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us to peep into the inner structures of the century." (15) The language of voyeurism which Bertolucci here employs suggests that history, focalized through these two class representatives, has something in common with erotic display. The music which accompanies the utopian reunification of the two antagonists at the close of the film reinforces this interpretation. As Attali writes: "Music, directly transacted by desire and drives, has always had but one subject-the body, which it offers adoi:10.2307/1212299 fatcat:oikacdorbzecdilndsnbivnnmq