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This article examines the novel and film, Balzac et la petite tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic, and structure of the novel. I then move on to investigate the li
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Gudme [p. 693]; Himlingøje [p. 723]; Lundeborg [p. 926]; Skedemosse [p. 1393]; Vorbasse [p. 1574]; Uppåkra [p. 1541]
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Gudme [p. 693]; Himlingøje [p. 723]; Lundeborg [p. 926]; Skedemosse [p. 1393]; Vorbasse [p. 1574]; Uppåkra [p. 1541]
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Gudme [p. 693]; Himlingøje [p. 723]; Lundeborg [p. 926]; Skedemosse [p. 1393]; Vorbasse [p. 1574]; Uppåkra [p. 1541]
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Gudme [p. 693]; Himlingøje [p. 723]; Lundeborg [p. 926]; Skedemosse [p. 1393]; Vorbasse [p. 1574]; Uppåkra [p. 1541]
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Gudme [p. 693]; Himlingøje [p. 723]; Lundeborg [p. 926]; Skedemosse [p. 1393]; Vorbasse [p. 1574]; Uppåkra [p. 1541]
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Recension av: Monica Lauritzen "Karl Warburg. Den varsamme vägvisaren" och Kjell Espmark "Martin Lamms ögonblick"