scholarly journals THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE

2021 ◽  
Vol 6 (3) ◽  
pp. 49-72
Author(s):  
Александра Владимировна Елисеева
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Film Adaptation ◽  
Film Adaptations ◽  
Close Reading ◽  
Theodor Fontane ◽  
The Novel ◽  
Hierarchical Relationship ◽  
The Subject ◽  
Effi Briest

The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

scholarly journals “Own” and “alien” space in the novel “Dead Men Walking” by Steve Lyons

2021 ◽  
pp. 79-86
Author(s):  
Evgenii Vadimovich Vasil'ev
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Literary Studies ◽  
The Novel ◽  
Historical Method ◽  
Long Time ◽  
The Subject

The subject of this research is the peculiarities of organization of space in the novel “Dead Men Walking” by Steve Lyons from the perspective opposition “own – alien”. The research employs the cultural-historical method and comparative analysis. The article examines the peculiarities of perception of space in the novel. The basic conflict is association with intervention of the alien civilization on the planet of people. Emphasis is placed on the fact that the war erases the boundaries of “own” and “alien”, each of parties to the conflict has reason to believe that the planet is “their own”. The characters of the novel are divided into “living” and “dead”, which complicates the conflict and organization of space even more. Space in the literary text is the subject of multiple scientific articles. However, the works dedicated to examination of space in S. Lyons’ novel are not featured in modern literary studies, which defines the scientific novelty of this research. The conclusion is drawn that  for humanity and for alien civilization space is simultaneously “own” and “alien”, since other civilization existed on the planet for a long time prior to the arrival of humans. Moreover, the organization of space is complicated by the arrival of human forces of rom other planet, who were unfamiliar with the concept of “own” space at all, which affects the course of war and determines the fate of the characters in the novel. Such approach demonstrates that the concept of “own” and “alien” in the novel is vague due to the fact that it is impossible to unambiguously attribute the planet neither to “own” nor “alien” space.

scholarly journals VARIABLY-INTERPRETIVE POTENTIAL OF THE LITERARY TEXT AND ITS REALIZATION IN THE TRANSALTION (BASED ON CHUCK PALAHNIUK'S NOVEL "FIGHT CLUB")

2021 ◽  
pp. 60-69
Author(s):  
Anna Zadorozhna ◽  
Vasyl Bialyk
Keyword(s):  
Comparative Analysis ◽  
Human Life ◽  
Literary Text ◽  
General Knowledge ◽  
The Novel ◽  
Translation Strategies ◽  
Chuck Palahniuk ◽  
Fight Club ◽  
The Subject ◽  
Individual Style

The article examines the variability of translation of the text of fiction as performed by different translators. The purpose of the work is to study and identify the diversity of the translation strategies and features of their application in the translation of a literary text. The method of comparative analysis proved to be effective in the scientific investigation. The subject of the research is a literary text, its original and translation. The postulates of translation theorists on linguistic variability and multiplicity of translations have been outlined. The subjective-objective activity of the translator as a mediator in bilingual communication was highlighted. The peculiarities of Chuck Palahniuk's writing style have been determined and the preservation of the author's individual style in Ukrainian translations has been analyzed. A comparative analysis of fragments of the translation of the literary text made by Ukrainian translators has been carried out. It was discovered that in the process of translation the translator relies not only on his knowledge of the languages, but also on the general knowledge of other areas of human life. It has been established that the perception and understanding of the text by the recipients depends on how the translator interprets the text of the original and how adequately s/he conveys its context and whether s/he is able to preserve the author's style. The study was based on the novel "Fight Club" by the contemporary American writer Chuck Palahniuk and its translations into Ukrainian by Illia Strongovskyi and Oleh Lesko. It has been proved that translations made into the same language by different translators can differ significantly from each other.

scholarly journals Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda

2019 ◽  
Author(s):  
Patrycja Rojek
Keyword(s):  
Complex System ◽  
Significant Part ◽  
Film Adaptation ◽  
Literary Fiction ◽  
The Novel ◽  
Moving Images ◽  
Communication Situations ◽  
Female Protagonist ◽  
The Subject ◽  
Insight Into

Rojek Patrycja, Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda [Aesthetic Concretization in Tom Ford’s Nocturnal Animals (2016)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 401–416. ISSN 1644-6763. DOI 10.14746/pt.2019.32.22. The subject of Austin Wright’s novel Tony and Susan (published in 1993) is the reader’s experience. The peculiar relationship that forms between the main female character - a reader of literary fiction – and the novel itself as well as its author, inspired in 2016 Tom Ford to capture the specifics of the same relationships using the language of moving images. This article presents the effects of studying the complex system of communication situations occurring in the novel and its film adaptation: each of them contains an additional story around which further author-reader relationships are formed. The analysis shows that a significant part of the film’s plot is not a direct insight into the novel, but its concretization projected by a female protagonist. Tom Ford’s film is therefore considered in relation to Roman Ingarden’s theory on aesthetic concretization.

Alternative Literary Modernities: A Voice from Colonial Punjab

2018 ◽  
Vol 66 (1) ◽  
pp. 35-48
Author(s):  
Arti Minocha
Keyword(s):  
Middle Class ◽  
Literary Culture ◽  
The Self ◽  
Subject Position ◽  
Close Reading ◽  
The Novel ◽  
Discursive Space ◽  
Political Subject ◽  
The Subject ◽  
Language Content

Abstract This paper looks at the formation of colonial print publics in Punjab, the gendered subjectivities that emerged in this new discursive space, and middle-class women’s deployment of print to articulate the self. This will be done through a close reading of one of the first novels in English, Cosmopolitan Hinduani, which was published in Lahore, Punjab, by a woman in 1902. The essay examines the narrator’s notion of a gendered cosmopolitanism and the subject position that it affords, her attempt at going beyond the fault lines of religion to articulate a liberal and modern political subject, while reworking the cosmopolitan/local binary. How does her insertion of herself as a gendered subject in the provincial, national, cosmopolitan imaginary reflect in the author’s choice of language and genre? My attempt will be to see the novel and its author as part of a literary culture in which she made certain choices about the form, language, content, and audience.

scholarly journals An exploration of place and its representations: an intertextual/ dialogical reading of the photographs of AB Ovenstone and the novel Gillespie by John MacDougall Hay.

2016 ◽  
Vol 41 ◽  
Author(s):  
Lindsay Fiona Blair
Keyword(s):  
Literary Text ◽  
Landscape Painting ◽  
The Novel ◽  
Work Of Art ◽  
Shipping Company ◽  
Private Collection ◽  
Semiotic Approach ◽  
The Subject ◽  
The Common ◽  
The Relationship

“An intertextual/ dialogical reading of place through photography and fiction” The article is an exploration of place and its representations based on the intertextual reading of a series of photographs (1880-82) of Tarbert, Loch Fyne by Andrew Begbie Ovenstone (1851-1935) and the dialogical reading of a novel, Gillespie (1914), by John MacDougall Hay (1881-1919) which is set in Tarbert. The proposed article is inspired by a sense that a semiotic approach to the subject will reveal far more than has been discovered within the tradition of hermeneutics and patrimony and that much will be gained by a study of the contrast between written and visual signifiers. The article raises questions about the (unexamined) coded readings of place especially in relation to the photograph, and the lack of an adequately theorized tradition for the novel. The literary text is well known - if not well understood - but the images are from a rare, unpublished, private collection of photographs from Scotland, India and the furthest reaches of Empire (Ovenstone was the Atlantic Freight Manager of Anchor Line Ltd, the Glasgow shipping company). The paper emphasizes the need for the use of codes to decipher the texts. When we “read” the photographs we need to be aware of the intertextual relationship between the photograph and the landscape painting tradition as well as the common practice of the created tableau – there is then overlaid upon the image the sense of a set of conventions, a system which operates much like a language. We are able to discover through the notion of the “long quotation from appearances” the potential for more complex “synchronic” readings. Likewise, in the case of Gillespie, the novel operates within a genre which determines a “reading”. When we are aware of a code, we become aware of the way that Hay manoeuvres adroitly to thwart the reader’s best efforts to settle upon a preferred reading – especially one shaped by an authoritative narrator - which thereby allows for the genuine experience of “heteroglossia” to emerge. The notion of truth in Gillespie is interrogated in the light of Heidegger’s essay “The Origins of a Work of Art” in order that the relationship between representation and reality be clarified.

scholarly journals To the question of the name of a text field

Litera ◽  
2020 ◽  
pp. 55-65
Author(s):  
Na Van
Keyword(s):  
Semantic Analysis ◽  
Scientific Literature ◽  
Literary Text ◽  
The Novel ◽  
Semantic Field ◽  
The Core ◽  
Text Field ◽  
Methods Of Analysis ◽  
The Subject

This article is dedicated to the problem of the choice of name for a text semantic field formed within a literary text. The goal consists in determination of factors that hinder or preclude the naming of a text field. The subject of this research is the text semantic field observed particularly in the novels of F. M. Dostoevsky “The Idiot” and I. S. Turgenev “Home of the Gentry”. The author establishes that the text semantic field is closely connected to the contexts where elements of the field can be equitable, which complicates determination of the core and periphery of a text field, namely its name. In the course of research, the author applied the methods of analysis of scientific literature, interpretation of literary text as an aesthetic system, and method of semantic analysis. The scientific novelty lies in the fact that the author is first to discuss the question of difficulties of naming a text field using the materials of the novels “The Idiot”  by F. M. Dostoevsky and “Home of the Gentry” by I. S. Turgenev. The conclusion is made that in majority of cases a text field can be named by the most frequent element therein. At the same time, the name “Idiot” in F. M. Dostoevsky’s novel does not fully reveal the content of a text field. In some instances it is impossible to name a text field (as in the novel “Home of the Gentry” by I. S. Turgenev), since elements of the field deal with the equitable mutual implication.

scholarly journals Critical Dystopia: Local Narrative in the Threshold in Ahmed Khaled Towfik’s Utopia

2019 ◽  
Vol 19 (1) ◽  
pp. 175-194
Keyword(s):  
Twentieth Century ◽  
System Structure ◽  
Close Reading ◽  
The Novel ◽  
Totalitarian Regime ◽  
Critical Orientation ◽  
The Subject ◽  
The Individual ◽  
Knowledge Memory ◽  
Critical Dystopia

This study is an exploration of critical dystopia within a postmodern context. Literary and historical viewpoints associate dystopia with the failed utopia of twentieth-century totalitarianism manifested in regimes of extreme coercion, inequality, and slavery. Raffaella Baccolini and Tom Moylan, of whose perspective this study makes use, theorize that critical dystopia provides a potential for change through rejecting the traditional dystopian ending marked by the subjugation of the individual. Problematizing critical dystopia further, the study proposes that the critical orientation of this sub-genre originates mainly from the “local narrative” of a subject whose agency generates from his position in the “threshold” between those in and under control, combined with the “counter-conducts” he uses to acquire knowledge, memory, and awakened consciousness. As a full agent, the subject resists the “utopian” “metanarrative” of an oppressive system/structure and offers possibilities of meaning in a process of “différance” which entails a potential for change. This proposition is clarified through the close reading of Ahmed Khaled Towfik’s Utopia (2011; first published in Arabic in 2008). The novel is discussed as a critical dystopian text in which Gaber, the subject in the “threshold,” opposes the totalitarian regime of Utopia in his “local narrative.”

INTERLANGUAGE TRANSFORMATIONS IN THE TRANSLATION FROM RUSSIAN INTO CHINESE OF G. SH. YAKHINA’S NOVEL “ZULEIKHA OPENS HER EYES”

2020 ◽  
Vol 6 (4) ◽  
pp. 6-23
Author(s):  
Iana Ye. ANDREEVA ◽  
Natalia V. LABUNETS
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
Soviet Period ◽  
The Novel ◽  
Grammatical Structure ◽  
Chinese Translation ◽  
Comparative Linguistics ◽  
Verb Forms ◽  
Problems Of Translation ◽  
Language Pair

This article deals with the lexical and grammatical transformations in the translation of G. Sh. Yakhina’s novel “Zuleikha Opens Her Eyes” into Chinese. Currently, the theoretical and practical issues of translation in the aspect of the Russian-Chinese language pair remain relevant. At the same time, the problems of translation equivalence and adequacy are getting more recognition. This study aims to identify the specifics of interlingual transformations of Russian-Chinese translation based on a comparative analysis of the novel by G. Sh. Yakhina “Zuleikha Opens Her Eyes” (2015) and its Chinese translation (2017). It is the first such study of the presented literary text in terms of comparative-comparative linguistics. To comprehend the interlanguage transformations performed by the translator in the process of translation, the authors have used a comparative analysis of the texts in the source language and the translation. The significance of the differences in the grammatical structure of the Russian and Chinese languages explains the particular interest towards the study of the translation of a work of fiction. At the lexical level, the authors examine the specifics of the transmission of the nationally-marked corpus of the Tatar vocabulary into Chinese, which acquires special significance in the representation of the ethnocultural component of a literary text. In addition, the features of lexical transformations during translation are revealed through an appeal to the ideological vocabulary of the Soviet period. At the grammatical level, the authors analyze the morphological and syntactic transformations, as well as the transmission of verb forms. As a result of the study, the reasons for lexical, morphological and syntactycal translation transformations were established, and interlanguage barriers that reduce the equivalence of translation were identified.

Narrazione dell’abbandono tra letteratura e cinema

Revue Romane ◽  
2016 ◽  
Vol 51 (1) ◽  
pp. 125-146
Author(s):  
Roberta Colonna Dahlman
Keyword(s):  
Comparative Analysis ◽  
Literary Text ◽  
The Novel ◽  
Narrative Strategies

This paper aims at offering a comparative analysis of the narrator in the novel I giorni dell’abbandono (2002) by the Italian writer Elena Ferrante, and the narrator in the cinematographic version of the same work I giorni dell’abbandono (2005), directed by Roberto Faenza. The paper focuses on some narrative properties that emerge in Elena Ferrante’s novel and compares the literary narrator to the cinematographic narrator in Roberto Faenza’s movie. Furthermore, the paper discusses different narrative strategies as used in these two different media, literary text and cinematographic work.

scholarly journals CINEMA AS ONE OF THE MAIN FORMS OF CONTEMPORARY ART

2021 ◽  
Vol 7 (1(35)) ◽  
pp. 30-34
Author(s):  
I.F. Krylova ◽  
Victoria Andreevna Romanenko
Keyword(s):  
Contemporary Art ◽  
Literary Work ◽  
Literary Text ◽  
Film Adaptation ◽  
David Lynch ◽  
The Novel ◽  
Art Cinema ◽  
Anna Karenina ◽  
New Type ◽  
Literary Work Of Art

This article raises the problem of transposition (transposition) of the literary text of the verbal code into the language of cinema, which is relevant in modern linguistics. Within the framework of the presented research, the main stages of the development of cinematography, as well as the main techniques and types of editing, are described. The aim of the study is to analyze the historical stage in the development of a new type of art (cinema), its impact on society, as well as to analyze the relevance of such a phenomenon as the adaptation of a literary work of art. The relevance of addressing this topic is due to the development of modern filmmaking, the number of film adaptations that have come out in recent years. The article describes the views on cinema and film adaptation by Umberto Eco and David Lynch, suggesting that the film adaptation of literary works is a new type of artistic creation that was born in the 20th century and requires more careful research. The article presents an analysis of the novel by L.N. Tolstoy «Anna Karenina», as well as the main world adaptations of the novel. The analysis is carried out in order to identify the main cultural similarities and differences. The paper presents analyzes of such methods of translating meanings as color and cut-off.

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