as well as satisfied the unexacting demands of critics who really despise commercial movies but are ready, in moods of relaxation, to jovially succumb to the kind of opportunistic fluency which makes no bones about its calculation. _The Great Waldo Pepper_ , however, failed dismally at the box office and failed to come up with the invitations to have knowing fun which excite journalistic approval. Both facts bear eloquent testimony to the significant differences between George Roy Hill's third film with Robert Redford and its forbears—differences which primarily have to do with the attitude we are to adopt toward the hero.

In _Hermes the Thief_ , Norman O. Brown gives an account of the mythological archetype of the tricksters: Hermes and Mercury in Greek and Roman legend, Coyote inAlexandra.

f. Longer shot of (d), the tsarevitch now revealed standing in front of his parents. In _October_ , as in _S/Z_ , "the symbolic field is not that of the biological sexes; it is that of castration" (Barthes, _S/Z_ , 36), of which the icon is slowly revealed to be the emblem: "feminized" Christ blesses the union of woman and "feminized" man and its progeny, opening up the prospect of an infinite posterity of femininity. Christianity, imperial power, and castration are allied.

g. The sailor turns aside and spits in disgust.

h. Long shot of the bedroom, which is suddenly inundated by a violent explosion of feathers from the torn mattress as the concentrated force of the sequence's disgust bursts out of containment. The revenge on/repression of femininity is carried