English

This article explores interconnections between the films The Sound of Music, Little Women, My Brilliant Career, and the Kevin Sullivan adaptation ofL.M. Montgomery's Anne ofAvonlea. Corresponding scenes, with dramatic similarities in characterization, theme, staging, and dialogue, suggest the profound influence of the earlier films upon the later Anne ofAvonlea. This essay analyses the effects of this intertextuality on the portrayal of Montgomery's text in the visual medium. Both positive and negative implications are addressed, and discussed within the contexts of genre study, authorial influence, and the politics of adaptation.

This essay explores Shakespearean intertexts in the works of Canadian author L.M. Montgomery, arguing that Montgomery utilizes Shakespeare references to elevate the importance of women, the domestic sphere, female education, professions for women, and rural life in her own works and in culture at large. Reciprocally, Montgomery’s intertextual borrowing opens the door to reevaluating Shakespeare’s political tragedies as domestic dramas gone horribly wrong.

Texts analyzed include Anne of Green Gables, Anne of the Island, Macbeth, and Othello.

This paper discusses the 2006 film, The Fall, in which the story's two protagonists, an injured Hollywood stuntman and a young migrant worker, work together to construct the meaning of a story. The film presents the migrant worker's vision of the story, filled with mistranslations and misunderstandings, and, in doing so, the audience's understanding and vision of the story is filtered through her own experiences and interpretations.

This paper discusses the function of masquerade in five popular Victorian Sensation novels (Great Expectations, Lady Audley's Secret, East Lynne, The Woman in White, and The Moonstone), as well as its relationship to Victorian-era theatrical practices.

This paper discusses the function of underground communities in the postmodernist novels Invisible Man and The Crying of Lot 49. While these novels appear different on the surface, there are a surprising number of themes which unite them. My central thesis explains that both the narrator of Invisible Man and Lot 49's Oedipa Maas are disadvantaged characters, due to either their race or gender, and their involvement in underground communities empowers them and gives them a new purpose.

Hannibal 2 NBC's 2013 revival of the Thomas Harris-penned Hannibal Lecter series, made famous through the film versions starring Anthony Hopkins, was understandably met with skepticism. Some critics questioned why the series needed to be revived at all, since Harris's four novels about Lecter had previously been made into five films, while others questioned whether or not an actor could be found to portray Lecter with the same memorable heft that Hopkins brought to the character.

"This work investigates Shakespeare's 'Romeo and Juliet', one of the exemplary heteronormative love stories in Western culture. By engaging in new queer or pomosexual readings of Shakespeare's text, in relation to various adaptations, including 'Shakespeare in Love, Tromeo and Juliet ', and 'Get Real', this thesis challenges the traditional heteronormative reading of the play and argues that the play itself is queer. I argue that queering involves the non-normative and disruptive process(es) of reading texts. Adaptation, as a process of re-writing/disrupting a normative, 'originary,' historically situated text, is by definition a queer process. 'Romeo and Juliet' is a historical text that has been adapted, and thus queered, numerous times; Shakespeare's 'Romeo and Juliet' is itself an adaptation and therefore is always already a queer text. Thus, adaptations of Shakespeare's text are necessarily involved in queering the queer(ed): a pomosexual process that ultimately leads to the breakdown of the normative signification system."

We ask authors to answer for the unity of the works published in their names; we ask that they reveal, or at least display the hidden sense pervading their work; we ask them to reveal their personal lives, to account for their experiences and the real story that gave birth to their writings.

John Heywood’s interlude The Play of the Wether: A New and Very Mery Enterlude of All Maner Wethers (1533) focuses specifically on the relationship between humans and the weather as negotiated through the divine. Curiously, most studies have not considered the importance of the weather in this play. Reading this interlude as primarily about weather not only demonstrates that early Tudor plays can be considered from an ecocritial perspective but also that so-called "green studies" need to take into account pre-Shakespearean drama.

I want to argue that the heritage text is an abject one, whose ideology is masked under the guise of the aesthetic performance of the costume drama.  Mike Budd has said that “classical narrative is not a neutral means or instrument of communication but a material, ideological activity designed to hide the work and technique that produces its pleasurable effects of omniscience and realism.    Similarly, I believe, the heritage text can be seen as a containment text for colonial rhetoric.  I want to focus my attention on a lesser known heritage film by the production team of Merchant Ivory Productions, Ismail Merchant and James Ivory, because of its intentional foregrounding of an anticolonial discourse. Cotton Mary (1999), however problematic in its representation of the Anglo-Indian identity, nonetheless disrupts the successful ‘lineage’ of the heritage film by highlighting the problem of the contemporary Anglo-Indian identity.