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Deborah Debra Jones
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Los Conejos jugosos alternative title for Cuisses ouvertes Notes available Suppliers listed (as Deborah (as Debra Jones in the US release), plays Patricia, receptionist at swingers' club and friend of Joëlle) Cuisses ouvertes 1980, Dir. Jean-Claude Roy as Patrick Aubin DVD available Notes available Suppliers listed (as Deborah (as Debra Jones in the US release), plays Patricia, receptionist at swingers' club and friend of Joëlle) Hôtel de passe 1979, Dir. Jean-Claude Roy as Patrick Aubin Notes available (plays the maid) Hotel privè alternative title for Hôtel de passe Notes available (plays the maid) Une Hôtesse très spéciale 1979, Dir. Pierre Unia as Reine Pirau Notes available (uncredited, plays one of the (initially) masked girls) Hôtesses en matinées, putes en soirées alternative title for Une Hôtesse très spéciale Notes available (uncredited, plays one of the (initially) masked girls)
Initiation à l'échangisme alternative title for Cuisses ouvertes Notes available Suppliers listed (as Deborah (as Debra Jones in the US release), plays Patricia, receptionist at swingers' club and friend of Joëlle) Minettes vicieuses alternative title for Hôtel de passe Notes available (plays the maid) Mouilleuse précoces alternative title for Hôtel de passe Notes available (plays the maid) Shared with Strangers alternative title for Cuisses ouvertes Notes available Suppliers listed (as Deborah (as Debra Jones in the US release), plays Patricia, receptionist at swingers' club and friend of Joëlle) Stundenhotel alternative title for Hôtel de passe Notes available (plays the maid)



Vicieuse précocité alternative title for Une Hôtesse très spéciale Notes available (uncredited, plays one of the (initially) masked girls) Vicieuse précosité alternative title for Une Hôtesse très spéciale Notes available (uncredited, plays one of the (initially) masked girls) Wenn die Gier erwacht alternative title for Cuisses ouvertes DVD available Notes available Suppliers listed (as Deborah (as Debra Jones in the US release), plays Patricia, receptionist at swingers' club and friend of Joëlle) Wilde heiße Katzen alternative title for Cuisses ouvertes Notes available Suppliers listed (as Deborah (as Debra Jones in the US release), plays Patricia, receptionist at swingers' club and friend of Joëlle) The poets of the Imagist movement, founded by Ezra Pound in 1912 as a new poetic style, gave modernism its early start in the 20th century,[9] and were characterized by a poetry that favoured a precision of imagery, brevity and free verse.[9] This idealism, however, ended with the outbreak of World War I, and writers created more cynical works that reflected a prevailing sense of disillusionment. Many modernist writers also shared a mistrust of institutions of power such as government and religion, and rejected the notion of absolute truths. Modernist works such as T. S. Eliot's The Waste Land (1922) were increasingly self-aware, introspective, and explored the darker aspects of human nature.[10] The term modernism covers a number of related, and overlapping, artistic and literary movements, including Imagism, Symbolism, Futurism, Vorticism, Cubism, Surrealism, Expressionism, and Dada. Early modernist writers Early modernist writers, especially those writing after World War I and the disillusionment that followed, broke the implicit contract with the general public that artists were the reliable interpreters and representatives of mainstream ("bourgeois") culture and ideas, and, instead, developed unreliable narrators, exposing the irrationality at the roots of a supposedly rational world.[11] They also attempted to address the changing ideas about reality developed by Charles Darwin, Ernst Mach, Freud, Albert Einstein, Nietzsche, Bergson and others. From this developed innovative literary techniques such as stream-of-consciousness, interior monologue, as well as the use of multiple points-of-view. This can reflect doubts about the philosophical basis of realism, or alternatively an expansion of our understanding of what is meant by realism. For example, the use of stream-of-consciousness or interior monologue reflects the need for greater psychological realism. It is debatable when the modernist literary movement began, though some have chosen 1910 as roughly marking the beginning and quote novelist Virginia Woolf, who declared that human nature underwent a fundamental change "on or about December 1910".[12] But modernism was already stirring by 1902, with works such as Joseph Conrad's (1857–1924) Heart of Darkness, while Alfred Jarry's (1873–1907) absurdist play, Ubu Roi appeared even earlier, in 1896. Among early modernist non-literary landmarks is the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the Expressionist paintings of Wassily Kandinsky starting in 1903 and culminating with his first abstract painting and the founding of the Expressionist Blue Rider group in Munich in 1911, the rise of fauvism, and the introduction of cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque and others between 1900 and 1910. Sherwood Anderson's Winesburg, Ohio (1919) is known as an early work of modernism for its plain-spoken prose style and emphasis on psychological insight into characters. James Joyce was a major modernist writer whose strategies employed in his novel Ulysses (1922) for depicting the events during a twenty-four-hour period in the life of his protagonist, Leopold Bloom, have come to epitomize modernism's approach to fiction. The poet T.S. Eliot described these qualities in 1923, noting that Joyce's technique is "a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history.... Instead of narrative method, we may now use the mythical method. It is, I seriously believe, a step toward making the modern world possible for art."[13] Eliot's own modernist poem The Waste Land (1922) mirrors "the futility and anarchy" in its own way, in its fragmented structure, and the absence of an obvious central, unifying narrative. This is in fact a rhetorical technique to convey the poem's theme: "The decay and fragmentation of Western Culture".[14] The poem, despite the absence of a linear narrative, does have a structure: this is provided by both fertility symbolism derived from anthropology, and other elements such as the use of quotations and juxtaposition.[14] Modernist literature addressed similar aesthetic problems as contemporary modernist art. Gertrude Stein's abstract writings, such as Tender Buttons (1914), for example, have been compared to the fragmentary and multi-perspective Cubist paintings of her friend Pablo Picasso.[15] The questioning spirit of modernism, as part of a necessary search for ways to make sense of a broken world, can also be seen in a different form in the Scottish poet Hugh MacDiarmid's A Drunk Man Looks at the Thistle (1928). In this poem, MacDiarmid applies Eliot's techniques to respond to the question of nationalism, using comedic parody, in an optimistic (though no less hopeless) form of modernism in which the artist as "hero" seeks to embrace complexity and locate new meanings.[citation needed] Regarding technique, modernist works sought to obfuscate the boundaries between genres. Thus prose works tended to be poetical and poetry prose-like. T. S. Eliot's poetry sacrified lyrical grace for the sake of fragmented narrative while Virginia Woolf's novels (such as Mrs Dalloway and The Waves) have been described as poetical. Other early modernist writers and selected works include: Knut Hamsun (1859–1952): Hunger (1890); Luigi Pirandello (1867–1936): The Late Mattia Pascal (1904), Six Characters in Search of an Author (1921); Rainer Maria Rilke (1875–1926): The Notebooks of Malte Laurids Brigge (1910), Sonnets to Orpheus (1922), Duino Elegies (1922); Guillaume Apollinaire (1880–1918): Alcools (1913); Andrei Bely (1880–1934): Petersburg (1913); Katherine Mansfield (1888-1923); Prelude (1918); Georg Trakl (1887–1914): Poems (1913); Franz Kafka (1883–1924): The Metamorphosis (1915), The Trial (1925), The Castle (1926); Konstantine Gamsakhurdia (1893–1975):The Smile of Dionysus (1925), Kidnapping the Moon (1935—1936), The Right Hand of the Grand Master (1939); Grigol Robakidze (1880–1962): The Snake's Skin (1926); Miroslav Krleža (1893–1981), Kristofor Kolumbo (1918), Michelangelo Buonarroti (1919), Povratak Filipa Latinovicza (1932); Wyndham Lewis (1882–1957): Tarr (1918); Hope Mirrlees (1887–1978): Paris (1919); Karel Capek (1890–1938): R.U.R. (1920); Italo Svevo (1861–1928): Zeno's Conscience (1923); Ryunosuke Akutagawa (1861–1928): "Hana" (1916); "Rashomon" (1915); "In a Grove" (1922); André Gide (1869–1951): Les faux-monnayeurs (1925)


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