Torquato Tasso's epic poem was to prove an immediate and continued source of inspiration for musical settings and operatic adaptations. The landscape surrounding the lovers in the enchanted garden is certainly 'the most vividly pictorial passage of the Gerusalemme liberata'. Armida's unexpected transformation from avenger to lover is signalled visually by the presence in the top right of the canvas of a winged putto drawing back a bow to shoot. One aspect of Armida's love for Rinaldo in Tasso that is conveyed as strongly in Van Dyck's depiction is the fundamentally narcissistic nature of the desire. Visual representations of the lovers' dalliance in the garden in canto XVI virtually always include the enchantress's mirror. Uniquely in the visual representations of Rinaldo and Armida from canto XIV, Van Dyck chooses to depict the false siren.

Ten'ja follows the narrative structure of a road movie. The film tells the story of Nordine, a young Franco-Maghrebi man, forced to go to Morocco in order to bury his father, who died in France. This chapter outlines the key moments in Nordine's transformation and initiation from denial to acceptance of his double-sided identity as an essential understanding of his Franco-Maghrebi status on both sides of the Mediterranean. It focuses on the main protagonist's relationship with his father and the impact of the father's death on his sense of identity. The chapter presents a brief examination of the young man's hybrid, Franco-Maghrebi identity as it is revealed to him during his journey. It explores how Hassan Legzouli depicts the journey of transformation of Franco-Maghrebi characters in comparison to other films of the same genre. The European road movie genre explores the spiritual, emotional, and psychological status of the journey.

This chapter examines the place occupied by history when it is present as traces and fragments in the literature of immigration produced in France since the early beur novels of the 1980s. It presents a case study of a single significant date of the Algerian War in metropolitan France, known as October 17, 1961. This specific event has been the object of many inscriptions in postcolonial fiction, starting with several beur novels in the 1980s and their ramifications in today's urban literature. The chapter focuses on the formal presentation of the various inscriptions of the historical event in texts. It analyzes how the aesthetic presentation of the event in fiction has evolved over the past twenty years. Postmemorial writing has to be understood through the larger perspective of the development of a North African immigrant community in France in the 1950s and 1960s.

By the beginning of the eighteenth century Torquato Tasso's epic was firmly established as a source for operatic libretti. Tasso's emotionally affective lament maintained its appeal to composers for vocal settings for well over a century. Some forty years later, from the mid-1680s, the story was revived as an operatic source internationally, with performances of Carlo Pallavicino's La Gerusalemme liberata, focusing on the Rinaldo and Armida episode. Dennis's Armida interprets Rinaldo's words as an indication that her power over her lover has been restored. Dennis stresses that the musical passages in his opera are intended to move a variety of passions in the theatre audience. The additional focus on the spectacular in performance provided a ground for criticism of the emerging form of Italianate opera in England.

This chapter focuses on the writing of the Cumbriannovelist Sarah Hall, and explores her work’s closeengagement with place and landscape as constitutiveof social identity. By examining her fiction up toand including The Wolf Border (2015), the chapterexplores her insistent concern with the materialheft of the physical world in an increasinglyweightless, digitised realm. Material stuff mattersin Hall’s work, and manifests a ineradicablerelationship between the human being and the beauty,pain, and violence of the world.

This chapter focuses on literary and cinematic representations of unauthorized maritime journeys. It explores how literature and film have addressed the issues at the core of clandestine migration, a topic Mediterranean writers and filmmakers born and living in Morocco, Algeria, Tunisia, France, and Italy have tackled increasingly since the late 1990s. The chapter also focuses on Tahar Ben Jelloun's Partir, published in English under the title Leaving Tangier, and Mohamed Teriah's Les "harragas" ou Les barques de la mort, which translates as '"Harragas," or, the Boats of Death'. Cinematic works, like their literary counterparts, provide crucial information on the subtleties of maritime clandestine migration in general. Additionally, they are significant representative and representational mirrors of a Mediterranean reality that concerns legislators, activists, and advocates of burning. The films Harragas and Io, l'altro were directed by Merzak Allouache and Mohsen Melliti respectively.

A collective of writers named 'Qui fait la France?' published a collection of short stories named Chroniques d'une société annoncée, in which writers such as Faïza Guène and Rachid Djaïdani shared their opinion on French society. This chapter establishes a parallel between the development of postcolonial studies in France and the emergence of urban literature, as both contribute to the understanding of "postcolonial France." It expresses that urban literature can be seen as a kind of postcolonial literature as it contains references to, and a critique of, France's colonial past that are informed by a new generation of historians. The emergence of postcolonial studies in France coincides with the realization by a new generation of French citizens that the practices of French imperialism still have a major impact on contemporary French society.

Integration, social rejection, and educational struggles, as well as challenging gender dynamics are favorite topics in the works of second-generation Maghrebi-French women writers. This chapter analyzes Faïza Guène's novels from a socio-critical perspective, as it looks at the texts as representations of societal dynamics. It also analyzes the evolution of young women characters, bearers of responsibilities that are normally delegated to adults, particularly men. The chapter emphasizes Guène's determination to reject stereotypes associated with the Maghrebi-French youth. It highlights her development as a writer, as well as her shift in thematic interest. 'Stereotypical representations of the housing projects as sites of deviance and violence' are humanized in the novel 'through a tender mother-daughter relationship and communal affiliations found in female solidarity bonds, popular music, and the sharing of food'. Building a new identity in a completely different, and often hostile, environment constitutes an arduous task for the protagonist.

Democratic politics lies in what one does rather than in what one receives or is entitled to. Young men and women became massively involved in the fight against racism and for civil rights and for a new definition of citizenship. This stressed socialization based on plural belongings, the promotion of sociocultural integration in the suburbs, and the mobilization against police brutality and judicial discrimination. This chapter demonstrates how the film La Marche presents the youths' story as a troubled relationship with home and the march as political praxis and a metaphor for homecoming. Increasing police brutality and repression by private citizens culminated in the assassination of hundreds of immigrants. La Marche offers a visual history that seeks to recover the liveliness of a multidimensional world by reconstructing the way historical people witnessed, understood, experienced, and sensed the past.