scholarly journals Against Adaptation? The Strange Case of (Pod) Poruchik Kizhe

Author(s):  
Alastair Renfrew

This chapter explores Iurii Tynianov’s 1934 film Lieutenant Kizhe, directed by Aleksandr Faintsimmer and based on Tynianov’s own novel, which concerns a hero created in official documents due to a clerk’s transcription error. Tynianov’s adaptation involves an unusual border crossing in that the novel was written after the screenplay. In the chapter, it is argued that the director failed to find successful devices for meeting the challenge to realist fiction proferred by Tynianov’s narrative of a non-existent hero. The chapter explores the mutual relationship between Tynianov’s novel and screenplay and his theoretical writings on adaptation.

2003 ◽  
Vol 35 (1) ◽  
pp. 591-632 ◽  
Author(s):  
Margaret Mackey

Working with young readers, aged 10 to 14, as they responded to narrative texts in a variety of media (Mackey, 2002), I observed a recurring phenomenon: In a variety of ways they repeatedly stepped in and out of the fictional universe of their different stories. Some examples will perhaps give the flavor of this experience: Two 14-year-old girls playing Starship Titanic alternate between lively engagement in the narrative world of the story and stepping outside the fiction to console themselves, “Oh well, if we die, we can just start again.” A 10-year-old girl speaks of alternating between the novel and the computer game of My Teacher is an Alien, using the novel as a source of game-playing repertoire. Two 10-year-old boys look at the DVD of the film Contact, learning how the special effects of an explosion scene were composed, and commenting on how their new awareness of scene construction would affect how they view the film in the future. As I recorded and analyzed numerous examples of such behaviors, I was struck by a common element of interpretive activity on the boundaries of the fictional universe. Sensitized to the topic, I began to notice, and then to collect, examples of contemporary texts that foster various forms of such border crossing, in and out of the diegesis, the framework of events as narrated in the text. This article explores how an awareness of this aspect of contemporary texts may enhance our understanding of interpretive processes and expand what happens in literature classes.


2020 ◽  
Author(s):  
Amina AZZOUZ ◽  
Wassila Hamza Reguig-Mouro

Dialect and sociolinguistics have a mutual relationship considering language, with its varieties, a tool of characterization; one’s speech expresses one’s age, cultural and educational level, gender, social class, ethnic group, etc. Literature is the artistic field that holds all existing language diversities. Hence, some authors (like Dickens and Gaskell, and many others) embrace dialect employment in standard literary works stressing on its aesthetic function. The concern in this paper is on the novel Gaskell Mary Barton (1848), where Lancashire’s dialect is generously used. So, what does literary dialect means? What is the scope of Lancashire, and what are its features? How did Gaskell employ it? This paper aims at highlighting the phenomenon of literary dialect and how authors use it to achieve authenticity.


2021 ◽  
Vol 12 (2) ◽  
pp. 76-91
Author(s):  
Aparna Mishra Tarc

This essay engages the border-crossing poetics of transnational migration through an engagement with Valeria Luiselli’s fictional depictions of migrant children in her novel Lost Children Archive. Engaging the migrating and intertextual forum of children’s witness and memory in the novel, I follow Luiselli’s moving depiction of child migrants as wholly undocumented and lost people outside the adult world of articulation. I argue that Luiselli’s novel documentation conjures up historical, contemporary, and autobiographical memories of migrant and displaced children comprising the colonial story of modernism. I consider children’s articulations, construction and witness of migration through my readings of the stories of migrating childhood delivered by Luiselli’s fictional depiction. I find, Luiselli’s moving rendition of children’s migration presents new challenges to educational and popular discourses of childhood, migration, and the responsibilities of the adult communities.


Imbizo ◽  
2020 ◽  
Vol 11 (1) ◽  
Author(s):  
Okwudiri Anasiudu

Literature is one of the arenas of discourse where the meaning potential of language can be explored. Interestingly, literary language is more figurative than denotative. One of the functions of language in literary discourse is to represent reality. The reality literature represents varies, depending on the historical time and social events a writer focuses on. Some aspects of global reality captured in current literature include transnational migration, border crossing and how migrants negotiate their identities in new cultures and spaces. For the African writer, the foregoing is a source of inspiration for what has become known as the African migrant novel. Against this background, this paper explores the representation of migrant experiences with particular attention paid to the use of language. An aspect of language explored in this paper is the use of deictic words in NoViolet Bulawayo’s We Need New Names and the deployment of deictic forms, such as pronouns, verbs, and adverbs in order to specify personal and collective identity, physical and psychological displacement and spatiotemporal referencing in the novel. M. A. K. Halliday’s and Roger Fowler’s functional linguistic models are adopted as a theoretical framework within a descriptive and qualitative methodology. This paper notes that the recurrent use of the first-person pronoun in singular form (I) foregrounds the text as a Bildungsroman. It also underscores the process of self-evolution of Darling, the protagonist, from an a priori subject to a self-conscious a posteriori subject. The paper shows that deictic words as deployed in the novel enabled Bulawayo, the author, to create distinct narrative voices, from a personal voice to a collective voice. A guiding assumption of this paper is that it is not enough to say that a narrative has a first, second, or third person narrative speaking voice without pointing to the text to show how it is realised with data drawn from the text. It is on that basis that this research contributes significantly to the multidisciplinary interconnection between the field of linguistics and literature (stylistics) to demonstrate how a writer can engage nouns and pronouns as linguistic resources for the construction of migrant experiences, whether encompassing personal or group identity, nostalgia and memory, dislocation, or hybridity.


2021 ◽  
Vol 6 (3) ◽  
pp. 66-71
Author(s):  
Puneet Singh

South Asian writers’ partition accounts attest that women from all backgrounds of culture and religion were the worst victims of the newly-created India-Pakistan border of 1947. Women's bodies were kidnapped, stripped naked, raped, disfigured (their breasts were cut off), engraved with religious symbols, and slain before being transported in train carriages to the "other" side of the border. Taking the romantic example of Bapsi Sidhwa’s Ice Candy Man/Cracking India (1988), we will look at the symbol of women's breasts, following on the theories of Judith Butler and Michel Foucault on power and governmentality, framed within the rhetoric of Mother India, where violence against women is a commonplace Bapsis Sidhwa’s theory of women's rights. As a result, we will examine the passage of sacks of damaged breasts as a horrible testimony to Partition history and as a metaphor for border crossing, undermining the nation's stability. In light of Julia Kristen's abjection theory, we will view female corpses with damaged breasts as abject who push the bounds of normative society, exposing its frailty. Finally, the novel covered in this document can be seen both as a disgraceful condemnation of a brutal de/colonial process and as a witch for feminist resistance (doing Herstory). The agony and grief of mutilated women's bodies are depicted in authors such as Bapsi Sidhwa to reveal the dialectic of history/body (the trajectory of the violation of women's rights).


Author(s):  
Dennis Ioffe

This chapter analyzes Werner Fassbinder’s 1978 film of Vladimir Nabokov’s 1936 novel Despair. In light of Nabokov’s own border crossing as a Russian immigrant in Berlin, Fassbinder draws out the implications of the German setting in the writer’s time. The chapter argues that by focusing on the homosexual and Jewish themes of the novel in light of Fassbinder’s own homosexuality and experience as a citizen of a nation that had carried out the Holocaust just before his birth in 1945, the director creates a complex cultural map of sexuality, religious identity, and the mental illness that plagues the protagonist, Hermann. Fassbinder also develops Nabokov’s device of the double: in the film, Hermann, by murdering his stand-in Felix as a symbolic suicide, allows him to experience a rebirth through a new identity, away from Germany and his financial, marital, and social problems.


Prism ◽  
2021 ◽  
Vol 18 (2) ◽  
pp. 409-430
Author(s):  
E. K. Tan

Abstract Published in 2015, Padi Guli's A Hundred Years of Bloodline tells the story of Fatima, a Uyghur woman's journey to unpack her family history while struggling to understand the status of ethnic minorities in the larger fabric of multiethnic China. The novel concludes with a positive message calling for ethnic integration. This adoption of a state-sanctioned concept of ethnic integration is what this article calls conciliatory amalgamation; it privileges a rhetoric of multiethnicism that centers on national unity and economic progress. This article reads the novel against the PRC's ethnic minority policy to examine the implications of the protagonist's cultural, linguistic, and geopolitical border-crossing as she comes to terms with ethnic amalgamation as a necessary mode of survival. This allows the novel to be read as a symptom of Padi Guli's status as a Sinophone Uyghur writer who establishes herself within the dominant tradition of Chinese literature. As one of the few prominent Sinophone Uyghur writers, she inevitably becomes a token that sustains the rhetoric of Chinese literature as inclusive and diverse. Along this line of thought, the article argues that Padi Guli's status as a writer mirrors that of her protagonist as they both adopt a conciliatory attitude toward amalgamation.


2021 ◽  
Vol 10 (2) ◽  
pp. 60-74
Author(s):  
Chiou-Rung Deng

This paper seeks to explore three modes of cultural identification presented in Kiran Desai’s The Inheritance of Loss. With three intersecting plotlines, the novel focuses on three divergent modes of cultural identification in different spatio-temporal contexts. The first kind of cultural identification is imbued with a sense of foreignness, exemplified by the judge, Jemubhai, whose cultural identity is deeply shaped by imperialist ideology during British colonization of India. As Indian culture is negated by the colonial power, Jemubhai adheres to English cultural identification and disavows his Indianness. The second mode of cultural identification revolves around the issue of cultural authenticity in the diasporic context for Biju, a young migrant, illegal worker in various restaurants in New York. To survive in a foreign country, Biju forces himself to transgress cultural borders, which disconcerts Biju and further prompts him to pursue cultural authenticity. The third mode highlights Sai’s and Gyan’s trajectories of cultural identification. Just as Sai, Jemubhai’s granddaughter, embodies the idea of in-betweenness, Gyan, Sai’s math tutor, manifests the desire to escape narrow nationalism. Both Sai and Gyan evoke the potential of crossing borders. Juxtaposing the three modes of cultural identification, Desai’s novel explores the process of negotiating cultural identity and gestures towards a field of border-crossing identity.


Author(s):  
AE Shiyanova ◽  
EA Chumachkova ◽  
LN Dmitrieva

Introduction: When ensuring preparedness of constituent entities of the Russian Federation to take anti-epidemic measures in order to respond to imported infections, including the novel coronavirus disease, appropriate training of healthcare workers, specialists of bodies and institutions of the Federal Service for Surveillance on Consumer Rights Protection and Human Wellbeing (Rospotrebnadzor) and non-medical specialists was important. The objective of our work was to improve methodological support of inter-agency collaboration in implementing activities on sanitary protection of the territories at border patrol checkpoints. Materials and methods: We analyzed reports on interdepartmental drills at Russian border patrol highway checkpoints, including those conducted within the preparation for 2018 FIFA World Cup, and regulations on the aspects of interdepartmental drills at international border crossing points. Results: We assessed completeness of implementation, organizational structure, content, and methodological aspects of interdepartmental cooperation in the course of drills at highway checkpoints and proposed a unified approach to conducting training with account for realities of checkpoint functioning and requirements for ensuring biological safety. The article provides recommendations for conducting drills on anti-epidemic measures to be taken when identifying a suspected case of a highly hazardous communicable disease at border patrol checkpoints.


2010 ◽  
Vol 34 (8) ◽  
pp. S33-S33
Author(s):  
Wenchao Ou ◽  
Haifeng Chen ◽  
Yun Zhong ◽  
Benrong Liu ◽  
Keji Chen

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