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Additional resources for Les bijoux de la Castafiore
I could not help but conclude that the Hun and the Nazi were the same and, therefore, I had to be Belgium. In the next year I fantasized myself to sleep at night with a strange tableau. A tall and handsome Nazi concentration camp guard stood near a barbed-wire fence. He did not menace me directly—after all, I had no idea what the actual menace involved. For my part, I lay there motionless, at a safe distance. I was terribly beautiful. (311) Brownmiller goes on to say about this image, “[It] struck me as peculiar and dangerous even as I conjured it up, and I soon rooted it out of my fantasy life” (311).
She explains that as a girl she 22 WONDER WOMAN saw a World War I propaganda poster depicting a German Hun raping a beautiful woman, who stood for Belgium. Brownmiller explains, This was the middle of World War II, the German Army had marched through Belgium a second time, and I was a Jewish girl growing up in Brooklyn. I could not help but conclude that the Hun and the Nazi were the same and, therefore, I had to be Belgium. In the next year I fantasized myself to sleep at night with a strange tableau.
Marston, obsessively concerned with themes of female empowerment and disempowerment, chose with Murchison to focus this story on the signal myth linking sexual violence to abandonment, powerlessness, and despair. On page 4A of the comic, the creators provide a two-panel synopsis of the Greek narrative. This retelling, thanks in large part to Peter’s art, is pervaded by a feeling of overripe wrongness. In the first panel, Persephone is shown kneeling amid expressively undulating, mostly red-tipped flowers.