scholarly journals Parody and the gas station in William Shakespeare's Romeo and Juliet

Author(s):  
Avital G. Cykman

http://dx.doi.org/10.5007/2175-8026.2017v70n1p177O filme de 1996 de Baz Luhrmann, Romeu e Julieta de William Shakespeare, é uma adaptação pop da peça do final do século XVI. As referências cruzadas e transgressões das alusões e sua afirmação subversiva pós-moderna, juntamente com a extrema intensidade com que esses elementos aparecem no ato um, cena um, e especialmente na cena colocada em um posto de gasolina, produzem uma ironia autodirigida em uma combinação de referências que define o filme como paródia no sentido pós-moderno. Assim, este artigo examina o primeiro ato, com uma atenção especial à sequência de postos de gasolina, e analisa-o à luz das definições acadêmicas da paródia pós-moderna por Linda Hutcheon, John W. Duvall e Douglas Lanier e de pastiche por Fredric Jameson . Uma vez estabelecida a hipótese da paródia, o artigo analisa o que o filme parodia, de que maneira, e qual são o objetivo e o impacto do humor aplicado.

2020 ◽  
pp. 223-232
Author(s):  
Marta Kacprzak

La ermoza istorya de Robinzon o la mizerya: Sephardi Versions of Robinson CrusoeIn the second half of the 19th century the Haskalah, an intellectual movement whose objective was to educate and westernize Eastern European Jews, also reached the Sephardic communities in the Ottoman Empire. As a result, there emerged Sephardic modern secular literature, represented mainly by narrative fiction, theatre plays and press. It should be added that modern Sephardic literature is primarily based on translations or adaptations of Western novels. Among these texts we find Sephardic editions of classics of European literature, such as Romeo and Juliet by William Shakespeare, Robinson Crusoe by Daniel Defoe and Gulliver’s Travels by Jonathan Swift.I have found four different versions of Robinson Crusoe that were written in Judeo-Spanish and edited in aljamía. Two of them were published serially in Sephardi press, one in Salonica in 1881 and the other in Constantinople in 1900. The other two editions were prepared by Ben Tsiyon Taragan and published as complete versions, the first one in Jerusalem in 1897 and the second one in Constantinople in 1924. The aim of this paper is to provide a brief analysis of the Sephardic adaptations of Robinson Crusoe by Taragan. La ermoza istorya de Robinzon o la mizerya: sefardyjska wersja Robinsona CrusoeHaskala, zwana także Żydowskim Oświeceniem, to ruch intelektualny, którego celem było odrodzenie kulturowe i społeczne Żydów z EuropyWschodniej oraz ich integracja ze środowiskiem lokalnym. W drugiej połowie XIX wieku Haskala objęła także społeczność Żydów sefardyjskich zamieszkujących tereny należące do Imperium Osmańskiego, w wyniku czego powstała współczesna, świecka literatura sefardyjska reprezentowana głównie przez prozę, sztuki teatralne oraz prasę. Warto dodać, że współczesna literatura sefardyjska oparta jest przede wszystkim na przekładach lub adaptacjach powieści uważanych za klasykę literatury europejskiej, takich jak Romeo i Julia Williama Szekspira, Robinson Crusoe Daniela Defoe czy Podróże Guliwera Jonathana Swifta.W trakcie prowadzonych przeze mnie badań natrafiłam na cztery różne judeo-hiszpańskie wersje Robinsona Crusoe, które zapisane zostały alfabetem hebrajskim, tzw. pismem Rasziego. Dwie z nich ukazały się w prasie sefardyjskiej, jako powieść w odcinkach, pierwsza w Salonikach w 1881 r., a druga w Konstantynopolu w 1900 r. Pozostałe dwie, autorstwa Ben Tsiyona Taragana, zostały wydane w całości, pierwsza w Jerozolimie w 1897 r., druga zaś w Konstantynopolu w 1924 r. Celem tego artykułu jest prezentacja oraz krótka analiza sefardyjskich adaptacji Robinsona Crusoe autorstwa B. T. Taragana.


Author(s):  
Anna Śliwińska

This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.


Author(s):  
Iryna Mozharivska

The article deals with the problem of finding the manifestations of intertextual reminisces in theEnglish drama of the Renaissance in the context of contemporary drama-parable consideration. In the process of analysing the play, the author draws attention to the context of intermedial connections of literature with theatrical art, considers the implementation of the principle of “game in play”, traces the manifistations of intercultural interaction between Eastern and Western culture. The events in the drama take place against a backdrop of complex historical events — The Japan-China War. The work contains references to the intertextual elements of the dramatic works of the English playwright William Shakespeare (the tragedies “Romeo and Juliet”, “Hamlet” and “Magbeth”. The comic interpretation of the play is a juxtaposition of cultures and literary genres. The author applies the concept «the theatre in the theatre», structures the work minimally through dialogue between the author and the censor. Intermediality acts as a system of interaction of one kind of art in the works of another and reveals mechanisms of mutual influence of kinds of art in the artistic culture of this or that historical period.


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