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It was enough to live in the castle, where he,caught up in his obsession in the world of pure representation, becamein the end pure and simple character in the Toolkitview. Heroes of the Garden in common with him from the other endthe classical era, the father-in-law at the time of its decline. It's notthe ironic triumph of representation over resemblance, and the darkthe haunting power of desire, breaking the bounds of a view."Justine," where consistent with the second part of "don Quixote"; itrepresents a constant object of desire, a clean sourcewhich it is, like don Quixote inevitably is subject towhich view is he is in his deep essence. InJustine desire and performance are connected only withAnother means of representing a character as an objectdesire, while she herself familiar with the desire only slightly,in his distant, external and frozen form submission. Inher misfortune: her innocence remains between the desireand performance as a mediator. Juliette is notnothing but a bearer of all kinds of desires, but all thesedesire without the rest are played in a view thatreasonably justify them in the discourse and consciously transforms them intoscene. So epic story about the life of Juliette turningthe history of desire, violence, atrocities and death, creates a shimmeringthe picture view. But this picture is so subtle, sotransparent in relation to any figures of desire, constantlygathering in it and the creatures multiply only by virtue of theircombinatorics, it is just as reckless as the picturerepresenting don Quixote, when he went from similarity to similarity,believed that moves through the winding roads of the world and of books, although onlydelved into the maze of his own ideas in orderso they opened without the slightest flaw, without anyinnuendo, without any veils all the possibilitiesdesire.
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