This article examines the visualization and function of Baroque architecture, notably the works of Francesco Borromini, in Eugène Green's La Sapienza (2014). Reading the film in tandem with Green's essays on cinema and Baroque art, it analyses the film-maker's harnessing of architecture as a means to elucidate questions that are central to his philosophical enquiry: the tension between rational and spiritual forms of experience, the invisible realm behind appearances, and the mystery of salvation. I argue that La Sapienza develops a complex analogy between architecture and cinema, crystallizing Green's aesthetic philosophy as part of a wider interrogation of intermedial influence.

This is the second in a series of articles exploring the influence of D. H. Lawrence on the poems which Pablo Neruda wrote during his diplomatic posting in Ceylon in 1929–30, later included in the first volume of Residencia en la tierra (1933). The present study, focusing on ‘Ritual de mis piernas‘, aims to show that the unusual subject matter, the specific ways in which it is organized and treated, and, in the context of Residencia, the untypically transparent language and syntax of the poem are derived directly from the close reading of Lawrence which Neruda undertook during that period.

This article examines Benjamin Stein's Das Alphabet des Rabbi Löw (2014; first published as Das Alphabet des Juda Liva in 1995) as an intervention in current debates about the emerging pluralism of German Jewish identity. It is argued that esoteric allusions to Jewish mysticism symbolically repair the ruptures in Jewish genealogies and that intertextual references to German (Jewish) literary traditions hint specifically at a revival of German Jewish identity. Above all, however, allusions to the false messiah Sabbatai Zevi suggest the heretical dynamism of this identity and position Juda Liva/Rabbi Löw at the centre of contemporary German Jewish literature.