GOGOL’S DRAMATURGY IN CINEMA

2021 ◽  
pp. 132-140
Author(s):  
Maria O. Bulavina ◽  
Keyword(s):  
Literary Work ◽  
Film Adaptation ◽  
Inspector General ◽  
New Meanings ◽  
The Dead ◽  
Dead Souls ◽  
Film Language ◽  
Detective Genre

The article studies an issue of the film adaptation of a literary work. The issue posed is considered on the example of N.V. Gogol work. In particular, on the example of his drama. These are such works as “The Inspector General”, “The Marriage”, “The Players”. In their time those works were translated by the authors from literary into cinematic language: the screen version of “The Inspector General” by V.M. Petrov (1952), “Incognito from Petersburg” by L.I. Gaidai (1977), “The Marriage” by V.V. Melnikov (1977), “The Inspector General” by S.I. Gazarov (1996), “The Case of the ‘Dead Souls’ ” by P.S. Lungin (2005), “The Russian Game” by P.G. Chukhrai (2007). As a result it was found that when translated into the cinema language, Gogol’s interpretations reveal new meanings that are expressed at the level of genre (the elements of a western in “The Russian Game” or a detective genre in Lungin’s film), plot (referring to the plots of several works at once), images (character replacement), details (garlands on the windows in Petrov’s “The Inspector General”), as well as stylistics, symbols, metaphors (apples and red in “Marriage”, for example). The above is emphasized by the authors through the use of specific film-language techniques. These are eccentrics, shooting at an angle, subjectivity, panoramas, etc. Postmodern techniques, used by interpreters to recreate the space of grotesque, intertextuality, and absurdity, also become interesting.

THE ROLE OF ANTHROPONYMS IN THE SEMANTIC FIELD OF ARTISTIC WORKS

2019 ◽  
Vol 2019 (29) ◽  
pp. 66-77
Author(s):  
Lidiya Derbenyova
Keyword(s):  
Literary Work ◽  
Main Theme ◽  
Semantic Field ◽  
New Meanings ◽  
Minor Part ◽  
The One ◽  
A Minor ◽  
And Storage ◽  
Horizon Of Expectations

The article explores the role of antropoetonyms in the reader’s “horizon of expectation” formation. As a kind of “text in the text”, antropoetonyms are concentrating a large amount of information on a minor part of the text, reflecting the main theme of the work. As a “text” this class of poetonyms performs a number of functions: transmission and storage of information, generation of new meanings, the function of “cultural memory”, which explains the readers’ “horizon of expectations”. In analyzing the context of the literary work we should consider the function of antropoetonyms in vertical context (the link between artistic and other texts, and the groundwork system of culture), as well as in the context of the horizontal one (times’ connection realized in the communication chain from the word to the text; the author’s intention). In this aspect, the role of antropoetonyms in the structure of the literary text is extremely significant because antropoetonyms convey an associative nature, generating a complex mechanism of allusions. It’s an open fact that they always transmit information about the preceding text and suggest a double decoding. On the one hand, the recipient decodes this information, on the other – accepts this as a sort of hidden, “secret” sense.

The Intratextuality of Film Adaptation

2017 ◽  
Author(s):  
Jack Boozer
Keyword(s):  
Literary Work ◽  
Film Adaptation

By observing the authorial intentions on the part of the novelist and the adapted film’s producer, screenwriter, director, and cast, Chapter 11 examines the intratextual process at work in the transformation of Philip Roth’s novella The Dying Animal to the big screen as Elegy. The notion of serial authorship can capture the creative interaction of intentions characteristic of the multi-source nature of film adaptation, whose products serve two texts: the source literary work and the screenplay derived from it. The essay considers the hints of Roth’s personal views and autobiography implied through his narrator, David Kepesh, and this character’s relationships with women, as well as through the implied author’s own position as a writer—a self-conscious status the film does not engage.

The Death Effect in Literary Evaluation: Reverence for the Dead?

2014 ◽  
Vol 68 (3) ◽  
pp. 229-239 ◽  
Author(s):  
Joseph P. Green ◽  
Eric W. Mohler
Keyword(s):  
Undergraduate Students ◽  
Short Story ◽  
Literary Work ◽  
The Dead

It is commonly believed that the value of art and other creative works increases after the death of the artist. In an attempt to examine this so-called death effect we presented a short story to N = 431 undergraduate students asking how much money they would hypothetically spend to purchase a literary work. We experimentally manipulated: 1) whether the author died or moved after publishing a short story, and, 2) the gender of the author. Participants randomly received one of four possible biographical descriptions about the author. We predicted that participants would offer higher purchase prices and subjectively evaluate the work more positively when they believed the author was dead. Results were consistent with this hypothesis perhaps reflecting a certain reverence for the dead. We also found that evaluations of the story were more favorable when the purported gender of the author matched that of the participant.

scholarly journals PECULIARITIES OF INTERTEXT AND INTERCULTURE PARADIGM OF JOSEPH ROT PROSE

2019 ◽  
pp. 283-291
Author(s):  
T. P. Monolatii
Keyword(s):  
Theoretical Approach ◽  
Literary Work ◽  
Human Existence ◽  
Narrative Strategy ◽  
Additional Dimension ◽  
Good Representative ◽  
The Arts ◽  
New Meanings ◽  
The Aesthetic ◽  
Joseph Roth

The article analyses interpretation of Joseph Roth prose in the context of intertextuality as a literary means. It is determined by the author’s strategy and studied the aesthetic issues that are fundamental to his work. Intertextuality proves a postmodern phenomenon of reinterpretation of classic and new texts, giving them new meanings and establishing parallels with modern literature, which is reflected in an adequate interpretation of their genre and stylistic forms, the interpretation of philosophical concepts, iconic fictional and aesthetic phenomena. So in fiction there is an additional dimension – intercultural component of the artistic world of the text. This theoretical approach is extremely productive, especially in the study of works of those authors; the arts are rooted in different spheres of human existence, formed on the border of their own cultures, languages, historical and national traditions. A good representative of “intercultural” narrative strategy is Joseph Roth. Thus, under conditions of intertextual interaction, the literary work becomes part of a broad intertextual space that covers not only literary, but also outside of literature forms of expression, and any text is in various “dialogical” relations with other texts that fill this space with different language codes that are represented in this space.

scholarly journals Fairy-tale motifs in a translation of the film adaptation of the literary work Modrý lampáš (Das Blaue Licht)

Ars Aeterna ◽  
2020 ◽  
Vol 12 (2) ◽  
pp. 45-58
Author(s):  
Andrej Zahorák
Keyword(s):  
Conceptual Framework ◽  
Blue Light ◽  
Fairy Tale ◽  
Comprehensive Evaluation ◽  
Literary Work ◽  
Film Adaptation ◽  
Expressive Function ◽  
Audiovisual Work ◽  
Linguistic Reality ◽  
The Way

AbstractThe paper deals with the translation of the film adaptation of the literary work Das Blaue Licht (‘The Blue Light’), primarily intended for child recipients. The aim of this paper is to present a conceptual framework to describe specific aspects of communication-translation (translating children’s and youth literature, aspects of age and the projection of ideas in a different mode of adaptation), and subsequently provide a comprehensive evaluation related to the optimality of the chosen translation procedures and strategies in the Slovak dubbed version of the above-mentioned audiovisual work. The focus is on how the semantic and expressive function of the original is preserved, taking into account the way linguistic reality is depicted in communication with the child recipient.

scholarly journals On the path to self-discovery. New meanings in the novels of the Congolese writer Alain Mabanckou "Blue White Red" and "Memoirs of a Porcupine"

2019 ◽  
pp. 127-132
Author(s):  
Nina D. Lyakhovskaya
Keyword(s):  
Creative Writing ◽  
Literary Work ◽  
Francophone Literature ◽  
Literary Studies ◽  
New Meanings ◽  
Self Discovery ◽  
African Writers ◽  
First Time

The article analyses the literary work of the Congolese writer Alain Mabanckou as the first one in African Francophone literature to implant autofictional writing into traditional everyday writing context. In this article, the analysis of Alain Mabanckou’s novels is made for the first time in African literary studies, both Russian and foreign. The author emphasises the novelty of the writer's style, which is expressed in the strengthening of subjectivity, in the accentuated introduction of the autobiographical element into the fictional text. The article points out one of the strongest points of Alain Mabanckou creative writing – the subtle psychologism, which distinguishes him from other Congolese writers, his amazing ability for a metaphysical perception of life. In the opinion of the author of the article, Alain Mabanckou intellectually elevates above the typical for Francophone African writers description with its clichéd images, typical situations and features of local flavour.

scholarly journals LA VOZ DE LOS MUERTOS DE CARMEN DE BURGOS (1911), ENTRE SIGLOS, LENGUAS Y CULTURAS

2018 ◽  
Vol 6 ◽  
pp. 37
Author(s):  
Ana Vian
Keyword(s):  
Literary Work ◽  
Xxth Century ◽  
Carmen De Burgos ◽  
The Dead ◽  
Edad De Plata ◽  
Siglo Xx

Los trece diálogos que incluye Carmen de Burgos en su obra literaria La voz de los muertos (Valencia, 1911) son piezas maestras del lucianismo dialógico de inicios del siglo XX. Se analizan aquí las relaciones literarias que la autora establece con sus modelos declarados (Sócrates, Platón, Parini, Leopardi) y con otros que, aunque no se mencionen explícitamente (Luciano, Fontenelle, Voltaire), son imprescindibles para comprender los cambios ideológicos y estéticos de esta tradición dialógica milenaria a la altura de la Edad de Plata.Palabras clave: Carmen de Burgos. La voz de los muertos. Lucianismo. Diálogos de muertos. Fontenelle. Voltaire. Parini. Leopardi. La voz de los muertos of Carmen de Burgos (1911), across centuries, languages and culturesThe thirteen dialogues included by Carmen de Burgos in her literary work La voz de los muertos (Valencia, 1911) are masterpieces of lucianist dialogue at the beginning of the XXth century. This paper discusses the literary relationship that the author established with her declared models (Socrates, Platon, Parini, Leopardi) and with other references that, although not explicitly mentioned (Lucian, Fontenelle, Voltaire) are essential to undestand the ideological and aesthetic changes of this millenarian dialogic tradition during the spanish “Edad de Plata”.Keawords: Carmen de Burgos. La voz de los muertos. Lucianism. Dialogues of the dead. Fontenelle. Voltaire. Parini. Leopardi.

Supper for the Dead Souls/La Cena delle Anime

2020 ◽  
Vol 33 (2) ◽  
pp. 184-190
Author(s):  
Rossella Ragazzi
Keyword(s):  
The Dead ◽  
Dead Souls

“This is Paris itself!”: Gogol in the Town of N

2019 ◽  
pp. 79-99
Author(s):  
Anne Lounsbery
Keyword(s):  
Inspector General ◽  
Dead Souls ◽  
The Times ◽  
The Town ◽  
Russian Identity

This chapter discusses the “Gogolian province,” as epitomized in Dead Souls' Town of N, a place defined almost wholly by absence and lack. Gogol's provinces are not just philistine, not just behind the times, but seem instead to represent an unfillable cultural and psychic void. This chapter examines the historically shaped (but aesthetically transformed) meanings of “the provinces” that inform Gogol's thought, particularly in Dead Souls, The Inspector General, and Selected Passages from Correspondence with Friends—texts that span much of his career but share almost identical concerns when it comes to provintsiia and its meanings. Provintsiia here takes on a function it is not consistently called upon to fulfill in the works of other authors considered thus far. In Gogol's works, the concept very clearly serves as a way of raising questions about Russian identity more broadly.

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