Adaptation (Literature)

Adapting the Novel for the Stage: Translation in Intermedial Circulation proposes an integrative framework for understanding novel to stage adaptations. Through a translational lens, it introduces a twofold model that examines creative dynamics through intersemiotic translation and sociocultural dynamics through Bourdieusian sociology. It expands Bourdieu’s theory of international circulation into adaptation studies and introduces the concept of intermedial circulation. Through case studies of Alice’s Adventures in Wonderland, A Clockwork Orange, and Frankenstein, the monograph offers a framework for understanding how novels are transformed into performance through signs, agents, and institutions. It aims to provide a fresh perspective for researchers working at the intersection of translation, theatre, adaptation, multimodality, media, and literary studies.

This paper examines the thematic interplay of hybridity and identity in selected short stories by Jhumpa Lahiri. Lahiri's fiction, focused on the Indian diasporic experience in the United States, explores how migration, cultural dislocation, intergenerational tensions, and bilingual/bicultural existence shape subjectivity. Drawing on postcolonial theories of hybridity and cultural identity (Bhabha, Hall), the study conducts close readings of five short stories to analyse how Lahiri represents identity as negotiated, fractured, and performative. The paper argues that Lahiri's narratives offer nuanced portrayals of diasporic subjectivity: identity emerges as static belonging and an ongoing negotiation between memory and adaptation, tradition and modernity, private longing and public assimilation. The conclusion discusses the ethical and emotional dimensions of diasporic belonging in Lahiri's oeuvre and suggests directions for future research into narrative form and language as sites of hybridity.

C. C. Tsai's Mencius: A Cure for Chaos (trans. Brian Bruya, Princeton University Press 2025) adapts the ancient Chinese classic Mencius in the form of a comic book. This review places Mencius's thought in its broader intellectual context and considers how the comic format enhances the accessibility and appeal of this influential philosophical text.

Over the past several decades, scholarship has come to recognise the unexpected significance of horror cinema ventures as both culturally and politically relevant. One of Canada's greatest horror film successes was Vincenzo Natali's 1997 psychological thriller Cube that metaphorically explores the suffocating nature of vocational social relations under the conditions of a patriarchal military-industrial capitalism. So innovative was its premise that US interests quickly acquired the rights to produce and distribute Cube 2: Hypercube (2002) and Cube Zero (2004), but they were just as quick to reformulate the most subversive critique of the original film. Two decades later, in 2021, Japanese producers released a remake of the original film (which was so popular there), although it also re-coded the thematic critique, just as the American sequels had done. With this group of films across three national production traditions arises an opportunity to "detect shifts in the ideological constellation", as Slavoj Žižek has argued, by "compar[ing] consecutive remakes of the same story" (2011, p. 61). Following primarily Herbert Marcuse's understanding of political repressive tolerance, this article demonstrates the way in which constructions of cultural identity are negotiated across national traditions in the age of globalisation. Cube and its follow-ups demonstrate the nationalistinflected limits of critical expression in the way that each subsequent film attempts to re-focus and re-code the horrors of the narrative machine in order to assert their own nationalist sensibilities threatened by the cultural levelling effect of globalisation in an age of transnational cinema distribution.

This Paper explores the ways food serves a s a crucial site of cultural memory and signifier of diasporic identity. Utilizing Lahiri's complex depiction of immigrant experience, the analysis begins by tracing food as a cultural archive through which cooking practices and ritual play a vital role in sustaining ties to the ancestral home and transmitting the past to future generations. The fictional kitchen, the dinner table, and the feast become symbolic places where culture is deposited, recollected and repeated. The second concern is with identity and belonging, and looks at how culinary practice mediates the characters' balancing act between Bengali tradition and American assimilation. Food becomes a contested arena of cultural negotiation, sometimes a point of alienation, but also a place where belonging can be rediscovered through hybridity and adaption. The article, finally, considers the symbolic association of food, nostalgia, and memory. Tasting home in The Namesake, Culinary markers in The Namesake bring back taste of home, stir memories of familial intimacy and cook up emotional frugality in the middle of dislocation. Embedded within these descriptions is a view of food that seems to exceed its role as nourishment to become a medium for communicating the affective links between past and present, while orienting the diasporic underpinning of being. Placing Lahiri's tale in the context of wider deliberations centering food, memory and migration, this paper suggests that culinary acts in The Namesake function as cartographies of belonging locales which delineate the symbiotic relationship between exile, legacy and cultural selfhood.

Richard and James are sitting in front of a computer screen at 4 o'clock on a Wednesday afternoon, in a small comprehensive school in Cambridge in the UK. Unusual for them: school finishes at 3 o'clock, and they're normally off like a shot. Something here is motivating them, and it deserves scrutiny, as they fit like a glove the image of that group of under-achieving boys who are worrying parents, schools, education authorities and government policy-makers so much. Both are on special programs to address identified patterns of underachievement in their work -programs devised by this school to address problems of personal organisation, motivation and commitment with 14-16 year-old students (those engaged in courses leading to public examinations in the UK).

This study explores the role of probability in the Restoration adaptations of Shakespeare. It addresses how the observance of probability was the basis for some adaptations of Shakespeare during the period. The study argues, firstly, that Restoration playwrights attempted to address the lack of probability in Shakespeare's plays. Secondly, it argues that, despite their professed goals, these playwrights did not produce adaptations that are more probable than Shakespeare's plays. It argues, thirdly, that the adherence to probability was not the sole motive for these adaptations, but that they were also driven by political and commercial factors. The study sets out to prove these points by closely analyzing two prominent Shakespeare adaptations of the period: John Dryden's All for Love; or, the World Well Lost (1677) and Nahum Tate's The History of King Lear (1681).

Studies on Osofisan's Women of Owu have largely excluded the linguistic styles of the author. So, this paper examines linguistic resources and styles Soyinka deploys in conveying his message in Women of Owu. The paper adopts Halliday's Systemic Functional Linguistics as its theoretical anchor. The theory accounts for how linguistic analysis is undertaken at different levels of language description. Excerpts from the text constitute the data which are subjected to qualitative analysis at the graphological, syntactic and lexico-semantic levels. At the morphological level, words are structured meaningfully through the use of compounding. At the graphological level, capitalisation, italicisation, parallelism, emboldening, punctuation marks and the cover-page bring to the fore the physical appearance of the text. At the syntactic level, simple sentences are employed for the purpose of simplicity of the text. Complex and compound-complex sentences are used to place subordinate and independent ideas side by side. At the lexico-semantic level, lexical borrowing and proverbs are identified. Osofisan's stylistic choices underscore the significance of language to literature. So, linguistic description and its artistic aesthetics give a text its stylistic significance.

«La Celestina» está integrada por dos labores distintas. El inacabado comienzo, escrito por el anónimo Primer Autor, es la primera; la segunda, compuesta por Fernando de Rojas, la continúa y
concluye. La inicial, la «Celestina Primitiva», añade, a la calidad intrínseca, el mérito de ser el origen de la segunda. Entender y separar ambas labores es el propósito de este trabajo.
En el primer capítulo se ha establecido el límite inicial y final de la Celestina Primitiva.
El segundo estudia el sistema de referencias espaciales de la obra original. El ordenado y coherente paradigma permite ubicar, en la calle, el comienzo de la ficción dialogada y entender el
cambio de emplazamiento de Rojas.
La descripción de la Celestina Primitiva, capítulo tercero, muestra la coherencia de la inacabada labor inicial. La obra del Primer Autor, escrita para atacar el Naturalismo Erótico, tiene un carácter doctrinal, que está ausente del quehacer del segundo.
El capítulo cuarto trata de las agrupaciones de personajes. La reunión del elenco de criaturas en tríos y su tratamiento jerárquico determina el avance argumental de la Celestina Primitiva y
establece el perfil de la Continuación.
En el quinto capítulo se ha analizado la temporalidad que rige en los dos quehaceres. La temporalidad cómica y doctrinal del comienzo es sustituida por el punteo cronológico de la Continuación.
El pago a la alcahueta en ambas partes, sexto capítulo, muestra cómo Rojas retoma el legado de su antecesor.
Entre los personajes, se ha optado por la pareja protagonista (capítulos sexto y séptimo). El primer Calisto y el segundo son diferentes. Al coherente carácter inicial le sigue un personaje de
conducta inestable dictada por las normas de los grupos de personajes. El caso de Melibea y su familia es distinto. Los breves esbozos originales crecen gracias a Rojas que los llevó por caminos menos distinguidos de lo que se suele creer.

This paper critically examines Victor LaValle's graphic fiction Destroyer, a contemporary reinterpretation of Mary Shelley's Frankenstein narrative that situates the iconic tale within the socio-political landscape of 21st-century America, specifically focusing on the intersections of race, racial trauma, and monstrosity. By centring a Black protagonist, Dr Baker, LaValle offers a nuanced commentary on the intersections of race, identity, and the enduring legacies of trauma within African American society. The narrative intricately depicts Dr. Baker's journey by navigating the moral dilemmas of creation, maternal love, and the implications of scientific ambition for marginalised communities. Through the lens of gothic and graphic, LaValle engages with historical and cultural discourses surrounding the Black experience in the context of American identity. This paper posits that Destroyer, in the legacy of Mary Shelley, acts as a vital critique of societal norms that often perpetuate racism and reinforce trauma that is frequently ascribed to Black bodies. Moreover, by positioning his characters within a landscape marked by the dual traumas of scientific inquiry and personal loss, LaValle invites readers to reexamine Frankenstein's legacy through a lens that articulates empathy and resilience, particularly in the context of race and racial trauma. Ultimately, this paper contends that Destroyer represents a significant literary contribution, as it challenges assumptions within literary and sociocultural narratives, reimagining Victor Frankenstein's monster and the evolution of Dr Baker's monster to depict systemic inequities and the rich tapestry of Black experiences in America.

This article explores the enduring and multifaceted influence of Edgar Allan Poe's literary techniques on the development of Modernist literature and considers their pedagogical implications for English as a Foreign Language (EFL) education in secondary schools. By analyzing Poe's narrative stylemarked by psychological complexity, symbolic density, and formal experimentationthe study demonstrates how his work anticipated central concerns of Modernist writers, including narrative fragmentation, shifting perspectives, existential doubt, and the blurred boundaries between reality and imagination. Poe's manipulation of unreliable narrators, his meticulous attention to sound and rhythm, and his exploration of the human psyche through gothic and macabre themes laid the groundwork for the aesthetic and thematic innovations of such Modernist figures as T.S. Eliot, Virginia Woolf, and Franz Kafka. The research also highlights the relevance of Poe's oeuvre for contemporary educational contexts, particularly within the framework of EFL instruction. Given the increasing emphasis on integrated skills, critical literacy, and cultural competence in language education, the article argues for the inclusion

This article explores the enduring and multifaceted influence of Edgar Allan Poe's literary techniques on the development of Modernist literature and considers their pedagogical implications for English as a Foreign Language (EFL) education in secondary schools. By analyzing Poe's narrative stylemarked by psychological complexity, symbolic density, and formal experimentationthe study demonstrates how his work anticipated central concerns of Modernist writers, including narrative fragmentation, shifting perspectives, existential doubt, and the blurred boundaries between reality and imagination. Poe's manipulation of unreliable narrators, his meticulous attention to sound and rhythm, and his exploration of the human psyche through gothic and macabre themes laid the groundwork for the aesthetic and thematic innovations of such Modernist figures as T.S. Eliot, Virginia Woolf, and Franz Kafka. The research also highlights the relevance of Poe's oeuvre for contemporary educational contexts, particularly within the framework of EFL instruction. Given the increasing emphasis on integrated skills, critical literacy, and cultural competence in language education, the article argues for the inclusion

Movie production spaces often become arenas for controversies and rivalries that ultimately determine whether screenplays are filmed. This process not only contributes to the broader history of cinema but also enriches the field of Film Studies. In this paper, we present a long-term, specific ethnographic case study on the development of a film script and its journey to the final draft. Specifically, we examine the adaptation of an autobiographical novel in Greece during the 2010s by both the author and the aspiring director.

Our study meticulously documented the practices of script development and refinement, efforts to promote the project and secure funding, and its presentation at a film festival pitching lab, among other key activities. This case study is situated within a specific Chronotope, as defined by Bakhtin, where distinct Voices negotiate and shape the final form of the text (the film script) within a given Activity System.

Our aim is to contribute to the mapping of the Greek case of attempted film production and to propose the reinforcement and expansion of field research within the Film Studies departments of Greek universities.

Οι χώροι παραγωγής κινηματογραφικών ταινιών γίνονται πεδία αντιπαραθέσεων
και ανταγωνισμών που καταλήγουν στην κινηματογράφηση ή μη σεναρίων και έχουν κάτι να προσθέσουν στην Ιστορία αλλά το Πεδίο των Κινηματογραφικών Σπουδών. Στη δική μας δημοσίευση παρουσιάζεται η μακρόχρονη ιδιότυπη εθνογραφική μελέτη περίπτωσης της ανάπτυξης ενός κινηματογραφικού σεναρίου και η διαδρομή του ως το τελικό σχέδιο. Συγκεκριμένα, η διασκευή ενός αυτοβιογραφικού μυθιστορήματος, στην Ελλάδα τη δεκαετία του 2010,από την ίδια τη συγγραφέα και τον επίδοξο σκηνοθέτη. Καταγράφτηκαν πρακτικές
ανάπτυξης / βελτίωσης του σεναρίου, προσπάθειες προώθησης και ανεύρεσης
χρηματοδότησης, παρουσίαση σε pitching lab κινηματογραφικού φεστιβάλ κλπ. Η
μελέτη περίπτωσης τοποθετείται στον συγκεκριμένο Χρονότοπο, όπως τον εννοεί ο
Bakhtin, όπου συγκεκριμένες Φωνές διαπραγματεύονται και καθορίζουν την τελική
μορφή του κειμένου (κινηματογραφικού σεναρίου) εντός ενός δοσμένου Activity
System. Στοχεύουμε να συμβάλουμε στη χαρτογράφηση της ελληνικής περίπτωσης απόπειρας κινηματογραφικής παραγωγής και να προτείνουμε την ενίσχυση / επέκταση της έρευνας πεδίου στα Πανεπιστημιακά Τμήματα της χώρας μας που έχουν
ως επιστημονικό πεδίο τις Κινηματογραφικές Σπουδές.

Although slavery was abolished in 1833 in the western world after the civil war, the culture of servitude did not end officially. Even in America, there was a huge amount of man-servants and hand maidens serving in elite families in the beginning of twentieth century. But, with the change in the mode of production and rise of the working class, the practice of keeping servants has now become almost obsolete. Disney's Aladdin is one of the extremely popular movies, both animated (1992) and the live-action version (2019) -where the Genie technically plays the role ofa servant. In spite of the fact that the title is named upon Aladdin, the spectacular Genie steals the show in the guise of a 'friend'. Though many scholarly studies have shed light on the racial and gender issues in the adaptation from the original to the cinematic version, very few have focused on the representation of Genie as the "servant". This study proposes-to show how the latest version of Aladdin ( ) is different from the previous cinematic and original version in terms of negotiating the idea of servitude, to interrogate the relation between Aladdin and the Genie as man and servant and to demonstrate how the idea of servitude is appropriated for the modern audience. Adaptation model of Katerina Perdikaki would be the theoretical framework that will be used to explain and justify the changes.

Most African writers have been brought up as Christians. But some of them publicly rebelled against Christianity by dropping their Christian names: Chinua Achebe (formerly Albert C. Achebe), Kofi Awoonor of Ghana (formerly George Awoonor-Williams), Ama Ata Aidoo of Ghana (formerly Christiana Aidoo), Ngugi Wa Thiong'o of Kenya (formerly James Ngugi), and Okogbule Wonodi of Nigeria (formerly Glory Wonodi). The dropping of Christian names does not mean that their literatures discredit Christianity in favour of African traditional religions. This paper shows that against all expectations, most African writers who read Western Christian-oriented literature (Okere, 2009, p. 303) during their education, especially Chinua Achebe with Things fall apart, Kenjo Jumbam with The white man of God and Chimamanda Ngozi Adichie with Purple hibiscus tried to coin their own styles, mixing orality and literacy when they started their literary career, presenting in this way inculturation as an innovation in literary style and a solution to religious conflict. This paper focuses on the three novels by the three African writers in a comparative approach around suggested aspects of inculturation and shows the evolution of inculturation of Christianity as a novelty throughout these literatures.

Most African writers have been brought up as Christians. But some of them publicly rebelled against Christianity by dropping their Christian names: Chinua Achebe (formerly Albert C. Achebe), Kofi Awoonor of Ghana (formerly George Awoonor-Williams), Ama Ata Aidoo of Ghana (formerly Christiana Aidoo), Ngugi Wa Thiong'o of Kenya (formerly James Ngugi), and Okogbule Wonodi of Nigeria (formerly Glory Wonodi). The dropping of Christian names does not mean that their literatures discredit Christianity in favour of African traditional religions. This paper shows that against all expectations, most African writers who read Western Christian-oriented literature (Okere, 2009, p. 303) during their education, especially Chinua Achebe with Things fall apart, Kenjo Jumbam with The white man of God and Chimamanda Ngozi Adichie with Purple hibiscus tried to coin their own styles, mixing orality and literacy when they started their literary career, presenting in this way inculturation as an innovation in literary style and a solution to religious conflict. This paper focuses on the three novels by the three African writers in a comparative approach around suggested aspects of inculturation and shows the evolution of inculturation of Christianity as a novelty throughout these literatures.

It was possible thanks to invaluable guidance and advice from my scholarly advisor and mentor -professor Christopher Garbowski. Thank you sir. I'm also eternally thankful to lecturers and teachers at my Alma Mater for their understanding and patience over the years. My only hope is that the following work serves as a testimony to how well they've prepared me for what's to come. Having received the reviews and feedback from two academic reviewers, after the defence I've extensively corrected and updated the original manuscript to the present form. It is the result of my life-long passion for cinema and dedication to having a better understanding of the world. I tried my best. I dedicate this work to my mother Grażyna and Granny Jadwiga.

This paper looks at Disney's The Lion King (1994) to show how the movie supports ideas about power and class. It shows that kings should rule because they are born into it. Poorer characters, like the hyenas, are shown as bad. Scar tries to change things but is shown as evil. Timon and Pumba live freely but don't fix anything. In the end, Simba becomes king and the old system returns. The movie says it's best to keep the same people in power.

This paper looks at Disney's The Lion King (1994) to show how the movie supports ideas about power and class. It shows that kings should rule because they are born into it. Poorer characters, like the hyenas, are shown as bad. Scar tries to change things but is shown as evil. Timon and Pumba live freely but don't fix anything. In the end, Simba becomes king and the old system returns. The movie says it's best to keep the same people in power.

Fundamentado nos conceitos dos Estudos de Intermidialidade, nosso trabalho propõe uma leitura comparada de dois tipos de mídia diferentes, o livro e o audiolivro, usando como exemplo Memórias Póstumas de Brás Cubas, de Machado de Assis. Para isso, analisamos as distintas características cognitivas e perceptivas do livro impresso e do audiolivro, conforme proposto por autores como Lars Elleström (2021) e Jørgen Bruhn e Beate Schirrmacher (2022). Mostramos como as semelhanças intermidiais entre o livro e o audiolivro permitem a midiação de um mesmo valor cognitivo, enquanto trazemos à tona as implicações de suas diferenças para a recepção da obra na aprendizagem da literatura. A partir da adaptação da metodologia dialética de Celso Vasconcellos (1992) e a partir de Rildo Cosson (2006), colocamos em perspectiva a construção do conhecimento pela literatura e do conhecimento de literatura, em que o primeiro trata da midiação do produto de mídia, a partir da análise das modalidades pré-semióticas das mídias, e o segundo trata da representação, na análise da modalidade semiótica. Nosso objetivo é mostrar que a leitura comparada das mídias promove a literacia midiática, permitindo a construção de habilidades de leitura e produção críticas, a partir da compreensão de como a literatura constrói sentido em tipos de mídia diferentes.

Ce travail de fin d’études s’intéresse à la comparaison entre L’Aulularia de Plaute,
une comédie latine de l’Antiquité, et L’Avare de Molière, une pièce emblématique du
théâtre classique français. Notre objectif est d’analyser l’évolution de la comédie de
situation. Cette étude commence par un aperçu de la comédie, depuis la Néa, en passant
par Rome, le Moyen Âge, la Commedia dell’arte et le XVIe siècle français jusqu’à
Molière. Finalement, nous ferons la comparaison de plusieurs extraits des deux pièces.

Analysis of literature often begins at a point of personal interest, dictated by areas of scholarly focus, a favored theoretical lens, or individual convictions surrounding a particular topic; an approach that has produced notable, groundbreaking research of the texts that comprise the recorded past of humanity. While this approach has proven effective in fostering more profound understanding, particularly regarding the historical foundations upon which current ideological structures are built, it is not without its limitations, particularly when it comes to eighteenth-century literature. Each new period – be it a decade or a century – of literary analysis brings with it the constructs and values of the populace, prompting scholars to question whether these applications maintain the historicity of a work, given the potential for contextual debasement. Reformation authors were reflecting the tenets of their society, an inarguable observation that begs the question: Does it, in its original form, offer literary and cultural value today? By comparing the interpretive disparity between analyses – those rooted in contemporary mores against critical period considerations - of Aphra Behn’s The History of the Nun (circa 1689) and Eliza Haywood’s Fantomina (c. 1725), and how it impacts the meaning of the work, a rudimentary discernment concerning approach becomes feasible. However, while the contrast provided promotes the deconstruction of discord created by the epistemological constructs of the author’s time and the ideologies that comprise existence today, it does nothing to piece it back together or to aid in the establishment of objective duality. The answer lies in the extensive inquiry into the components – shifts in language politics, paratextual elements, literary optics - that constitute the structure and meaning of Behn and Haywood’s work as a means of establishing an abridgement amongst the distinct schools of thought. Thus, through the measured contrivance of a theoretical approach encompassing the fundamental inadequacies of contemporary analysis, epistemological constructs of the author’s time, and proposed strategies that maintain the historicity of eighteenth-century text, modern scholars can achieve the duality required for a cogent interpretive understanding of literary works from bygone eras.

Scholarship concerning allusion as a cinematic device is practically nonexistent, however, the prevalence of the device within the medium is quite abundant. In light of this, this study seeks to understand allusion on its own terms, exploring its adaptation to cinema. Through a survey of the effective qualities of allusion, a taxonomy of allusionary types, film theory, and allusion's application in independent cinema, it is apparent that allusion excels within the cinematic form and demonstrates the great versatility and maximalist nature of the discipline. With the groundwork laid out by this study, hopefully further scholarship will develop on the topic of allusion in order to properly understand such a pervasive and complex tool.

Scholarship concerning allusion as a cinematic device is practically nonexistent, however, the prevalence of the device within the medium is quite abundant. In light of this, this study seeks to understand allusion on its own terms, exploring its adaptation to cinema. Through a survey of the effective qualities of allusion, a taxonomy of allusionary types, film theory, and allusion's application in independent cinema, it is apparent that allusion excels within the cinematic form and demonstrates the great versatility and maximalist nature of the discipline. With the groundwork laid out by this study, hopefully further scholarship will develop on the topic of allusion in order to properly understand such a pervasive and complex tool.

Of the hundreds of writers and artists who have adapted the legend of the Wandering Jew, Alexandre Dumas is among the most well-known and beloved. And yet, his Isaac Laquedem is not well known among Anglophone readers or much included in voluminous scholarship on the Wandering Jew legend. Paul Jackson's wonderful new translation is sure to change this" (Professor Lisa R. Lampert-Weissig).

The present study aims to critically review the aspects of violence in Iraqi literature postwar of 2003 with reference to Frankenstein in Baghdad by Ahmed Saadawi (2013), focuses on depicting clearly the violent experiences of the Iraqis after the US-led invasion of Iraq in 2003 and how these novels could recur constantly to humanist themes and violent figures, the psychological suffering of minorities and the oppressed. In other words, it aims to make visible specific historical instances of violence in Iraqi war literature. The present study undertakes an in-depth investigation of the socio-political and historical dimensions of literary experiences in Iraq emanated from several causes, such as social injustice, the oppression of minorities, political despotism, and the persecution of religious minorities, as well as the displacement of Iraqis from the homeland and exile. The study has found that "Frankenstein in Baghdad" as the best sample of the Iraqi novels that depends on the stylistic technique of repeating certain expressions, phrases, and lexical items to intensify the extraordinary events that happened after the war of 2003. It is a narrative of violence chasing the Iraqis during the war times.

Citizens of the World At the end of Chimamanda Ngozi Adichie's short story "The Headstrong Historian," a young woman named Grace travels home from boarding school to visit her dying grandmother, Nwamgba. Grace has been reading "The Pacification of the Primitive Tribes of Southern Nigeria," a chapter in her history textbook, penned by an English colonial administrator. Intended to be an authoritative document, Grace instead finds the descriptions amusing and foreign: "It was Grace who would read about these savages, titillated by their curious and meaningless customs, not connecting them to herself." (1) Decades later, as a historian herself, Grace publishes a book entitled Pacifying with Bullets: A Reclaimed History of Southern Nigeria. Readers familiar with Things Fall Apart will instantly grasp Adichie's resonant allusion to the final sentence of Chinua Achebe's iconic novel, in which a District Commissioner, collecting material for his re...

This book explores the reception of the medieval Irish tradition of fantastic journey tales in Jonathan Swift's Gulliver's Travels, C.S. Lewis's The Voyage of the Dawn Treader, Umberto Eco's Baudolino, and the science fiction television franchises Star Trek and Stargate. In doing so, the book opens the door to a new history of literary reception, using Old Irish genre categories to analyse post-medieval texts. It aims to show that there is a family of texts produced in the post-medieval period that are heirs of the medieval Irish literary tradition of fantastic voyage narratives and that using Old Irish genre categories to analyse post-medieval works can open up new perspectives in our understanding of these works.

Re-adaptation refers to the phenomenon whereby an adaptation's interpretation of its source material is influenced by preceding adaptations of the same work. This article examines Daphne du Maurier's Rebecca (1938) as an allegory of (re-)adaptation. I argue that the narrative not only presents the unnamed protagonist's effort to adapt a predecessor, but more specifically her attempt to re-adapt the role of Mrs. de Winter through the haunting influence of Rebecca, who serves as a particularly successful prior adaptation of the same role. This allegorical reading is framed within the broader discussion of the triadic relationship that mirrors the same dynamic, encompassing du Maurier's novel and its two major (re-)adaptations-Alfred Hitchcock's film (1940) and Kunze and Levay's musical (2006). Just as Rebecca casts a shadow over her successor, du Maurier's Rebecca continues to exert a significant influence over its (re-)adaptations through recurring iconography associated with Rebecca herself-the 'R' monogram, floral symbolism, and the sea-all of which resurface in both (re-)adaptations. Hitchcock's Rebecca parallels Rebecca's status as a particularly influential adaptation of its source. Its key alteration of the story-exonerating Maxim de Winter to comply with the Hays Code-is inherited by the musical re-adaptation. While being shaped by both du Maurier's and Hitchcock's works, Kunze and Levay's Rebecca ultimately asserts its own artistic vision by repositioning the story as one of the protagonist's psychological maturation, a shift that parallels the musical's distinctive portrayal of her as ultimately surpassing Rebecca as a morally superior Mrs. de Winter.

В статье рассматриваются контролирующие метафоры современной теории адаптации, позволяющие осмыслить особенности «промежуточного положения» текста, который осваивается в культуре разными медиа (кинематографом, театром, видеоиграми, популярной музыкой). Акцент сделан именно на киноадаптации-воплощении литературного материала на экране. Среди базовых метафор мы выделим четыре-палимпсеста (Р. Стэм, Л. Хатчен), гетерокосма (Л. Хатчен), сети (Д. Ланир, К. Ньюэлл) и наименее устоявшуюся-чувственного диалога ("а fleshly dialogue", Д. Ричард). Представления о гетерокосме и сети, существующие по отдельности, мы скорректируем метафорой адаптационной вселенной с сетевой структурой. В статье раскрывается место всех названных метафор в истории идей об адаптациях (пересказах, переработках, «повторах с варьированием»), а также демонстрируется, как эти метафоры становятся отправными точками в анализе литературных текстов на экране. Представление о палимпсесте позволяет сфокусироваться на работе памяти и воображения, метафора адаптационной вселенной (с сетевой структурой)-на потенциале интеракций в порождении новых версий. Чувственный диалог смещает акцент в сторону непосредственного восприятия, когда между аудиторией и адаптацией создается пространство новых ощущений (и лишь затем-смыслов).

The  first  in  a  series  of  Barbie-centered  animated  adaptations  of  canonical  literature  that spanned the early 2000s, Mattel’s Barbie  in  the  Nutcrackerstars the company’s eponymous heroine in an adaptation of E.T.A. Hoffmann’s story “The Nutcracker and the Mouse King” and its famous ballet adaptation, The Nutcracker. By centering Barbie as the protagonist, this adaptation exemplifies how an animated revisitation of an oft-adapted story transforms a classic literary text to establish Barbie’s burgeoning twenty-first century transformation from a plastic toy to a moving and talking filmic heroine.

Edebiyat ve film (sinema) hem birer disiplin, hem de birer medya olarak birbirlerini karşılıklı olarak desteklemektedirler. Ortaya çıktığı 19. yüzyılın sonu ve 20. yüzyılın başından itibaren filmin, en büyük destekçisi edebiyat olmuştur. Edebiyat, binlerce yıllık birikimiyle filmi desteklemiş ve ona hazır materyal sunmuştur. Almanca edebiyatın (Almanca: deutschsprachige Literatur) ve İsviçre edebiyatının temsilcilerinden Peter Stamm’ın 1998 yılında yayımlanan postmodern romanı Agnes, yönetmen Johannes Schmid tarafından 2016 yılında aynı adla sinemaya uyarlanmıştır. Bu çalışma ile Agnes romanı ile filmi arasındaki disiplinlerarası, medyalararası ilişkilerin yanı sıra çatıştıkları noktalar, teknik ve tematik farklılıklar incelenecektir. “Giriş” bölümünde disiplinlerarasılık, medyalararasılık, postmodern roman ve filme dair genel bilgilendirme sunulacak; daha sonra iki kısa bölüm halinde roman ve filme dair bilgiler verilecek ve son olarak “Medyalararası İlişkiler” bölümünde söz konusu roman ve filme dair medyalararası öğeler irdelenecektir.

Toutes deux écrites par des femmes, les séries "Sweet/Vicious" (2016) et "Deadloch" (2023), mettent en scène des héroïnes en décalage, dans un but à la fois comique et pédagogique. En usant du rire pour dénoncer des violences structurelles, les deux séries se positionnent en tête d’un courant d’expression féministe, récent mais affirmé.

Tujuan dari praktikum ini agar mahasiswa mampu untuk mengetahui respon dari berbagai rangsangan yang diberikan pada makhluk hidup (cahaya, gravitasi dan arus). Hasil pada praktikum ini adalah pada Pontoscolex corethrurus bergerak menjauhi cahaya, sehingga tipe gerakan fototaksis Pontoscolex corethrurus cenderung mengarah menjauhi cahaya (-). Pergerakan Pontoscolex corethrurus ke arah bawah paling cepat yaitu pada sudut 60°, sedangkan pergerakan Pontoscolex corethrurus jatuh ke bawah yang paling lambat yaitu pada sudut 30°, sehingga tipe gerakan geotaksis pada Pontoscolex corethrurus cenderung menuju ke bawah atau mendekati arah gravitasi (+), walaupun cacing berusaha untuk merayap naik, tapi karena gaya gravitasi tubuh cacing cenderung turun. Pada Rheotaksis ikan Aplochellus panchax cendrung bergerak melawan arus yang dimana mendekati rangsangan (+).

The relationship between the center and the periphery has always been a significant issue in the world of literature. The aim of postcolonial writing in identifying this relationship has provided a great number of works by various writers. Jean Rhys is among the writers to fulfill one of the functions of literary writing which is to give voice to the silenced. Rhys's Wide Sargasso Sea illustrates the voice of the muted Victorian character; Bronte's Jane Eyre. The dominant patriarchal discourse that victimizes the female character is represented in Bronte's novel. However, Rhys subverts this discourse through revealing the effects of slavery, social position of women and their struggle against the patriarchal system. The image of passive 'mad woman in the attic' is transformed into a woman who talks about the inequalities and the unseen behind the surface. Therefore, in this study Rhys's novel is analyzed to reflect how the text displays the binary relation between the colonizers and the colonized.

The relationship between the center and the periphery has always been a significant issue in the world of literature. The aim of postcolonial writing in identifying this relationship has provided a great number of works by various writers. Jean Rhys is among the writers to fulfill one of the functions of literary writing which is to give voice to the silenced. Rhys’s Wide Sargasso Sea illustrates the voice of the muted Victorian character; Bronte’s Jane Eyre. The dominant patriarchal discourse that victimizes the female character is represented in Bronte’s novel. However, Rhys subverts this discourse through revealing the effects of slavery, social position of women and their struggle against the patriarchal system. The image of passive ‘mad woman in the attic’ is transformed into a woman who talks about the inequalities and the unseen behind the surface. Therefore, in this study Rhys’s novel is analyzed to reflect how the text displays the binary relation between the colonizers and...

Blockbuster: a word that indicates a popular film with a high financial return: "block" means block and the verb "bust" means to break. It was also the name of the largest video rental store in the world, which was closed down by competition from Netflix. "Jaws", directed in 1975 by Steven Spielberg, is considered, along with "Star Wars", to be the precursor of all precursors of the modern blockbuster. The clever combination of several ingredients makes it superior to conventional thrillers: a film made to be watched in the summer, during the vacations of American students, ends up revealing itself as an X-ray of the popular epistemology of this country that floods us with a logorrheic flow of images: the United States. How did this happen? What is popular epistemology? The ideas of this young 26year-old Jew, Steven Spielberg, worked and he became, after this uneventful but successful production, the Midas of audiovisual: everything he touches turns to gold.

Fototropisme pertumbuhan kecambah pada cahaya terlihat jelas mengarah pada datangnya cahaya. Geotropisme arah akar menunjukkan pertumbuhan mengikuti gravitasi, dimana akar berbelok ke arah bawah. Hidrotropisme rambut akar semakin banyak bergerak ke arah air (rangsangan), namun akar cenderung lurus namun sedikit condong ke arah air. Pada pengamatan tigmonasti, waktu yang diperlukan oleh Mimosa pudica perlakuan sentuhan lebih cepat saat menutup dibandingkan saat membuka kembali. Pada pengamatan tigmotropisme sel pada bagian yang bersentuhan dengan benda lain perkembangannya lebih lambat dibandingkan dengan bagian yang tidak tersentuh, sehingga pertumbuhannya menjadi melengkung

Tujuan dari praktikum ini agar mahasiswa mampu untuk mengetahui respon dari berbagai rangsangan yang diberikan pada makhluk hidup (cahaya, gravitasi dan arus). Hasil praktikum ini adalah pada tipe gerakan fototaksis cacing tanah (Pontoscolex corethrurus) cenderung menjauhi cahaya atau fototaksis negatif, tipe gerakan geotaksis cacing tanah (Pontoscolex corethrurus) cenderung menuju kebawah atau geotaksis positif dan semakin besar sudut maka semakin cepat Pontoscolex corethrurus menuju ke arah gravitasi, tipe rheotaksis dimana Aplocheilus panchax cenderung bergerak melawan arus (positif). Kesimpulan dari praktikum ini adalah tipe fototaksis ditunjukkan oleh Pontoscolex corethurus adalah tipe fototaksis bernilai negatif. Tipe geotaksis yang ditunjukkan Pontoscolex corethurus adalah bernilai positif. Tipe rheotaksis yang ditunjukkan Aplocheilus panchax adalah bernilai positif dan hewan akan melakukan sebuah pergerakan jika diberi stimulus.

Tujuan dilakukannya praktikum ini adalah untuk mengetahui respon hewan terhadap rangsangan cahaya, untuk mengetahui respon cacing tanah (Pontoscolex corethrurus) terhadap gravitasi (kemiringan tempat), dan untuk mengetahui respon ikan terhadap rangsangan arus. Alat yang digunakan pada praktikum ini adalah cawan petri atau kotak fototaksis, senter, alat percobaan geotaksis, kotak rheotaksis, stopwatch dan meteran. Bahan yang digunakan adalah cacing tanah (Pontoscolex corethrurus), kertas karbon, kertas milimeter, kertas, tanah kering, ikan kepala timah (Aplocheilus panchax). Hasil yang diperoleh dari praktikum ini adalah tipe fototaksis pada cacing tanah Pontoscolex corethrurus cenderung menjauhi cahaya yang merupakan fototaksis negatif. Tipe geotaksis pada cacing tanah (Pontoscolex corethrurus) cenderung bergerak ke bawah menuju arah gravitasi bumi yang merupakan geotaksis positif. Tipe rheotaksis pada ikan kepala timah (Aplocheilus panchax) cenderung bergerak melawan arah arus air yang merupakan rheotaksis positif. Kata Kunci:, Stimulasi, fototaksis, geotaksis, rheotaksis dan respons.