scholarly journals Margaret Atwood’s Hag-Seed: Dramatic Encounters between Classic and Adaptation, Life and Art, Freedom and Imprisonment

2021 ◽  
Vol 69 (11) ◽  
pp. 21-33
Author(s):  
Anna Joanna Bartnicka
Keyword(s):  
Source Material ◽  
The Novel ◽  
Classical Text ◽  
The Tempest ◽  
Interactive Theater ◽  
Multi Media

This paper examines Margaret Atwood’s novel Hag-Seed (2016) as a metatextual adaptation of Shakespeare’s literary classic The Tempest. The terms “adaptation” and “classic” are employed to explain the relation of Atwood’s work to its source material. The performance of The Tempest prepared by the characters of the novel that engages convicts is a form of multi-media interactive theater, and the classical text of the Shakespearean play is considered a form of “sacra” (Turner), which has educational and utilitarian purposes. Michel Foucault’s analysis of prison, his concept of “heterotopia”, and Victor Turner’s concept of “liminality” are introduced to discuss the convicts participating in a theatrical workshop as liminal individuals during the ritual of transition while in the heterotopian space of a prison.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

The Sound of Shakespeare Thinking

2013 ◽  
Author(s):  
James Longenbach
Keyword(s):  
King Lear ◽  
The Novel ◽  
The Tempest ◽  
Henry Vi ◽  
History Of ◽  
Conscious Activity ◽  
King John

Thinking, Freud argued, begins as a pre-conscious activity, although we paradoxically become aware of it only in consciousness: whatever we know about thinking is already a representation of thinking. This chapter argues that Shakespeare in this sense invented what we most commonly recognize as the verbal embodiment of thinking. Contrasting 3 Henry VI with King John, it shows how, in the latter play, Shakespeare first constructed his signature representation of interiority in the highly disjunctive, self-revising speech of the Bastard. Moving on to examine the more fully ripened version of this kind of speech in King Lear and The Tempest, this chapter then shows how Shakespeare’s representations of thinking have inflected not only the history of the lyric poem in English (from Keats’s ‘Ode to a Nightingale’ to Louise Gluck’s ‘Before the Storm’) but also the novel (Virginia Woolf’s Mrs. Dalloway).

scholarly journals “Decipher its noises for us”: Understanding Sycorax’s Island in Marina Warner’s Indigo

2012 ◽  
pp. 269
Author(s):  
Erin M. Presley
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Sense Of Place ◽  
Gloria Naylor ◽  
The Novel ◽  
Know How ◽  
The Tempest ◽  
The People ◽  
Personal Histories ◽  
The Caribbean

The Marina Warner’s novel Indigo, or Mapping the Waters (1992) explores the effects of colonialism on the islanders of Liamuiga and the Everard family through a complex retelling of Shakespeare’s The Tempest that spans over three hundred years. Much like the appropriative novels of Gloria Naylor, in which past and present blend and meld, Indigo also suggests that time is not linear in its development. The subtitle, or Mapping the Waters, positions a sense of place at the crux of Warner’s novel. Moving back and forth between the twentieth century and the dawn of the seventeenth century, the novel also shifts between London and the Caribbean, suggesting the global import of Shakespeare’s late romance. The scene, in the Burkean sense, influences the actions of the characters as they struggle to be heard in their respective settings. Language also affects the ways in which these characters come to terms with their personal histories. Ultimately, the novel seeks to displace the hopelessness of Caliban’s decree in The Tempest —“You taught me language, and my profit on’t / Is I know how to curse” (1.2.364-65)— by giving a voice to the people silenced by colonialism.

scholarly journals The Image of Byzantium in the Novel In Front of the Mirror by Veniamin Kaverin

Slovene ◽  
2017 ◽  
Vol 6 (1) ◽  
pp. 485-497
Author(s):  
Asia V. Kulakova
Keyword(s):  
Source Material ◽  
The Novel ◽  
The Public ◽  
Public Sentiment ◽  
Second Wave

Veniamin Kaverin’s novel In Front of the Mirror, which was published in 1972, is based on the actual correspondence between the Soviet mathematician Pavel Bezsonov and the painter Lidia Nikanorova, which Bezsonov handed over to the writer. It is clear even from a superficial comparison that there is a large discrepancy between the source material and the text of the novel; moreover, it is evident upon a closer view that descriptive and ideological features that are connected with Christianity and Byzantium in the novel are close to the ideas and imagery that were typical for Kaverin’s contemporaries. From the perspective of the comparison between the text of the correspondence and the novel’s text, this paper attempts to show that the image of Byzantium in the novel is not similar to its image in the correspondence. Through an analysis of metaphors, images, and ideas connected with Byzantium in these texts, I intend to show that the image of Byzantium in the novel In Front of the Mirror is not only determined by the public sentiment of this period, specifically, by the second wave of the Soviet intelligentsia’s conversion to Christianity, but that it is also extremely personal and based on autobiographical experience.

scholarly journals Shane and the Language of Men

2018 ◽  
Vol 53 (1) ◽  
pp. 72-88
Author(s):  
Jesse Gerlach Ulmer
Keyword(s):  
Middle School ◽  
Source Material ◽  
Film Adaptation ◽  
Critical Discourse ◽  
The Novel ◽  
Literary Source ◽  
Language And Gender ◽  
And Gender ◽  
Cultural Hierarchies ◽  
Scholarly Attention

AbstractJane Tompkins has argued that a deeply conflicted relationship exists between men and language in the Western. Deploying too much language emasculates Western heroes, men who privilege action over talk. For support, Tompkins turns to a number of moments in Shane, the 1953 film adaptation of the 1949 novel of the same title by Jack Schaefer. Tompkins argues that the film constructs a model of masculinity that wholly rejects language, a move that is destructive and exploitative to self and others. However, a close reexamination of the novel reveals a model of masculinity that is more positive and flexible towards language and gender than Tompkins’s views on the Western suggest. A close rereading of the novel shows that men in Westerns do not always use talk and silence to subjugate women and others, and that the valuing of language over action does not always end in violence or exploitation. Furthermore, the film adaptation of the novel will be examined, a work that occupies a more cherished place in American culture than the novel, a situation that is the reverse of traditional cultural hierarchies in which the literary source material is privileged over the film adaptation. Ultimately, the novel and film are engaging in different ways, yet Schaefer’s novel, rather than being relegated to middle school literature classrooms, rewards serious critical and scholarly attention, particularly in the context of the film adaptation and critical discourse on the representation of masculinity in the Western.

scholarly journals New Woman as Seen in Bram Stoker’s Dracula

Lexicon ◽  
2021 ◽  
Vol 7 (2) ◽  
pp. 224
Author(s):  
Rheavanya Winandhini ◽  
Rahmawan Jatmiko
Keyword(s):  
New Woman ◽  
Victorian Novel ◽  
Source Material ◽  
Close Reading ◽  
The Novel ◽  
Female Characters ◽  
Victorian Era ◽  
Victorian Britain ◽  
The New Woman ◽  
The 19Th Century

This paper discusses the influence of feminism in the classic Victorian novel Dracula by Bram Stoker. The New Woman is a feminist ideal that appeared in the 19th century, more specifically amidst the rise of the first wave of feminism. The method of research used in this study covers close reading of the source material and analyzing the characters of the novel through the perspective of the New Woman ideals. The female characters in Bram Stoker’s Dracula portrayed the New Woman characteristic to some degree. Women’s independence, intellect, hyperfemininity, and hypersexuality, are some of the aspects of the movement that go against the norm and values of women in Victorian Britain, such as Mina’s “man’s brain” and Lucy’s hyperfemininity, while the Brides of Dracula provide contrast as the oppressed women with their submissive and compliant attitude towards him. Without erasing their representation of these New Woman ideals, Mina and Lucy also portrayed the complexity and dimensionality of being a woman in the Victorian era; their beauty and appeal were praised while their more “unwomanly” aspects present some threats towards men.

scholarly journals A Winter in Bath, 1796-97: Life Writing and the Irish Adolescent Self

2021 ◽  
Vol 10 ◽  
pp. 18-40
Author(s):  
Amy Prendergast
Keyword(s):  
National Identity ◽  
Sense Of Self ◽  
Life Writing ◽  
Marriage Market ◽  
Source Material ◽  
The Novel ◽  
International Marriage ◽  
Multiple Generations ◽  
Legitimate Interest ◽  
Gender And Nation

The diary form affords multiple generations of women with a vehicle for expressing themselves, and is particularly germane to younger writers, developing a voice, and shaping a sense of self as they emerge from childhood. Charting her travels from Ireland to Bath, the manuscript diary (1796–97) of Charity Lecky is exceptionally useful in exploring intersections with other genres, particularly the novel, while also affording us with an adolescent’s observations on life, and on Bath as international marriage market. The categories of youth, gender, and nation all play strong roles in Charity’s evolving sense of self, and enable us to explore these intersections and how they can inform a young person’s sense of worth. Frequently dismissed by male contemporaries as preoccupied only with balls and marriage prospects, the voices of such figures were repeatedly marginalised. This article prioritises both these voices and the diary form itself, and fuses their legitimate interest in courtship with a concern and fascination with national identity, recognising the value of young women’s opinions, and demonstrating how we might better understand the evolution of personal identities through inclusion of such source material.

scholarly journals Reality and Existentialism in House of Leaves

2011 ◽  
Vol 7 ◽  
Author(s):  
Matthew Scott Scarano ◽  
Jennifer Ann Krause
Keyword(s):  
Purpose In Life ◽  
Albert Camus ◽  
The Body ◽  
Primary Sources ◽  
The Novel ◽  
The Past ◽  
House Of Leaves ◽  
Jean Paul ◽  
The Future ◽  
Multi Media

House of Leaves, by Mark Z. Danielewski, is a novel first published in 2000 that has since developed notoriety in literary circles for its arguably unique experimentation with a multi-layered plot, varied visual typography, and multi-media format. Despite being widely read and influential over the past decade, little scholarly analysis has been done on House of Leaves. As House of Leaves could represent an entire new genre of literature, it is important that we understand its themes and the ways in which various writerly techniques function within the novel. In this paper, I analyze House of Leaves through an existential lens, specifically utilizing the ideas of Jean-Paul Sartre and Albert Camus to examine the psyche of one of the novel’s main characters, Johnny Truant. In addition to primary sources by Danielewski, Sartre and Camus, I employ a 2002 analysis of House of Leaves by Katherine N. Hayles to aid my research. I conclude that Johnny’s story, and House of Leaves as a whole, breaks down traditional notions of reality, but retains existential hope for individuals who are able to find a purpose in life, even if that “purpose” is necessarily subjective. My analysis presents an original take on House of Leaves, and contains wider implications for future novels that emulate its experimental style. Past analyses have focused on post-modern aspects of House of Leaves, but I analyze it through an existential lens. Beyond adding to the body of work on House of Leaves, my existential take on an otherwise post-modern text may prove influential to analyses of other “post-modern” novels in the future.

scholarly journals THE INTERTEXTUAL SIGNIFICANCE OF DEAR EVAN HANSEN NOVEL ADAPTATION ON THE ORIGINAL BROADWAY MUSICAL

2021 ◽  
Vol 3 (2) ◽  
pp. 54-70
Author(s):  
Nabil Bakri
Keyword(s):  
Anxiety Disorders ◽  
Source Material ◽  
The Novel ◽  
Final Project ◽  
Broadway Musical ◽  
The Creation

In the process of adaptation, there are major changes in the process and the final project. Changes in creative adaptation is natural. The novel adaptation of Dear Evan Hansen was published in 2017 based on the acclaimed 2015 musical with the same title. Novels often adapted into films and musicals, but an adaptation from a Broadway musical into a novel is extremely rare. Author Val Emmich worked with the creators of the musical to ensure a successful passing of essence from play to novel, ensuring the foundation of the creation of the musical which is the matter of anxiety disorders among teenagers to remain visible throughout the novel.  Many scholars consider creative adaptation as less than the source material meaning that a creative adaptation translates into inferior product. This research scrutinized the process of creative adjustment in the novel through three distinct but interrelated perspectives based on the theory of adaptation by Linda Hutcheon: adaptation as a formal entity or product, adaptation as a process of creation, and adaptation as a process of reception. This research concludes that the novel adaptation transforms, deepens, and compliments the musical and its existence is justified as it contains intertextual significance. 

scholarly journals New Woman as Seen in Bram Stoker’s Dracula

Lexicon ◽  
2021 ◽  
Vol 7 (2) ◽  
pp. 207
Author(s):  
Rheavanya Winandhini ◽  
Rahmawan Jatmiko
Keyword(s):  
New Woman ◽  
Victorian Novel ◽  
Source Material ◽  
Close Reading ◽  
The Novel ◽  
Female Characters ◽  
Victorian Era ◽  
Victorian Britain ◽  
The New Woman ◽  
The 19Th Century

This paper discusses the influence of feminism in the classic Victorian novel Dracula by Bram Stoker. The New Woman is a feminist ideal that appeared in the 19th century, more specifically amidst the rise of the first wave of feminism. The method of research used in this study covers close reading of the source material and analyzing the characters of the novel through the perspective of the New Woman ideals. The female characters in Bram Stoker’s Dracula portrayed the New Woman characteristic to some degree. Women’s independence, intellect, hyperfemininity, and hypersexuality, are some of the aspects of the movement that go against the norm and values of women in Victorian Britain, such as Mina’s “man’s brain” and Lucy’s hyperfemininity, while the Brides of Dracula provide contrast as the oppressed women with their submissive and compliant attitude towards him. Without erasing their representation of these New Woman ideals, Mina and Lucy also portrayed the complexity and dimensionality of being a woman in the Victorian era; their beauty and appeal were praised while their more “unwomanly” aspects present some threats towards men.

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