Wang 's book makes the larger case “that aesthetic forms are inseparable from social, political, and historical contexts when it comes to the writing and reception of poetry.”
The CW ran the intriguing Adrian Lyne adaptation from the French over the past week of March 2014, and a toggle to my memory reminded me of the subtext within the film about style and affluence being somewhat fine and brittle. I sandwich this memento in between my more forceful retractions from liberalism in part to illustrate the difficulty of my Gordian knot, since monogamy itself has always been a difficult contract for us, the advanced human primate. I see humanity as nothing more than repulsive apes who made cognitive leaps and bounds by inexplicable accidents of anatomy, and yet remain attracted to ascetic rigor, remain supportive of flings, the liberating aspects of affairs.
Though I cannot speak for Gere's performance on a single viewing, Lane and Martinez inhabit a chic crackling which leaves me indecisive about both the murder and Lyne's conclusion, but his direction offers a distinctive, haunting collage, one that remains past the narrative itself. I am not sure whether it's worth eating up my usage to view it online or wait for it to run on broadcast again, but for our purposes, the film is a theatrical antithesis.
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