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.

scholarly journals To the question of transformation of literary texts into stage version (“Three Years” of A. P. Chekhov in theatrical interpretation of S. V. Zhenovach)

Litera ◽  
2020 ◽  
pp. 33-41
Author(s):  
Daria Savinova
Keyword(s):  
Literary Text ◽  
Literary Texts ◽  
The Novel ◽  
Action Identification ◽  
Unpublished Manuscript ◽  
Complex Process ◽  
Authorial Intent ◽  
Stage Direction ◽  
New Type ◽  
Theatre Studies

This article is dedicated to the question of text transformation from authorial intent to stage impersonation. Despite the established tradition of studying the questions of recoding of literary text into theatrical, there is yet no theoretical-literary substantiation. Recoding is considered a complex process of creating a new type of text by the theatre director for staging a play. Therefore, an attempt is made to analyze the elements of transformation of literary text into its stage version, using the example of S. V. Zhenovach’s unpublished manuscript for stage direction based on A. P. Chekhov’s novella “Three Years”. The novelty of this research consists in determination of the patterns in transformation of literary text into stage version. The tools and means of expression applied in theatre and literature are different. If in literature it is possible to set several task and solve them all within the framework of the novel, then in theatre, it must be one ultimate task that organizes the action. Identification of the key peculiarities of existence of such type of text as “stage direction” on the example of transformation of the novella “The Years” from the authorial intent to stage impersonation demonstrated its significance for not only theatre studies, but also the theory of literature.

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 Busca el libro! : la intervención de Sherlock Holmes y D'Artagnan en El Club Dumas de Arturo Pérez-Reverte

2008 ◽  
Vol 13 ◽  
pp. 41-47
Author(s):  
Mária Dornbach ◽  
Arturo Pérez-Reverte
Keyword(s):  
Detective Fiction ◽  
Literary Work ◽  
The Novel ◽  
Sherlock Holmes ◽  
Complex Character ◽  
Narrative Space ◽  
Greek Tradition ◽  
Literary Work Of Art ◽  
Narrative Techniques ◽  
Historical References

The essay examines Arturo Pérez-Reverte's novel The Dumas Club. The novel can be categorized as a literary crime story; it maintains the characteristics of traditional detective fiction, but, as the author points out, it also presents the use of refined and complex narrative techniques. Pérez Reverte offers a dizzying array of cultural, literary and historical references, which all carry a metaphoric layer of meaning and expand the narrative space and time of the novel into infinity. Similarly to the Greek tradition and the characteristics of the literature of adventure, defined by Bakhtin, the condensed time and space become the principal motivators for the action. The complex system of symbols, the chronotopical motives and the metatextual references offer different layers of possible interpretations and provide a complex character portrayal. Pérez-Reverte's characters embody Sherlock Holmes and other famous detectives; at the same time, they evoke the classic heroes of The Three Muskateers, and often bear similarities to the author himself, and to important literary predecessors. Each of the 16 chapters of the novel is preceded by a motto taken from a famous literary work of art; these quotations function as an incipit, advancing and, at the same time, reflecting to the most important elements of the chapter.

The Viability of the Philosophical Novel: The Case of Simone de Beauvoir's She Came to Stay

Hypatia ◽  
2012 ◽  
Vol 27 (4) ◽  
pp. 791-809 ◽  
Author(s):  
Ashley King Scheu
Keyword(s):  
Literary Work ◽  
Literary Text ◽  
Philosophical Tradition ◽  
Aesthetic Theory ◽  
The Novel ◽  
Simone De Beauvoir ◽  
Philosophical System ◽  
Original Contribution ◽  
Philosophical Novel

This article begins by asking if the project to write a philosophical novel is not inherently flawed; it would seem that the novelist must either write an ambiguous text, which would not create a strong enough argument to count as philosophy, or she must write a text with a clear argument, which would not be ambiguous enough to count as good fiction. The only other option available would be to exemplify a preexisting abstract philosophical system in the concrete literary world. To move beyond such an impasse, this article turns to the work of Simone de Beauvoir. Beauvoir's unique aesthetic theory in “Literature and Metaphysics” envisions philosophy as an integral part of the literary text and sees the novel not as an argument but as something called a “philosophical appeal” (Beauvoir 2004b). In her first novel, She Came to Stay, such a concept of the philosophical novel allows Beauvoir to make an original contribution to the philosophical tradition—one in which Beauvoir rethinks the problem of solipsism—while still creating a stunning literary work (Beauvoir 1954). A study of the theory and the novel together thus provides a solid understanding of what philosophers stand to gain from the philosophical novel.

scholarly journals The Confluence in the Contemporary Art World of Literature and Postmodern Visual Arts in Jeff Vande Zande’s Landscape with Fragmented Figures

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
Smriti Thakur ◽  
◽  
Dinesh Babu P ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Aesthetic Experience ◽  
Interdisciplinary Approach ◽  
Literary Work ◽  
Academic Disciplines ◽  
Art World ◽  
The Novel ◽  
Contemporary World ◽  
Art Forms

The American poet, novelist and editor, Jeff Vande Zande’s Landscape with Fragmented Figures (2009) is a novel that deals with the contemporary world of art, which brings forth the intricacies of the art forms such as collage, action paintings, and drop cloths that have established a crucial distance between the present and the past world of pre-modern art. As the novel revolves around the world of postmodern visual arts and brings this subject into the literary world, it necessitates an interdisciplinary approach, which not only brings the two different academic disciplines of arts together for a critical appreciation, but also creates a new aesthetic experience in the reader, wherein visual arts is seen through the lens of literature, which helps foreground the hidden patterns and motives behind the art work, and the literary work is appreciated with a greater knowledge and understanding of the practices in and theories of the modern and postmodern art. By looking at the symbiotic relationship between visual art and literature through the novel, this study makes an attempt to contribute to the aesthetic appreciation of the engaging confluence of postmodern visual arts and literature in the contemporary world of art. By analysing the text, the study explores the phenomena that have reduced the difference between the original and copy in the contemporary art-world wherein the artist’s aesthetic sensibility seems to derive from other sources, and thus brings into critical discourse those factors that have determined the use of parody, pastiche, irony, and collage in contemporary art forms.

scholarly journals Specific features of intersemiotic translation of symbols from the perspective of conceptual and semiotic paradigm

2021 ◽  
Vol 10 (47) ◽  
pp. 263-270
Author(s):  
Natalia Holubenko
Keyword(s):  
Literary Text ◽  
Film Adaptation ◽  
The Novel ◽  
Suggested Model ◽  
Source Text ◽  
Semantic Fields ◽  
The Given ◽  
Conceptual Nature ◽  
Basic Symbol ◽  
Made In

The text of the novel “Inferno” written by Dan Brown and its film adaptation, provide the material for the analysis of symbols and their importance in both art forms. This analysis, which rests on the thesis of the conceptual nature of symbols in any literary text, is made in conceptual and semantic fields, and the concepts denoted by the analyzed symbols are pointed out. Given that the text of the source novel is abundant in symbols of various degrees of textual importance, not all of them were subject of research in this paper. The basic symbol of the source text, the Inferno, was singled out, as well as a number of symbols embodied by novel and film personages. In the research, frequent techniques of intersemiotic translations were analyzed as concerns their role in symbol rendering: omission, typical of the studied case of intersemiotic translation, which can be combined with the technique of addition. In the latter case, the degree of expressive force of the symbol can be considerably altered. The greatest shift in the degree of importance of a symbol is named ‘symbol transformation’, it is observed when symbols (in the given case, symbolic personages of the source text) lose their expressive force and the features of a symbol, i.e., in the process of intersemiotic translation these symbols are lost. The suggested model of analysis can be applied in other cases of intersemiotic translation, and other techniques, together with their combinations, can be found.

scholarly journals Arkady Dolgoruky in Cinema and Theatre: Debut Decisions

2021 ◽  
pp. 192-223
Author(s):  
Liudmila I. Saraskina
Keyword(s):  
Middle Age ◽  
Literary Work ◽  
Film Adaptation ◽  
The Novel ◽  
Saint Petersburg ◽  
Literary Source ◽  
Stage Adaptations ◽  
To Come ◽  
Main Ideas ◽  
Made In

The paper investigates the fate of Fyodor Dostoevsky’s novel The Adolescent in cinema and theatre, comparing it with the stories of several film and stage adaptations of other works by the same author. The problem here discussed concerns the acceptable limits of interpretation, in cinema and theatre, of a literary work. The paper considers the following controversial aspects: - to what extent film and stage adaptations of a literary work may prove the success of the work as a piece of literature? - do film and stage adaptations expand (amplify) the contents of their literary source? - do they treat honestly the ideas and images of their source? The paper analyses the reasons why both cinema and theatre for many decades did not pay attention to The Adolescent and perhaps even deliberately bypassed it. The only film adaptation of The Adolescent so far was made in USSR in 1983 by the director Yevgeny I. Tashkov (1926-2012), with Andrei Tashkov (b. 1957) as Arkady Dolgoruky and Oleg Borisov (1929-1994) as Andrei Versilov. Of particular interest is the process of transforming the novel first-person narrative (Ich-Erzählung) into the language of cinema. However, the cinema debut of the novel and its characters cannot be described as a success. The film freed itself from the meaningfulness of the literary original, did not treat adequately its main ideas, and chose easy ways in all respects: in the script, in the work of the director, and the actors’ performances. Still more simplified has been the stage adaptation of The Adolescent at the Maly Drama Theatre in Saint Petersburg (the premiere took place on May 12, 2013). The director Oleg Dmitriyev, a disciple of Lev Dodon, abridged considerably the plot of the novel. The character of Versilov was deleted, shifting accents, and disfiguring the whole composition of the plot. In the novel, Arkady had dreamed all through his youth to come to know “the whole truth” about Versilov. In the stage adaptation, Arkady is presented not as a young and maturing person, but as a grown-up man who goes through a “middle-age crisis”: he turns into Versilov himself. He appropriates Versilov’s right to be extravagant and scandalous, thus playing the role, not of a witness but the central figure in the culmination of the story.

scholarly journals Anna Karenina no cinema: o primeiro encontro de Anna e Vronski nos filmes de 1935, 1948 e 2012 / Anna Karenina on the cinema: the first encounter of Anna and Vronski in the movies from 1935, 1948 and 2012

2017 ◽  
Vol 10 (2) ◽  
pp. 254-270
Author(s):  
Juliane Bassanufa Oliveira ◽  
Carlos Francisco de Morais
Keyword(s):  
Research Group ◽  
Literary Text ◽  
The Novel ◽  
Literature Research ◽  
Anna Karenina ◽  
Theoretical Perspectives ◽  
De Se ◽  
Clarence Brown ◽  
The Many ◽  
The Relationship

RESUMO: Este estudo surgiu da participação no grupo de pesquisa intitulado Literatura em Diálogo, que tem como objetivo o estudo e a pesquisa sobre as diversas adaptações cinematográficas do romance Anna Karenina, de Leon Tolstói. Neste estudo, em particular, é feita uma análise da primeira cena de encontro entre Anna Karenina e Alexei Vronski, nas adaptações cinematográficas de 1935 (Clarence Brown), 1948 (Julien Duvivier) e 2012 (Joe Wright), e no texto literário de Tolstói (1877). A apropriação do texto literário pelo cinema fez com que os olhares de teóricos de ambas as artes se voltassem para a relação entre elas. Sendo assim, há diversos conceitos a serem analisados e articulados, entre eles: fidelidade, tradução, elementos fílmicos e intertextualidade. Nesta pesquisa, investiga-se o material literário, sua recriação cinematográfica e as múltiplas possibilidades que surgem dessa relação de linguagens artísticas diferentes e com particularidades específicas. Dentro das próprias produções fílmicas serão apontadas, ao longo do artigo, as diferentes formas de realizar adaptações, que carregam as ideologias do seu realizador, condições de realização e contextos históricos diferentes. A perspectiva teórica que norteia esta pesquisa é a literária em conjunto com a cinematográfica, segundo os estudos de Stam (2006), Pereira (2009), Hutcheon (2011) e outros. Em outras palavras, investiga-se qual(is) representação(ções) pode(m) ser percebida(s) nessas adaptações fílmicas feitas através da apropriação do texto. Pretende-se observar não somente o deslocamento do literário para a obra cinematográfica, mas também as diferentes formas de se fazer a adaptação dentro das próprias produções para a tela do material ficcional, pois não existe uma única maneira de produzir adaptações.PALAVRAS-CHAVE: Anna Karenina; adaptações; cinema; literatura; pesquisa.ABSTRACT: The origin of this study is the participation in the research group Literature and Dialogue, that seeks to study and research the many filmic adaptations of the novel Anna Karenina, by Leon Tolstoi. In this particular study, an analysis of the first encounter between Anna Karenina and Alexei Vronski was conducted, as it was portrayed in the filmic adaptations from 1935 (Clarence Brown), 1948 (Julien Duvivier) and 2012 (Joe Wright), as well as in the literary text by Tolstoy (1877). The appropriation of the literary text by the cinema made the theoreticians from both fields turn their attention towards the the relationship between them: fidelity, translation, filmic elements and intertextuality. In this research, the literary material was investigated, as well as its filmic recreations and the multiple possibilities that come from the relationship between different artistic languages with specific particularities. Within the filmic productions themselves, throughout the article, different ways to conduct adaptations are going to be pointed at, as they carry the ideologies of their auteurs, the conditions in which they were produced and their different historical contexts. This study was informed by literary and cinematographic theoretical perspectives, according to the studies of Stam (2006), Pereira (2009), Hutcheon (2011) and others. In other words, this study investigates which representations may be found in the filmic adaptations conducted through the appropriation of the text. The study aims not only at looking at the movement from literature to cinematographic work, but also at the different ways to conduct an adaptation within the productions of the fictional material for the screen, since there are many possible ways to produce adaptations.KEYWORDS: Anna Karenina; adaptations; cinema; literature; research.

scholarly journals “ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY

2018 ◽  
Vol 9 (2) ◽  
pp. 218-225
Author(s):  
EKATERINA Gurina
Keyword(s):  
Film Adaptation ◽  
Leo Tolstoy ◽  
Film Production ◽  
The Novel ◽  
Source Book ◽  
Tom Stoppard ◽  
Anna Karenina ◽  
Different Types ◽  
Full Sense ◽  
The Individual

Aim. The aim of the research is to compare Konstantin Levin’s function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his figure was changed in the film adaptation under the influence of the scriptwriter’s and director’s stance. Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character classifications and the text corpus analysis, taking into account the cultural, historical and economic features of scriptwriting and film production. Results. The analysis shows that Konstantin Levin’s function of the second protagonist that is characteristic for the novel is further developed in the screenplay but is omitted in the film. The discrepancies with the source book and the screenplay are caused by the influence of the film director during the film production. Conclusions. Even though the study considers the texts that are closely interrelated, the individual author’s stance influences the text of the screenplay so much that it gives us an opportunity to call Tom Stoppard, the scriptwriter, a writer in the full sense of the word.

scholarly journals Possible Worlds of Planet Solaris: The Reader’s Consciousness in the Condition of Indeterminacy

1970 ◽  
Author(s):  
Tetiana Grebeniuk
Keyword(s):  
Actual World ◽  
Possible Worlds ◽  
Literary Work ◽  
Literary Analysis ◽  
Film Adaptation ◽  
The Novel ◽  
Human Consciousness ◽  
World Semantic ◽  
The Unconscious ◽  
The One

The article examines the specifics of the reader’s reception of Stanisław Lem’s novel Solaris in the context of indeterminacy, and the openness of the work to interpretation. The paper examines literary approaches to the formation of meaning in the process of reading this novel, in particular those implemented in Manfred Geier and Istvan Jr. Csicsery-Ronay works. Marie-Laure Ryan’s adaptation of the theory of possible worlds to literary analysis is employed as the methodological basis of my research. On the one hand, the effect of indeterminacy corresponds to the fantastic nature of the conditionality of Lem’s novel. Indeed, the key issue of the work – the encounter of humans with the unknown – requires the author to apply the potential of secrecy. On the other hand, this highly literary work (as well as Andrei Tarkovsky’s film adaptation) is endowed with multiple and ambiguous semantic codes that appeal to the depths of human consciousness and the unconscious. These codes cannot be interpreted unambiguously and, therefore, also provoke a state of uncertainty in the reader. In the textual actual world, semantic codes produce indeterminacy. They are linked to the essence of the single inhabitant of the Solaris, the Ocean, and phantoms created by it who visit the Station. In the novel protagonist’s Kris Kelvin personal world, the state of indeterminacy is associated with the existential essence of his relationship with his beloved Rheya and the problem of making contact with extraterrestrial intelligence. The surreal imagery of Kris’s dreams and visions provide for possible interpretations of the semantic codes of his world.

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