By Dominique Lanni

Créatures mythiques, monstres légendaires, animaux improbables… Depuis los angeles nuit des temps, les voyageurs ont peuplé les mondes lointains d’êtres aussi fascinants qu’effrayants.

Basilic ou invunche au corps hideux, Niam Niam ou Lestrygon aux moeurs étranges, Fiura ou sirène aux pouvoirs envoûtants, satyre ou homme-singe entre humanité et bestialité, nasique, orang-outang, baleine, éléphant et autres animaux exotiques élevés par les récits au rang de légendes…Ce bestiaire illustré, véritable cupboard de curiosités des voyageurs, nous transporte aux frontières du réel et des imaginaires.

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The suggestion emerges that Grant is in effect the real Hades from whom she had to be rescued. Although certain film genres such as westerns and detective narratives seem to lend themselves more intuitively to patterning on the katabasis theme than others, even such films do not, of course, all fall into the general type. Yet even where the overarching design is lacking, it may manifest itself in smaller segments that inform or enhance the plot as a whole. A good example is The Long Riders (1976), directed by Walter Hill, the story of the James-Younger gang in post-Civil War Missouri.

Her soul itself is blind. In the last dream she has about her murdered son and husband, just before crossing over to Thailand, her boy comes to her in the night and tells her that she has to let go of him. Laura then tells Aung Ko that she can no longer hold on to her child. Nobody can remain with the dead. ) But this does not mean that Laura will ever forget her child. Indeed, children are a leitmotif throughout the film, at every turn reminding her of her own lost son and of hope for the future.

Editors of classical texts consult the manuscript traditions of the works they are editing and weigh the importance of textual variants in the manuscripts and those proposed by earlier scholars; they emend and restore the text to come as closely as possible to the original work as its author intended it. Frequently, an extensive commentary accompanies such a critical edition; a case in point is Eduard Fraenkel's monumental edition and commentary of Aeschylus' Agamemnon (1950). Now films, too, exist in critical editions alongside earlier incomplete, reedited, or variant prints.

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