„Duma i uprzedzenie i zombi” Setha Grahame-Smitha i Jane Austen jako popkulturowy recykling kanonu

The article discusses the film adaptation of Pride and Prejudice and Zombies, which is a reference to Jane Austen’s novel, and the problem of zombie characters as a factor modifying the reality of its original version. The analysis was carried out with reference to the plot design of the film, the way of creating heroes and the costumes within the framework of a costume movie in which the story was embedded. The aim of the article is to identify the causes and consequences of introducing undead characters to the world created by Jane Austen. The reasons for this treatment were the popularity of the zombie motif in popular culture, the tendencies to experiment with the reinterpretation of works considered classic and repeatedly processed earlier into the language of cinema, as well as an attempt to adapt them to the requirements of a contemporary recipient seeking strong impressions. In addition, the world of zombies is a manifestation of the popular aspirations to achieve an economic profit. Consequences of completing the world with the undead epidemic theme include changes in the current social order, brutalization and sexualization of relations between characters, as well as a return to the traditional film narration about women, presented primarily as aesthetic objects and a source of interest for male characters.

La présence de la nuit dans Wakolda de Lucía Puenzo

This paper analyzes the presence and significance of the night in the novel Wakolda by Lucía Puenzo and also in the film adaptation of the text. The novel presents the short period during which the former Auschwitz extermination camp doctor, Josef Mengele, supposedly spent under the name of Helmut Gregor in Bariloche in Argentina. It is clear that there is no shortage of expressions linked to night when it comes to evoking the horrors committed by the Nazis. True to its etymology, the time between sunset and sunrise, is marked by the presence of darkness conducive to crimes. The paper thus links the night to the ideas of destruction, misfortune and death. The night is analyzed on three levels: as a singular space-temporal concept, as a symbol of criminal acts, and as a mirror of the sexual awakening of the character of Lilith.

Fala sério, Mãe!: um estudo comparativo entre a obra literária e o filme e sua contribuição na formação do leitor

Resumo O presente artigo constitui uma adaptação do Trabalho de Conclusão de Curso apresentado à Especialização em Teoria e Prática da Formação do Leitor, na Universidade Estadual do Rio Grande do Sul, em Porto Alegre, em 2019. Este teve como objetivo compreender como o texto escrito pode ser transformado em imagens, ações ou diálogos, estabelecendo uma relação entre a arte literária e a arte cinematográfica, bem como elucidar algumas diferenças existentes entre as duas linguagens e como essa relação contribui para a formação de leitores. A análise se justifica devido à busca por comprovação de que adaptações cinematográficas de obras literárias contribuem para a formação de leitores. A metodologia adotada baseou-se em revisão bibliográfica e análise comparativa entre o livro da escritora Thalita Rebouças, Fala Sério, Mãe! e a adaptação cinematográfica homônima. Depois de fundamentar a análise acerca dos conceitos de linguagem literária (LAJOLO, 1996; MARTINS, 1986) e arte cinematográfica (COLODA, 1972; SANTAELLA, 2001; SOTTA, 2015), procurou-se elucidar algumas diferenças estabelecidas entre as duas linguagens. Os resultados sugerem que as adaptações cinematográficas de obras literárias contribuem para a formação de leitores ao divulgarem a existência de uma obra nas quais foram baseadas e auxiliam para que o leitor se sinta capaz de explorar diferentes formas de linguagens. Palavras-chave: Obra literária; adaptação fílmica; formação de leitores; linguagens. Abstract This article is an adaptation of the Course Conclusion Paper presented to the Specialization in Theory and Practice of Reader Education, at the State University of Rio Grande do Sul, in Porto Alegre, in 2019. It aimed to understand how written text can be changed into images, actions or dialogues, establishing a relationship between literary and cinematographic art, as well as elucidating some existing differences between the two languages ​​and how this relationship contributes to the formation of readers. The analysis is justified due to the search for proof that cinematographic adaptations of literary works contribute to the formation of readers. The methodology was based on a literature review and a comparative analysis of the book by writer Thalita Rebouças, “Fala sério, Mãe!” and the homonymous film adaptation. After substantiating the analysis on the concepts of literary language (LAJOLO, 1996; MARTINS, 1986) and cinematographic art (COLODA, 1972; SANTAELLA, 2001; SOTTA, 2015), some differences between the two languages should be elucidated. The results suggest that the cinematographic adaptations of literary works contribute to the formation of readers by disclosing the existence of a work on which they were based and helping the reader to feel capable of exploring different forms of languages. Keywords: Literary work; film adaptation; reader training; languages. Resumen Este artículo es una adaptación del Trabajo de Conclusión del Curso presentado a la Especialización en Teoría y Práctica de la Formación del Lector, de la Universidade Estadual do Rio Grande do Sul, en Porto Alegre, en 2019, que tuvo como objetivo comprender cómo el texto escrito se puede transformar en imágenes, acciones o diálogos, estableciendo una relación entre arte literario y arte cinematográfico, además de dilucidar algunas diferencias existentes entre los dos lenguajes y cómo esta relación contribuye a la formación de lectores. El análisis se justifica por la búsqueda de pruebas de que las adaptaciones cinematográficas de obras literarias contribuyen a la formación de lectores. La metodología adoptada se basó en una revisión de la literatura y un análisis comparativo del libro de la escritora Thalita Rebouças, Fala sério, Mãe!, y la adaptación cinematográfica homónima. Tras fundamentar el análisis en los conceptos de lenguaje literario (LAJOLO, 1996; MARTINS, 1986) y arte cinematográfico (COLODA, 1972; SANTAELLA, 2001; SOTTA, 2015), se buscó dilucidar algunas diferencias establecidas entre los dos lenguajes. Los resultados sugieren que las adaptaciones cinematográficas de obras literarias contribuyen a la formación de los lectores al dar a conocer la existencia de una obra en la que se basan y ayudar al lector a sentirse capaz de explorar diferentes formas de lenguajes. Palabras clave: Obra literaria; adaptación cinematográfica; formación de lectores; idiomas.

La ricezione delle opere di Giorgio Bassani in Slovenia

The article examines the reception of Giorgio Bassani’s works in Slovenia. The current state of translations of Bassani’s works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani’s texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani’s novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation.

Różewicz vs. Różewicz, czyli o noweli „Piwo” Tadeusza Różewicza i jej ekranizacji w reżyserii Stanisława Różewicza

The author of this article makes a comparative interpretation of Tadeusz Różewicz’s novella Piwo [Beer] and its film adaptation directed by Stanisław Różewicz. Among other things, the researcher asks the question: to what extent do the differences between the film material and the text material – in this particular case – stem from the specificity of the film language and its autonomy in relation to literature? He believes that this can be explained by the fact that the action of the film takes place only in the station’s waiting room; the movement between the inn and the station, undoubtedly justified in the case of the original text, would be for the viewer something illegible and disturbing to the sequence of events. The multilevel linguistic code forcing symbolic readings, so important in Różewicz’s prose, seems, however, not to be translatable (at least not in its entirety) into the language of the image, which enforces a number of other artistic solutions. It seems that the film work here speaks the language of symbols on a different level.

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

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.

Cultivating the Art of Dying: Margaret Edson’s W;t Between Page and Screen [Kultywując sztukę umierania. W;t Margaret Edson – pomiędzy dramatem a filmem]

As death returned to make its mark on the world with the COVID-19 pandemic and, consequently, resurfaced in the social imaginary, we have found ourselves once again full-throatedly asking questions about what it means to die well. These issues lie at the heart of W;t, an American play penned in the early 1990s by Margaret Edson, which could be situated alongside other fictional and true stories that “provide social scripts for dying” (Knox). The play might also be viewed as a modern reference to the medieval tradition of ars bene moriendi and the morality plays linked with that tradition in a symbiotic, synergistic manner. The essay attempts to demonstrate that the meaning underlying Edson’s play (and its television adaptation of 2001) derives primarily from its grappling with the subject of human’s agency in the face of the inevitable. In its close reading of the play, the essay moves between the text, first published in print in 1999, and the screen, to best tap into the interpretive potential of comparing the drama and its film adaptation.

Trans-Mediation of Gender in Elia Kazan’s Adaptation of A Streetcar Named Desire

Elia Kazan is among the first directors who adapted Tennessee Williams’s A Streetcar Named Desire (1951) for the cinema. Kazan’s film adaptation was almost faithful to the original manuscript by sticking to Williams’s words and sentences. However, even if one ignores the cultural and historical contexts, the alterations that take place in the process of trans-mediation cannot be disregarded, since the telling mode in the text changes to the showing mode in the media. With this hypothetical basis, the present study aims to detect the possible alterations in the adaptation of the play to examine gender roles in both texts. Using the ideas of Linda Hutcheon in A Theory of Adaptation (2013), the authors have studied the verbal signs in the play together with the verbal and visual codes in the movie to assess how the film adaptation has incorporated the ideas of femininity, which are the main concerns of the play, too. The results of the study suggest that the alterations from the literary text to film have contributed to the development of female identity.

Do clones dream of absent father(s)? Biotechnologia i metafizyka w powieści Nie opuszczaj mnie Kazuo Ishiguro i jej filmowej adaptacji

The article deals with metaphysical aspects of dystopian vision of posthuman and racist socjety presented in Kazuo Ishiguro’s novel Never Let Me Go and its film adaptation. The controversial issue of cloning provokes fundamental questions of what constitutes our existence as human beings and what is the source of overpowering sense of solitude and orphanhood in the “fatherless” world. These questions are being answered in the context of biopolitics (Foucault, Habermas) and its ethical consequences. The paper is intended as a contribution to the ongoing discussion of the human condition and our relation to other beings: machines, animals and… clones.

Representation of Padmavati and the Recurring Image of an ‘Ideal Woman’

The paper entitled, “Representation of Padmavati and the Recurring Image of an ‘Ideal Woman’” with the representation of Padmavati in the epic titled Padmavat by Jayasi and Padmaavat, a film adaptation of the epic directed by Bhansali. It also focuses on how people view her today. She is represented as an ideal woman, who sacrificed her own life to preserve her chastity and thereby the honour of her own community. She is attributed all ideal qualities that is expected in a woman. Her adherence to these qualities construed by the patriarchal society and her act of “Jauhar” made her rise to the level of a goddess. However, these qualities are not the mere construction of a community or era alone. It has been existing since time immemorial. There has been a tendency to stereotype women as meek, gentle, submissive etc. since the time of Manu which has found its way into popular myths and legends. The story of Padmavati also borrows this same image of an ideal woman and her glorification.