The Captain's Doll is a short story or novella by the English author D. H. Lawrence. It was the basis of the 1983 TV film of the same name with Jeremy Irons as the Captain. The story chronicles the journey of fallen German aristocrat Countess Johanna 'Hannele' zu Rassentlow as she dates a Scottish officer of unusual philosophy. The relationship develops into one of D. H. Lawrence's idiosyncratic 'wicked triangles'. The intimate relationship between Captain Alexander Hepburn and Hannele is intruded upon when the captain's wife Evangeline travels to Germany suspicious of foul play.

Down the road strayed the tourists like pilgrims, and at the closed end of the valley they could be seen, quite tiny, climbing the cut- out road that went up like a stairway. Just by their movements you perceived them. But on the valley-bed they went like rolling stones, little as stones. A very elegant mule came stepping by, following a middle-aged woman in tweeds and a tall, high-browed man in knickerbockers.

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The Captain's Doll is a short story or novella by the English author D. H. Lawrence. It was written in 1921 and first published by Martin Secker in March 1923 in a volume with The Ladybird and The Fox. It was the basis of the 1983 TV film of the same name with Jeremy Irons as the Captain. The story chronicles the journey of fallen German aristocrat Countess Johanna 'Hannele' zu Rassentlow as she dates a Scottish officer of unusual philosophy. The relationship develops into one of D. H. Lawrence's idiosyncratic 'wicked triangles'.

The Captain's Doll is a short story or novella by the English author D. H. Lawrence. It was the basis of the 1983 TV film of the same name with Jeremy Irons as the Captain. The story chronicles the journey of fallen German aristocrat Countess Johanna 'Hannele' zu Rassentlow as she dates a Scottish officer of unusual philosophy. The relationship develops into one of D. H. Lawrence's idiosyncratic 'wicked triangles'. The intimate relationship between Captain Alexander Hepburn and Hannele is intruded upon when the captain's wife Evangeline travels to Germany suspicious of foul play.

Metaphors of Confinement: The Prison in Fact, Fiction, and Fantasy offers a historical survey of imaginings of the prison as expressed in carceral metaphors in a range of texts about imprisonment from Antiquity to the present as well as non-penal situations described as confining or restrictive. These imaginings coalesce into a 'carceral imaginary' that determines the way we think about prisons, just as social debates about punishment and criminals feed into the way carceral imaginary develops over time. Examining not only English-language prose fiction but also poetry and drama from the Middle Ages to postcolonial, particularly African, literature, the book juxtaposes literary and non-literary contexts and contrasts fictional and nonfictional representations of (im)prison(ment) and discussions about the prison as institution and experiential reality. It comments on present-day trends of punitivity and foregrounds the ethical dimensions of penal punishment. The main argument concerns the continuity of carceral metaphors through the centuries despite historical developments that included major shifts in policy (such as the invention of the penitentiary). The study looks at selected carceral metaphors, often from two complementary perspectives, such as the home as prison or the prison as home, or the factory as prison and the prison as factory. The case studies present particularly relevant genres and texts that employ these metaphors, often from a historical perspective that analyses development through different periods.