scholarly journals How Karen Tei Yamashita Literalizes Feminist Subversion: Extreme Domesticity, Space-Off Reversals, and Virtual Resistances in Tropic of Orange

Humanities ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 28
Author(s):  
Nathan Dwight Frank
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Male Gaze ◽  
The Third ◽  
Karen Tei Yamashita ◽  
Feminist Narratology

In Tropic of Orange (1997), Karen Tei Yamashita builds an expansive narrative on the premise that the Tropic of Cancer shifts mysteriously from its actual latitude, barely north of Mazatlán, México, to that of L.A.’s latitude: from 23.43692° north of the Equator to 34.0522° N. By doing so, Yamashita literally takes that which is “south of the border” and repositions it in a hub of neoliberal hegemony; that is, she takes what is below (“sub-”) and puts it on top (“-vert”). I read such a literal and magically realistic move as an allegorical template that guides the novel in its entirety, but more specifically, in its repositioning of women from their spaces of relegation to spaces animated by their resistances to such relegation; from spaces of dependency to spaces characterized by feminine influence. This essay examines three strategies through which feminist subversions may be accomplished according to Yamashita’s textual template: The first follows Susan Fraiman’s theory of Extreme Domesticity (Fraiman 2017) as it tracks how subservient spaces of home and household can become sites of nonconformity; the second takes its cue from the cinematic strategies of “space-off” and “reversal” as examples of how marginal or negative spaces can be leveraged against the male gaze (c.f. José Rodríguez Herrera’s analysis of Sarah Polley’s film adaptation of Alice Munro’s “The Bear Came Over The Mountain,” Herrera 2013); and the third engages my own notion of a spatial virtuality (“that which is present without being local,” Munro 2014) as a mode of resistance that culminates, ultimately, in “a condition of literature,” that is to say, a condition in which Tropic of Orange refers to the conditions of its own making instead of referring to the conditions that create it (ibid.). My tripartite method thus highlights and celebrates the domestic, cinematic, and technological spaces of Yamashita’s writing, respectively, just as it articulates how these spaces might also be read as subversively feminist and feminizing. But it also meditates formally and contextually, as Tropic of Orange’s condition of literature implies, a sort of ablated feminist narratology, even as it works toward feminist narratological ends.

scholarly journals Solaris and the Dao: The Reception of Stanislaw Lem’s Novel in the Sinophone World

2021 ◽  
pp. 121-151
Author(s):  
Zofia Anna Wybieralska
Keyword(s):  
Science Fiction ◽  
Significant Influence ◽  
Popular Science ◽  
Film Adaptation ◽  
The Novel ◽  
Hollywood Film ◽  
The Third ◽  
Philosophical Aspect ◽  
Stanislaw Lem

The most popular science fiction novel written by the Polish author Stanisław Lem, Solaris, was published in 1961. Although it was translated into English as early as 1970, the book was unknown to the Sinophone readers until 2003, when the first translation from English into Chinese was published, most probably following the popularity of the resounding Hollywood film adaptation from 2002. Still, Suolalisi Xing (which can be translated as ‘Solaris Star’) did not attract broader audiences in China or Taiwan, at least not until the third version of the novel, translated directly from Polish into Chinese, saw the light of day in 2010. The appearance of this translation coincided with the beginning of a New Golden Era of Chinese and Taiwanese science fiction, which undoubtedly had a significant influence on the positive re-reception of Solaris. In the paper, the author focuses on the philosophical aspect of Lem’s work and investigates which themes and concepts present in Solaris caught the imagination of Chinese-speaking readers. The author wants to show how this reception, while coming from a different historical, cultural, and linguistic background, can enrich our understanding of the novel and introduce a new way of looking at the important existential questions stated by the writer.

scholarly journals EKRANISASI NOVEL SURGA YANG TAK DIRINDUKAN KARYA ASMA NADIA KE FILM SURGA YANG TAK DIRINDUKAN KARYA SUTRADARA KUNTZ AGUS

Jurnal KATA ◽  
2017 ◽  
Vol 1 (1) ◽  
pp. 94
Author(s):  
Megasari Martin
Keyword(s):  
Literary Work ◽  
Film Adaptation ◽  
The Novel ◽  
Research Needs ◽  
Data Validation ◽  
Data Format ◽  
The Third ◽  
Third Phase ◽  
Three Stages

<p>The transfer of the novel into a movie will lead to changes. That's because the process of making the novel and the film are very different. Different processes will produce somewhat different results. In the film without explaining to the audience what was happening, the audience itself has been understood through movement and images shown, while in the novel the reader to imagine exempted in accordance with what they think. To bridge the misunderstanding of society (lovers of literature) to the film adaptation of the literary work (novel), this research needs to be done. This is so that people can see the film as a film without overshadowed by his literary work (novel). This study aimed to: describe the novel Heaven Tak ekranisasi missed work to movie Asma Nadia Heaven Not missed by director Kuntz Agus.<br /> This study is a qualitative study using descriptive methods. Data of this study is novel Heaven episode story that Asma Nadia Tak missed work and the film Heaven Not missed by director Kuntz Agus. Data was collected through three stages, namely; The first step is to read the novel Heaven is not missed work Asma Nadia, followed by watching the movie Heaven Not missed by director Kuntz Agus. Phase Two is the inventory, to identify elements of the novel and the film Heaven is not missed. The third phase is the classification of data into the data format. The data validation techniques detailed description of the technique. Analyzing technique is done with the theory ekranisasi.</p>Based on the results of the study, concluded the following. First, a reduction in part ceritan novel Heaven Asma Nadia Tak missed work in the film Heaven is not missed by director Kuntz Agus. Secondly, there was an additional episode in the story in the film Heaven is not missed by director Kuntz Agus. Third, there is a change of variety of events, characters and background story episode in the film Heaven is not missed by director Kuntz Agus. Subtraction, addition and alteration variation on the novel and the film Heaven There may be missed characters, plot and setting. Such changes may result in changes of meaning and story standpoint.<br />

Feelings of Figures in Novel Notes Juang Fiersa Besari (Personality Ludwig Klages)

2020 ◽  
Vol 8 (3) ◽  
pp. 13
Author(s):  
Faridatus Soleha
Keyword(s):  
Qualitative Approach ◽  
Personality Structure ◽  
Personality Theory ◽  
The Novel ◽  
Research Focus ◽  
The Third ◽  
Analyze Data

This study aims to describe the feelings of the characters in the novel Juang Notes by Fiersa Bersari and researchers analyze using personality theory originated by Ludwig Klages by focusing his study on the personality structure of feelings. Feeling is a process of someone accepting or rejecting something in life. This study uses a qualitative approach by using library techniques to obtain data that will produce a description of the words or sentences in the observed study. In the analysis of this research using the hermeutics technique, in the hermeutics technique there are several stages, namely reading the research object in this study in the form of a fighting journal, the second gives a mark on the data that has been obtained from the reading results, the third provides code or coding on the data that has been found, and the fourth is to analyze data that has been obtained from the object of research in accordance with the specified research focus. Novel Notes Juang by Fiersa Besari is a novel that can be used as an inspiration for readers in living life. Based on the results of the study it was found that in the Fighting Notes novel there is a feeling that is divided into inner activities and the level of clarity, inner activities in the novel in the form of fear and guilt while viewed from the level of clarity in the form of happiness, sadness and longing.

The Coherence of Mary Barton: Romance, Realism, and Utopia

2015 ◽  
Vol 5 (3) ◽  
pp. 185-200
Author(s):  
Robert Z. Birdwell
Keyword(s):  
Thomas Carlyle ◽  
The Novel ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Three Stages ◽  
Mode Of Production

Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.

Representasi Sikap Kebangsaan Anak Muda dalam Hegemoni Negara pada Novel Populer

Metahumaniora ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 100
Author(s):  
Muhamad Adji
Keyword(s):  
New Order ◽  
The Novel ◽  
The Third ◽  
Study Results ◽  
Popular Novel

AbstrakPenelitian ini bertujuan untuk memperoleh gambaran tentang sikap kebangsaananak muda Indonesia pada tiga novel populer yaitu Ali Topan Anak Jalanan karya TeguhEsha, Lupus: Makhluk Manis dalam Bis karya Hilman Hariwijaya, dan Balada Si Roy karya GolaGong. Alasan pemilihan objek penelitian di atas adalah karena ketiga novel tersebut memilikitingkat popularitas yang tinggi pada tiap zamannya sehingga membuat tokoh utamanyamenjadi representasi anak muda Indonesia pada zamannya masing-masing. Pertanyaanpertanyaanyang memandu tulisan ini adalah 1) Bagaimana keindonesiaan digambarkanpada ketiga novel tersebut dan 2) Bagaimana sikap kebangsaan direpresentasikan tokohanak muda pada ketiga novel tersebut. Dari hasil kajian didapatkan simpulan bahwasikap kebangsaan yang ditampilkan pada ketiga novel tersebut memiliki tingkatan yangberbeda-beda. Novel Ali Topan Anak Jalanan menunjukkan sikap kebangsaan dengan lebihkritis. Hegemoni orde Baru pada masa itu belum berhasil karena novel populer masihmenampilkan tokoh anak muda yang kritis dan cenderung memberontak terhadap nilainilaiideologi Orde Baru. Periode ’80-an menampilkan novel populer dengan tokoh anakmuda yang memiliki sikap kebangsaan yang terbelah. Pertama, anak muda yang dapatmenerima realitas yang dikontruksi Orde Baru, dengan menjalani sistem tersebut danmemposisikan dirinya sebagai bagian dari sistem tersebut. Hal itu direpresentasikan olehtokoh Lupus dalam novel Lupus: Makhluk Manis dalam Bis. Kedua, anak muda yang tidakdapat menerima realitas yang dikonstruksi Orde Baru, dengan cara keluar dari bagiansistem tersebut. Hal itu direpresentasikan oleh tokoh Roy dalam Balada Si Roy.Kata kunci: kebangsaan, anak muda, novel populer, Orde BaruAbstractThis study aims to obtain a picture of Indonesian nationalism in the three popularnovels that were Ali Topan Anak Jalanan by Teguh Esha, Lupus: Makhluk Manis dalam Bisby Hilman Hariwijaya, dan Balada Si Roy by Gola Gong. The reason for choosing the object ofresearch above is that all three novels are recognized to have high levels of popularity in eachera so that made the main characters became a representation of Indonesian youth at that time.The questions that guide the writing are 1) How Indonesianness described in the third novel?2) How does nationalism represented by youth in these three novels. From the study results isobtained the conclusion that nationalism is displayed on the third novel has a level different.Ali Topan Anak Jalanan show a nationalism more critically. The New Order’s hegemony atthat time has not been successful because the novel still showing a critical youth and tends torevolt against the ideological values of the New Order. The ‘80s period featured a popular novelwith a youth character who had a split nationalism. First, the youth who can accept the realitythat the New Order has constructed, with the system and position itself as part of the system.It was represented by the Lupus’s character in the Lupus: Makhluk Manis dalam Bis. Second,the youth who can not accept the facts constructed by the New Order, by going out from thatpart of the system. It was represented by Roy’s character in the Balada Si Roy.Keywords: nationalism, youth, popular novel, New Order

DRAMATIC ELEMENTS IN DASHNER’S MAZE RUNNER NOVEL AND FILM ADAPTATION

2020 ◽  
Vol 2 (2) ◽  
pp. 80-88
Author(s):  
Anggia Putria ◽  
Muizzu Nurhadi
Keyword(s):  
Qualitative Method ◽  
Film Adaptation ◽  
The Novel ◽  
Descriptive Qualitative

The research aims to reveal how the application of dramatic elements of Dashner’s Maze Runner is transformed into its film adaptation. To achieve the purpose, the researcher analyzes seven dramatic elements by Gustav Freytag’s Pyramid which consist of exposition, inciting moment, rising action, climax, falling action, resolution, and denouement. This research uses the descriptive qualitative method. The results of this research are the differences of the dramatic elements in the novel and film adaptation are not significant because only the scenes of exposition and rising action are not similar.

The Limit Situation And The Narrative Of War (On The Material Of The Novel “My Lieutenant” By Daniil Granin)

2020 ◽  
Vol 6 (1) ◽  
pp. 90-104
Author(s):  
Anatoly S. Kuprin ◽  
Galina I. Danilina
Keyword(s):  
20Th Century ◽  
Scientific Work ◽  
Point Of View ◽  
Continuous Limit ◽  
The Novel ◽  
Term Limit ◽  
Abstract Author ◽  
The Third ◽  
Definition Of

The purpose of this study is the analysis of limit situation in the narrative of war. The material of the study is the novel of Daniil Granin “My Lieutenant” and related texts. In the first part of the paper, the authors explore existing approaches to the term “limit situation” and similar concepts into scientific and philosophical traditions; limits of its applicability in literary studies and its relation to the categories of “narrative instances” and “event”. Proposed a literary-theoretical definition of the limit situation, which can be used in the analysis of fiction texts. Existing approaches to the examination of the situation of war are analyzed: philosophical-existential, psychoanalytic, sociological, literary. In the second part of the paper, the authors propose their method for analyzing limit situations in texts about war, which basis on existing approaches and preserves the text-centric principle of studying the structure of the story. Two interrelated areas of research have been identified: the study of war as a continuous limit situation in the intertextual aspect (the discourse of war); the study of limit situations (death, suffering, guilt, accident) in the narrative of war as part of a specific text. In the third part of the scientific work,the analysis of war as a continuous limit situation results in the study of the concept of “limit” (border) in a fiction text. The role of “limit” (border) concept in the texts about the war is studied, the possible types of limits in the discourse of war are examined. Limit situations in the narrative of war are analyzed on the basis of the novel “My Lieutenant” by Daniil Granin. A review of journalistic and scientific works about the novel revealed both the continuity and the differences between the novel and the “lieutenant” prose of the 20th century. An analysis of the limit situations in the novel revealed their key position in the narrative. These situations are independent of the fiction time, of the fluctuation of the point of view’; the function of the abstract author is to build the narrative as a “directive” immersion of the hero and narrator in these situations.

Materializing Ulysses

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Twentieth Century ◽  
Film Adaptation ◽  
The Novel ◽  
Perceived Power

This chapter compares the reception of Joyce’s 1922 Ulysses with that of Joseph Strick’s 1967 film adaptation of the novel. Although Ulysses had been legally publishable in England for decades, Strick’s film still encountered censorship from the British Board of Film Censors. The chapter argues that Joyce’s novel, for all its obscenity and provocation, mitigated its threat by foregrounding its own printedness, allying its fate to the waning power of print as a bearer of obscenity. Strick’s film, by contrast, activated the perceived power of film. The contrast of the two versions of Ulysses, which are often identical in language, thus offers a valuable window on how obscenity changed across media through the twentieth century. In making this argument, the chapter surveys print strategies of censorship, including the asterisk, and how these strategies operated in a range of works.

The Free Responsible Action of the Individual

2018 ◽  
Author(s):  
Michael P. DeJonge
Keyword(s):  
The Novel ◽  
Extreme Situation ◽  
The Third ◽  
Third Phase ◽  
Responsible Action ◽  
Action Type ◽  
Two Phases ◽  
The Individual ◽  
The Church

If, as Chapter 12 argues, much of Bonhoeffer’s resistance thinking remains stable even as he undertakes the novel conspiratorial resistance, what is new in his resistance thinking in the third phase? What receives new theological elaboration is the resistance activity of the individual, which in the first two phases was overshadowed by the resistance role played by the church. Indeed, as this chapter shows, Bonhoeffer’s conspiratorial activity is associated with what he calls free responsible action (type 6), and this is the action of the individual, not the church, in the exercise of vocation. As such, the conspiratorial activity is most closely related to the previously developed type 1 resistance, which includes individual vocational action in response to state injustice. But the conspiratorial activity differs from type 1 resistance as individual vocational action in the extreme situation.

‘Their Voices Ring in My Ears’: Laura, the Fugue, and Adaptation

Adaptation ◽  
2020 ◽  
Author(s):  
Margaret A Toth ◽  
Teresa Ramoni
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Adaptation Studies

Abstract This essay analyzes Vera Caspary’s novel Laura (1943) and the 1944 film adaptation (Preminger) in order to demonstrate an approach to adaptation studies we call fugal. If a fugue is a composition based on a ‘subject’ or short melodic phrase and its various ‘answers’—in other words, variations that maintain elements of the melody but also play with and revise it—how might we position the film as a variation on, rather than a reproduction of, Caspary’s novel? To explore this question, we analyze the sonic register of both the novel and film. Caspary doesn’t want us to merely read her novel; she wants us to listen to the voices that narrate it and the tunes that populate it. Similarly, listening to the film—not simply the dialogue but also the voiceover narration and David Raksin’s groundbreaking score—allows us to identify content not overt in, and sometimes at odds with, the visuals. When we listen critically and carefully, we can distinguish nuances that get lost in a strict fidelity approach; in particular, we can identify both works’ feminist content, especially their attempts to decentre patriarchal hard-boiled conventions and to confound notions of a singular truth.

Sign in / Sign up

Export Citation Format

Share Document