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This study explores how Philip Glass’s post-minimalist techniques in the film score of The Hours interact with the film’s non-linear narrative structure. By integrating musicological analysis and film narrative theory, the paper examines the use of micro-variations, additive processes, and repetitive harmonic structures in Glass’s score. These techniques are shown to not only intensify the emotional resonance of the film but also reinforce its fragmented temporal flow across three interwoven storylines. Case studies of specific scenes illustrate how the music’s subtle evolution parallels the narrative’s thematic continuity and psychological depth. This research contributes to the understanding of post-minimalist film scoring, emphasizing the aesthetic and structural synergies between music and moving image.

W swych rozważaniach nad melancholijnym wymiarem świętowania autorka poddaje analizie cztery filmy: Godziny (2002) Stephena Daldry’ego, Margot jedzie na ślub (2007) Noaha Baumbacha, Rachel wychodzi za mąż (2008) Jonathana Demme’a i Melancholię (2011) Larsa von Triera. W każdej z tych produkcji Korczarowska tropi ewidentnie melancholijne nacechowanie fabuły i rysów głównych bohaterów. Partie analityczne tekstu, odnoszące się także do warstwy ikonograficznej tych filmów, pozwalają autorce na konstatację, że choć święto potrzebuje radosnego nastroju, a w swej istocie ma łączyć wspólnotę, pozwalać jednostkom i grupom – za pomocą rytuałów – „przechodzić” bezpiecznie ze zwykłego trwania czasowego do czasu sakralnego, to jednak w trakcie świętowania z destrukcyjną siłą objawia się właśnie melancholia. Dzieje się tak prawdopodobnie dlatego, że w trakcie przyjęcia urodzinowego, weselnej fety lub uroczystego rodzinnego obiadu niespodziewanie uświadamiamy sobie, że coś odeszło od nas raz na zawsze.

This paper deals with the way in which certain meanings originate from the participation of a multiplicity of cues that emerge from different modalities. The analysis is based on the implementation of specific linguistic and cognitive mechanisms that trigger the generation of the audience’s unconscious construction of meaning. The corpus of the analysis concentrates on an excerpt of David Hare’s script (2002) of the movie The Hours: three women’s lives, by Stephen Daldry, that acts as the backbone of the analysis. The analysis is cross-referenced with parallel modality inputs (Kress 2009), such as specific filmic or visual details, found either in the scene or the rest of the movie. The approach of this qualitative study is mainly cognitive making special emphasis on the three types of underspecification proposed by Radden (2007a). It also draws from Langacker’s (2008) proposals related to attention and perspective to identify figure-ground relations as determinant in the molding of the characters and their ideological standpoints in the scene. Este artículo expone el modo en que determinados significados se originan a partir de la participación de una multiplicidad de señales que proceden de diversas modalidades. El análisis se centra en la aplicación de determinados mecanismos lingüísticos y cognitivos que fomentan en el público la construcción inconsciente de significados específicos. El corpus del análisis se centra en un fragmento del guión de David Hare (2002) de la película The Hours: three women’s lives, de Stephen Daldry, que actúa como eje del análisis. El análisis tiene referencias cruzadas con entradas de modalidades paralelas (Kress 2009), como detalles fílmicos o visuales específicos, que se encuentran en la propia escena analizada o en el resto de la película. El enfoque de este estudio cualitativo es principalmente cognitivo, haciendo especial énfasis en los tres tipos de underspecification propuestos por Radden (2007a). También parte de las propuestas de Langacker (2008) relacionadas con la atención y la perspectiva para identificar las relaciones figura-fondo como determinantes en el moldeado de los personajes y sus puntos de vista ideológicos en la escena.

[...]to the Young Writers' Programme, whose history, as I have noted above, is in the early stages of academic analysis, the purpose, practice, and impact of the first Writers' Group at the Royal Court can be largely comprehended from the recollections of that time in the autobiographies of the group's members and through many of the publications on the history of the Royal Court.5 It is the purpose of this article, therefore, to revisit what should be regarded as the first attempt to bring a new generation of young playwrights to the Royal Court, through the Writers' Group in 1958, and to place the group's inception, methodology, and legacy within the contemporary context of the Young Writers' Programme.The limited space at the theatre meant that an alternative location at a paint shop on Flood Street was secured as the group's base, and here the participants \"sat on boxes, creaking chairs, anything to hand, in a strict circle surrounded by debris and draughts\" as Devine got the first meeting underway.11 It is a less than glamorous picture and, unsurprisingly, given the working environment, the initial meetings of the first Writers' Group are remembered by those involved as being \"tentative and a little stiff·.Where the group had failed was in their inability to recognize the value of a regular meeting place for young writers \"to make new theatre together\" in a supportive environment, and as a consequence this had prevented any future opportunity for other writers who could have also benefitted from the writers' group structure.41 There is without doubt value in the notion that playwriting groups can provide a much-needed sense of camaraderie in the often solitary life of a writer.[...]the Court and its artistic team, to retain its fundamental identity as a writers' theatre, must also continue to challenge and question the ways in which it works with its writers so as to remain central to the future of new writing.

Exploring the complex relationship between intersectional difference and individual agency in Smith's text through the double theoretical lens of Braidotti's nomadic performative model of identity and Kimberlé Crenshaw's concept of intersectionality, Kürpick convincingly argues that the text \"does not simply bear out Braidotti's theory, but rather interrogates it, especially its insufficient attention to the diverse and disempowering effects resulting from certain intersections of what Braidotti calls 'variables,' or 'axes of differentiation,' such as class, race, gender, ethnicity, age, and disability.\" While critical studies and anthologies concentrating on the literature of the British Isles discuss drink and drinking as a literary theme and emphasize the convivial, jovial nature of its mode of representation, criticism focusing on the American literary scene tends to draw attention to the authors' alcohol-addiction, and how it affects-boosts or impedes-the creative process, with most studies approaching the question of alcoholic writers and their work from a medical vantage point, framing drinking alcohol as a pathology. The extended review section containing twelve reviews covers a wide variety of topics and approaches: two focus on the rapidly expanding and diversifying field of Modernism studies, two can be located within spatial studies, two highlight emerging, or relatively new fields, Afroeuropean studies and things studies, respectively, while two deal with the highly topical question of democracy and its pitfalls, in addition to its advantages.

This essay is devoted to a discussion of Stephen Daldry and David Hare’s film adaptation of Bernhard Schlink’s critically acclaimed but controversial Holocaust novel, The Reader (1995; 2008), through one of the film’s many intertexts—Anton Chekhov’s “The Lady with the Little Dog” (1899). The scenes related to this short story are crucial to the understanding of Daldry and Hare’s filmic reinterpretation of Schlink’s novel, since they form the mise en abyme of Hanna and Michael’s ambiguous story and stalled self-reflection. The parallels and contrasts of Chekhov’s and the filmmakers’ narratives call viewers’ attention to the ambivalences inherent in the main characters’ representation. Inspired by a passing reference to Chekhov in Schlink’s novel, the scenes alluding to “The Lady with the Little Dog” provide a metanarrative in The Reader, and, as such, reflect the adaptors’ heightened sensitivity to the ambivalences and complexities of reflecting the trauma of the Holocaust— not only for “the second generation” of Germans after World War II.