the substitution of another. The death of Pip also echoes in the later scenes, for from the beginning, Beth has a special relationship to birds: in \"Castles in the Air\" she wishes to \"fly away . . . as [the] swallows fly\" (117) to heaven, and during her delirium she \"don't even talk about the flocks of green doves, as she calls the vine leaves on the wall\" (147). A seemingly minor incident, one treated casually even by Marmee, who usually shows more sensitivity to her daughters' emotions, Pip's death is disturbing and unforgettable to all who have ever owned a caged or contained animal- bird, iguana, guinea pig, hamster, fish-and are haunted by knowing that the imprisoned creature owes its entire existence to their constant daily care.
Journal Article
Fictionalizing Jack London: Charmian London and Rose Wilder Lane as Biographers
The subtitle alone announces the work's genre, and, as Martha Banta describes it in Taylored Lives, the book is in \"the tradition of the virtuous domestic romance-interchangeable parts that still appealed to a large segment of the American public ...[:] the hard work expected of the average man who is also the ail-American genius ... ; the loyalty of the 'capable' and cheerful 'little woman' who puts aside her infrequent bursts of rebellion ... in order to hasten to her husband's side; [and a] sequence of familiar home settings ...\" How much her pursuit of the London project was driven by genuine interest and how much by opportunism-that is, whether Lane's treatment of Charmian indicates misunderstandings or malice, to borrow Clarice Stasz's terms- remains murky, but her letters moved Charmian not merely to acquiescence but to enthusiasm for the project.2 Although Charmian planned to write a biography of London herself, she wrote to Charles K. Fields, the editor of Sunset, that she was impressed by \"this interesting and brainy woman\" and offered to cooperate with the series of articles that Lane proposed to write (Holtz, Ghost 68).3 Charmian noted in her diary that Lane made an emotional appeal by recounting \"personal tragedy in her young life-two small children dead and a divorce\" (Stasz 220). According to Stasz, Charmian's diary entry for 5 May 1916 [clearly an error for 1917] indicates that the two had met (220). Donna M. Campbell, Washington State University Donna M. Campbell is Associate Professor of English at Washington State University and is the author of Resisting Regionalism: Gender and Naturalism in American Fiction, 1885-1915 (1997)· Her essays on Jack London have appeared in Literature and Belief, Jack London: One Hundred Years a Writer, and Jack London: Critical Insights.
Journal Article
Succession (Testaments)
Lorsqu'une personne meurt, ses biens ou leur valeur sont transmis à ses ayants droit après paiement de toutes ses dettes et autres obligations en souffrance. Ce processus de transfert est dénommé succession.
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