The Editors: Leslie Boldt is Professor of French at Brock University and a Distinguished International Fellow of the new London Graduate School, and has published primarily in the field of twentieth-century French literature. She has edited a critical anthology On Bataille (1995) and has translated into English Bataille’s L’expérience intérieure (Inner Experience, 1998). She has published and delivered papers on the works of Artaud, Camus, Balzac, Malraux, Kristeva, and Baudrillard, among other authors, and is also interested in the intersection between the visual and the literary art of France.Corrado Federici is Professor of Italian at Brock University, and he has published on twentieth-century Italian authors, including Buzzati, Eco, Montale, Pirandello, Saba, Svevo, and Tabucchi. He is also interested in translation theory and has translated into English from the original Italian R. Milani’s L’arte del paesaggio (The Art of the Landscape, 2009), Donne in poesia (Italian Women Poets edited by B. Frabotta, 2002), and L. Nanni’s La comunicazione: il potere del luogo. Saggi di estetica adespota (Communication: The Power of Communication. Essays on Adespotic Aesthetics, Lang 2000). He has also co-edited, with E. Raventós-Pons, Literary Texts and the Arts: International Perspectives (Lang 2003). Ernesto Virgulti is Associate Professor of Italian at Brock University, where he teaches a variety of courses in Italian language, literature, cinema, and pedagogy. He also teaches in the Centre for Medieval and Renaissance Studies at Brock. His publications and research interests include Medieval European and Italian narrative (with several publications on Boccaccio’s Decameron), literary theory (narratology and semiotics), Italian cinema, and modern Italian theatre. He is the author of a book on Luigi Pirandello’s Cosí è(se vi pare).Boldt, Federici, and Virgulti are co-editors of Disguise, Deception, Trompe-l’oeil: Interdisciplinary Perspectives (Lang 2009), Beauty and the Abject: Interdisciplinary Perspectives (Lang 2007), and Images and Imagery: Frames, Borders, Limits: Interdisciplinary Perspectives (Lang, 2005).

• Contents: Anderson Araujo: «Pictures and Voices»: Virginia Woolf’s Three Guineas as Anti-archive – Rohini Bannerjee: Diasporas of Pain: Re-discovery and Re-writing of Mauritian History in Natacha Appanah’s Novel Le dernier frère – Jean-Pierre De Villers: Rediscovering the First Manifesto of Futurism of F.T. Marinetti: From the First Manifesto to the Invention of the Avant-Garde – François Foley: Re-constructing Akhenaten: The Many Faces of a Pharaoh in Naguib Mahfouz’s Akhenaten, Dweller in Truth – Lindsay Kaplan: The Political Artist: Picasso’s Wartime Production and Wartime’s Production of Picasso – Anne Urbancic: The Invasion of Belgium (1914): Memory and the Re-writing of History – John Baird: Re-writing Waverley: History and Secret History in Thackeray’s Henry Esmond – Anton Jansen: Heracles and Friendship in Euripedes and T.S. Eliot – Carol Merriam: Re-writing Grief: Edna St. Vincent Millay’s Recrafting of Ancient Poetry of Grief and Loss – Roberto Nickel: Recovering Paris: From the Erotic to the Heroic – Kate O’Neill: Re-writing the Colonial Experience: Robertson Davies’ Use of Parody in Tempest-Tost – Sébastien Roldan: Out of Ahab and into Dean’s Car: A Comparative Study of Two Literary Vehicles – Andrew Stubbs: «Writing as Re-vision»: Time, Space, and the (Re)Making of Mrs. Bentley in Sinclair Ross, Lorna Crozier, and Dennis Cooley – Elizabeth C. D’Angelo: Subjection and the Creation of the Subject: Negotiating a Dissident Identity in the Poetry of Aemilia Lanyer – R. Bruce Elder: On Being a Modern Poet – J. Douglas Kneale: The Translation of the Feelings: Ekphrasis in the Work of W.G. Sebald – Catherine J. Manning: «The Goddess Seemed More Savage than Was Fair» - Erotic Encounters in Titian’s Diana and Actaeon – Catherine Parayre: About(disfigured)faces: Sophie Calle’s Suite Vénitienne and W.G. Sebald’s Austerlitz – Alla Boldina/Michael De Vito: Virginia Woolf’s «The Lady in the Looking-Glass»: The Image of Simulated Illusion – Marzia Caporale: «We are not in Hollywood anymore»: Female Representation and Spatial Relations in Jacques Doillon’s Film Raja – Catherine Heard: Unspeakable Anatomies – Brian Lightbody: Re-writing the Script of Power: A Celebration of the Artifactual – Nancy Pedri: The Forbidden Narratives of Looking: Photography and the Anxiety of Self-Representation – Rosa Saverino: Autobiography, Photography, and Intertextuality: Rewriting Autobiography in Sophie Calle’s Double Game.

The Editors: Leslie Boldt is Professor of French at Brock University and a Distinguished International Fellow of the new London Graduate School, and has published primarily in the field of twentieth-century French literature. She has edited a critical anthology On Bataille (1995) and has translated into English Bataille’s L’expérience intérieure (Inner Experience, 1998). She has published and delivered papers on the works of Artaud, Camus, Balzac, Malraux, Kristeva, and Baudrillard, among other authors, and is also interested in the intersection between the visual and the literary art of France.Corrado Federici is Professor of Italian at Brock University, and he has published on twentieth-century Italian authors, including Buzzati, Eco, Montale, Pirandello, Saba, Svevo, and Tabucchi. He is also interested in translation theory and has translated into English from the original Italian R. Milani’s L’arte del paesaggio (The Art of the Landscape, 2009), Donne in poesia (Italian Women Poets edited by B. Frabotta, 2002), and L. Nanni’s La comunicazione: il potere del luogo. Saggi di estetica adespota (Communication: The Power of Communication. Essays on Adespotic Aesthetics, Lang 2000). He has also co-edited, with E. Raventós-Pons, Literary Texts and the Arts: International Perspectives (Lang 2003). Ernesto Virgulti is Associate Professor of Italian at Brock University, where he teaches a variety of courses in Italian language, literature, cinema, and pedagogy. He also teaches in the Centre for Medieval and Renaissance Studies at Brock. His publications and research interests include Medieval European and Italian narrative (with several publications on Boccaccio’s Decameron), literary theory (narratology and semiotics), Italian cinema, and modern Italian theatre. He is the author of a book on Luigi Pirandello’s Cosí è(se vi pare).Boldt, Federici, and Virgulti are co-editors of Disguise, Deception, Trompe-l’oeil: Interdisciplinary Perspectives (Lang 2009), Beauty and the Abject: Interdisciplinary Perspectives (Lang 2007), and Images and Imagery: Frames, Borders, Limits: Interdisciplinary Perspectives (Lang, 2005).

• Contents: Anderson Araujo: «Pictures and Voices»: Virginia Woolf’s Three Guineas as Anti-archive – Rohini Bannerjee: Diasporas of Pain: Re-discovery and Re-writing of Mauritian History in Natacha Appanah’s Novel Le dernier frère – Jean-Pierre De Villers: Rediscovering the First Manifesto of Futurism of F.T. Marinetti: From the First Manifesto to the Invention of the Avant-Garde – François Foley: Re-constructing Akhenaten: The Many Faces of a Pharaoh in Naguib Mahfouz’s Akhenaten, Dweller in Truth – Lindsay Kaplan: The Political Artist: Picasso’s Wartime Production and Wartime’s Production of Picasso – Anne Urbancic: The Invasion of Belgium (1914): Memory and the Re-writing of History – John Baird: Re-writing Waverley: History and Secret History in Thackeray’s Henry Esmond – Anton Jansen: Heracles and Friendship in Euripedes and T.S. Eliot – Carol Merriam: Re-writing Grief: Edna St. Vincent Millay’s Recrafting of Ancient Poetry of Grief and Loss – Roberto Nickel: Recovering Paris: From the Erotic to the Heroic – Kate O’Neill: Re-writing the Colonial Experience: Robertson Davies’ Use of Parody in Tempest-Tost – Sébastien Roldan: Out of Ahab and into Dean’s Car: A Comparative Study of Two Literary Vehicles – Andrew Stubbs: «Writing as Re-vision»: Time, Space, and the (Re)Making of Mrs. Bentley in Sinclair Ross, Lorna Crozier, and Dennis Cooley – Elizabeth C. D’Angelo: Subjection and the Creation of the Subject: Negotiating a Dissident Identity in the Poetry of Aemilia Lanyer – R. Bruce Elder: On Being a Modern Poet – J. Douglas Kneale: The Translation of the Feelings: Ekphrasis in the Work of W.G. Sebald – Catherine J. Manning: «The Goddess Seemed More Savage than Was Fair» - Erotic Encounters in Titian’s Diana and Actaeon – Catherine Parayre: About(disfigured)faces: Sophie Calle’s Suite Vénitienne and W.G. Sebald’s Austerlitz – Alla Boldina/Michael De Vito: Virginia Woolf’s «The Lady in the Looking-Glass»: The Image of Simulated Illusion – Marzia Caporale: «We are not in Hollywood anymore»: Female Representation and Spatial Relations in Jacques Doillon’s Film Raja – Catherine Heard: Unspeakable Anatomies – Brian Lightbody: Re-writing the Script of Power: A Celebration of the Artifactual – Nancy Pedri: The Forbidden Narratives of Looking: Photography and the Anxiety of Self-Representation – Rosa Saverino: Autobiography, Photography, and Intertextuality: Rewriting Autobiography in Sophie Calle’s Double Game.

The Editors: Leslie Boldt is Professor of French at Brock University and a Distinguished International Fellow of the new London Graduate School, and has published primarily in the field of twentieth-century French literature. She has edited a critical anthology On Bataille (1995) and has translated into English Bataille’s L’expérience intérieure (Inner Experience, 1998). She has published and delivered papers on the works of Artaud, Camus, Balzac, Malraux, Kristeva, and Baudrillard, among other authors, and is also interested in the intersection between the visual and the literary art of France.Corrado Federici is Professor of Italian at Brock University, and he has published on twentieth-century Italian authors, including Buzzati, Eco, Montale, Pirandello, Saba, Svevo, and Tabucchi. He is also interested in translation theory and has translated into English from the original Italian R. Milani’s L’arte del paesaggio (The Art of the Landscape, 2009), Donne in poesia (Italian Women Poets edited by B. Frabotta, 2002), and L. Nanni’s La comunicazione: il potere del luogo. Saggi di estetica adespota (Communication: The Power of Communication. Essays on Adespotic Aesthetics, Lang 2000). He has also co-edited, with E. Raventós-Pons, Literary Texts and the Arts: International Perspectives (Lang 2003). Ernesto Virgulti is Associate Professor of Italian at Brock University, where he teaches a variety of courses in Italian language, literature, cinema, and pedagogy. He also teaches in the Centre for Medieval and Renaissance Studies at Brock. His publications and research interests include Medieval European and Italian narrative (with several publications on Boccaccio’s Decameron), literary theory (narratology and semiotics), Italian cinema, and modern Italian theatre. He is the author of a book on Luigi Pirandello’s Cosí è(se vi pare).Boldt, Federici, and Virgulti are co-editors of Disguise, Deception, Trompe-l’oeil: Interdisciplinary Perspectives (Lang 2009), Beauty and the Abject: Interdisciplinary Perspectives (Lang 2007), and Images and Imagery: Frames, Borders, Limits: Interdisciplinary Perspectives (Lang, 2005).

• Contents: Anderson Araujo: «Pictures and Voices»: Virginia Woolf’s Three Guineas as Anti-archive – Rohini Bannerjee: Diasporas of Pain: Re-discovery and Re-writing of Mauritian History in Natacha Appanah’s Novel Le dernier frère – Jean-Pierre De Villers: Rediscovering the First Manifesto of Futurism of F.T. Marinetti: From the First Manifesto to the Invention of the Avant-Garde – François Foley: Re-constructing Akhenaten: The Many Faces of a Pharaoh in Naguib Mahfouz’s Akhenaten, Dweller in Truth – Lindsay Kaplan: The Political Artist: Picasso’s Wartime Production and Wartime’s Production of Picasso – Anne Urbancic: The Invasion of Belgium (1914): Memory and the Re-writing of History – John Baird: Re-writing Waverley: History and Secret History in Thackeray’s Henry Esmond – Anton Jansen: Heracles and Friendship in Euripedes and T.S. Eliot – Carol Merriam: Re-writing Grief: Edna St. Vincent Millay’s Recrafting of Ancient Poetry of Grief and Loss – Roberto Nickel: Recovering Paris: From the Erotic to the Heroic – Kate O’Neill: Re-writing the Colonial Experience: Robertson Davies’ Use of Parody in Tempest-Tost – Sébastien Roldan: Out of Ahab and into Dean’s Car: A Comparative Study of Two Literary Vehicles – Andrew Stubbs: «Writing as Re-vision»: Time, Space, and the (Re)Making of Mrs. Bentley in Sinclair Ross, Lorna Crozier, and Dennis Cooley – Elizabeth C. D’Angelo: Subjection and the Creation of the Subject: Negotiating a Dissident Identity in the Poetry of Aemilia Lanyer – R. Bruce Elder: On Being a Modern Poet – J. Douglas Kneale: The Translation of the Feelings: Ekphrasis in the Work of W.G. Sebald – Catherine J. Manning: «The Goddess Seemed More Savage than Was Fair» - Erotic Encounters in Titian’s Diana and Actaeon – Catherine Parayre: About(disfigured)faces: Sophie Calle’s Suite Vénitienne and W.G. Sebald’s Austerlitz – Alla Boldina/Michael De Vito: Virginia Woolf’s «The Lady in the Looking-Glass»: The Image of Simulated Illusion – Marzia Caporale: «We are not in Hollywood anymore»: Female Representation and Spatial Relations in Jacques Doillon’s Film Raja – Catherine Heard: Unspeakable Anatomies – Brian Lightbody: Re-writing the Script of Power: A Celebration of the Artifactual – Nancy Pedri: The Forbidden Narratives of Looking: Photography and the Anxiety of Self-Representation – Rosa Saverino: Autobiography, Photography, and Intertextuality: Rewriting Autobiography in Sophie Calle’s Double Game.