Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 12

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Sherlock Holmes
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

The Case of Neo-Victorian Demotions: Colonel Sebastian Moran on Screen

100%
Krawczyk-Żywko L.
Acta Philologica
|
2014
|
issue 45
43-49
PL
Artykuł omawia współczesne adaptacje postaci pułkownika Sebastiana Morana, współpracownika profesora Moriarty’ego, arcyłotra z tekstów o Sherlocku Holmesie. Podczas gdy Doyle przedstawił go jako przyjaciela i prawą rękę profesora („Pusty dom”), neowiktoriańskie wersje filmowe i telewizyjne redukują jego rolę do najemnego zabójcy (Sherlock Holmes. Gra cieni), pionka w grze swego zleceniodawcy (Elementary), a nawet prezentują jego „rozproszoną” wersję (Sherlock, serie 1–3). Powodem może być fakt, że istotnym elementem neowiktoriańskich adaptacji i nawiązań jest rozwijanie kobiecych postaci drugoplanowych, które dodatkowo często przejmują cechy męskich bohaterów. Nie bez znaczenia jest też fakt, że w przeciwieństwie do Moriarty’ego czy Irene Adler, u Doyle’a Moran został „przejrzany” przez Holmesa i oddany w ręce policji.
2
Publication available in full text mode
Content available

Intertextual Adaptability of the Character of Sherlock Holmes from Literature to Film Production

80%
Paśnik M., University of Łódź, Martyna Paśnik is a graduate of English Philology at the University of Łódź and a member of The Geoffrey Chaucer Student Society. As an active member of the Open Boat Students’ Society she is a cotranslator for the literary journal Dekadentzya. She is interested in British and American literature m. i. c. s. a. y. a. l. a. t. p. o. t. t. c.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2014
|
vol. 2
|
issue 1
EN
This study explores the theme of intertextuality and adaptation between literature and film on the basis of Sherlock Holmes, the 19th/20th-century character conceived by Arthur Conan Doyle. It shows how the character has been adapted from literature into the cinematic domain on the basis of three modern TV series, including Dr. House (Heel & Toe Films/Fox, 2004), Sherlock (Hartswood Films/BBC, 2010), and Elementary (Hill of Beans/CBS, 2012). Sherlock Holmes, who first appeared in 1887, was originally featured in four novels and 56 short stories. However, since that time Holmes has been adapted for over 240 movies exploiting enormous popularity of this character in a variety of settings. The paper analyzes prototypical, basic features of Sherlock Holmes underlying its intertextual adaptability. As discussed in this study, there are four prototypical features of Sherlock Holmes, i.e. (1) outstanding powers of perception combined with intellect; (2) unconventionality in social behaviour; (3) helpful partner; and (4) ability to use scientific achievements. The paper demonstrates that Sherlock Holmes conceptualized in such a basic manner can act as successfully in modern cinematic productions as it did in late 19th-century literature.
3
Publication available in full text mode
Content available

Intertextual Adaptability of the Character of Sherlock Holmes from Literature to Film Production

80%
Paśnik M.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2014
|
vol. 2
|
issue 1
35-40
EN
This study explores the theme of intertextuality and adaptation between literature and film on the basis of Sherlock Holmes, the 19th/20th-century character conceived by Arthur Conan Doyle. It shows how the character has been adapted from literature into the cinematic domain on the basis of three modern TV series, including Dr. House (Heel & Toe Films/Fox, 2004), Sherlock (Hartswood Films/BBC, 2010), and Elementary (Hill of Beans/CBS, 2012). Sherlock Holmes, who first appeared in 1887, was originally featured in four novels and 56 short stories. However, since that time Holmes has been adapted for over 240 movies exploiting enormous popularity of this character in a variety of settings. The paper analyzes prototypical, basic features of Sherlock Holmes underlying its intertextual adaptability. As discussed in this study, there are four prototypical features of Sherlock Holmes, i.e. (1) outstanding powers of perception combined with intellect; (2) unconventionality in social behaviour; (3) helpful partner; and (4) ability to use scientific achievements. The paper demonstrates that Sherlock Holmes conceptualized in such a basic manner can act as successfully in modern cinematic productions as it did in late 19th-century literature.
4
Publication available in full text mode
Content available

Co zostało z geniuszu? Dziedzictwo Sherlocka Holmesa we współczesnych kryminałach

80%
Mydla J.
Świat i Słowo
|
2021
|
vol. 36(1)
137-150
PL
Arthur Conan Doyle zasłynął popularyzacją nauki w utworach detektywistycznych, obdarzając swojego bohatera Sherlocka Holmesa umiejętnością posługiwania się jej trzema komponentami (tj. wiedzą naukową, zbieraniem dowodów i sztuką wnioskowania). Dziedzictwo to jest także obecne we współczesnym kryminale, ale te kompetencje zostały rozdzielone między większą grupę osób zaangażowanych w śledztwo. Rozdział ten wpłynął na pozycję detektywa i zmienił jej funkcjonowanie w kontekście wiedzy naukowej. Nauka, przede wszystkim w zakresie różnych dziedzin medycyny sądowej, jest więc tak samo niezbędna jak detektyw, a współcześni autorzy wypracowali różne sposoby ukazywania ich współdziałania. Jako przykład tej współpracy, artykuł analizuje powieść Marka Billinghama Czas śmierci z 2015 roku.
5
Publication available in full text mode
Content available

What Is Left of the Genius? Sherlockian Legacy in Contemporary Crime Fiction

80%
Mydla J.
Świat i Słowo
|
2021
|
vol. 36(1)
137-150
EN
Arthur Conan Doyle famously popularised science in his series of detective stories by placing its three constitutive elements (scientific knowledge, the collection of evidence, and art of making inferences), in his protagonist Sherlock Holmes. The legacy is present in contemporary crime fiction, but the competencies have been distributed among a group of individuals involved in the investigation. This distribution has affected and changed the position of the detective vis-à-vis scientific expertise. Science, chiefly in the form of different branches of forensics, is as indispensable as the detective, and authors have been working out different ways of making the two work together. As an example of this cooperation, the paper examines Mark Billingham’s 2015 novel Time of Death.
6
Publication available in full text mode
Content available

Sherlocka Holmesa droga do „normalności”

71%
Kurowicka A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2018
|
issue 10(1)
125-136
PL
Jak wielu aspołecznych i aseksualnych geniuszy, Sherlock Holmes był w większości adaptacji prezentowany jako bohater z cechami kojarzonymi w kulturze popularnej z autyzmem, takimi jak nieprzeciętna inteligencja analityczna, niechęć do nawiązywania bliskich relacji z ludź­mi, niezrozumienie norm społecznych i brak empatii. Artykuł analizuje konstrukcję postaci Sherlocka w serialu BBC Sherlock oraz wykorzystaną w nim narrację o leczeniu detektywa, w wyniku którego traci on cechy autystyczne. Następnie przedstawiam krytykę tego rodzaju narracji z perspektywy studiów o niepełnosprawności, skupiając się na przemocy zawartej w dehumanizacji autystyków oraz w próbach wykorzenienia autyzmu.
EN
As is the case with most asocial and asexuals geniuses, in most of his incarnations Sherlock Holmes has been presented as a character with qualities associated with autism in popular culture, such as high analytical intelligence, unwillingness to establish close relations with people, lack of understanding of social norms and lack of empathy. The article analyzes the character of Sherlock Holmes in the BBC TV show “Sherlock” and the narrative of cure employed in the show, which leads to him losing his autistic traits. Next I present a critique of this type of a narrative from the perspective of disability studies, focusing
7
Publication available in full text mode
Content available

Time Travelling with Jack the Ripper on Page and Screen

70%
Krawczyk-Zywko L.
Anglica. An International Journal of English Studies
|
2017
|
issue 26/1
207-220
XX
The article discusses time-travelling Jack the Ripper narratives, the majority being short stories and episodes of TV series. Despite their diff erent temporal foci – late-Victorian past, present, distant future – the texts revolve around four ways of depicting the mysterious murderer: as a timeless force, a killer who uses time travel to escape, a killer whose deeds are to be prevented, and, last but not least, a tool in the hands of future generations. They also indicate that creators and consumers of popular culture are not interested in discovering the Ripper’s identity as much as want to follow him through centuries.
8
Publication available in full text mode
Content available

Looking backward, going forward? “The abominable bride” and fan f(r)iction

61%
Krawczyk-Żywko L.
Acta Philologica
|
2016
|
issue 49
331-339
EN
The BBC’s “Sherlock” is believed to have pleased even the most fervent Sherlock Holmes fans, yet “The Abominable Bride” episode caused a serious amount of friction within the series fandom. To escape numerous stereotypical trappings, the creators of the show offered a modernised setting, and thus not only did they transcend the Grand Game but also made the show an instant transcultural success. Deciding to place Sherlock in his “original” surroundings in the Christmas special, they fell into the trap of their own making, since their own text became one of the adapted ones. References to the Canon and its adaptations were the driving force throughout the three series, but the amount of auto-referentiality was a step backward as far as the viewers and “gamers” are concerned.
9
Publication available in full text mode
Content available

Whodunit to Irene Adler? From “the Woman” to “the Dominatrix” – on the Transformation of the Heroine in the Adapting Process and Her Representation in the Sherlock Miniseries

61%
Popłońska M., University of Łódź, Magdalena Popłońska earned her bachelor’s degree in English Philology at the University of Łódź. Her thesis e. F. t. S. o. L. t. t. G. D. t. R. o. t. C. i. t. S. H. C.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2014
|
vol. 2
|
issue 1
EN
One of the peculiar characteristics of the Sherlock Holmes fandom is that it has always had a tendency to blow innuendos in Arthur Conan Doyle’s stories out of proportion. One might argue that such is the case of Irene Adler, the most recognisable female character from the Sherlock Holmes canon. Although we are not given much information on her in the original story and she hardly speaks in her own voice, for the community of readers she has become the most significant woman that Sherlock Holmes had ever encountered. Thus, the creators who adapted her for the screen also treated the heroine of “A Scandal in Bohemia” symbolically, allowing themselves to freely portray her presence in their versions of the story. For certain reasons, Irene Adler has been interpreted in pop-culture differently at various times: as the woman who beat Holmes with her wit, the detective’s romantic interest, his nemesis or a femme fatale figure. This tendency seems to be pushed to the extreme recently and the adaptations of the heroine in question gravitate towards a sexually confident, overtly self-aware, as well as dominant (both sexually and mentally) rival to Holmes. The idea behind this paper is to investigate the transformation of Irene Adler’s character from the originally debatably scandalous adventuress to her modern portrayal as a dominatrix in the BBC miniseries, Sherlock. Hence, I will concentrate on this most recent take on the woman in the episode “A Scandal in Belgravia,” attempting to analyse in what ways the creators of the show go back to the roots and succeed in capturing the essence of Irene Adler’s figure, and conversely – in what measure does this adaptation epitomize the changes done to the character over the years of reinterpreting and diverting from its literary counterpart.
10
Publication available in full text mode
Content available

Whodunit to Irene Adler? From “the Woman” to “the Dominatrix” – on the Transformation of the Heroine in the Adapting Process and Her Representation in the Sherlock Miniseries

61%
Popłońska M.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2014
|
vol. 2
|
issue 1
41-49
EN
One of the peculiar characteristics of the Sherlock Holmes fandom is that it has always had a tendency to blow innuendos in Arthur Conan Doyle’s stories out of proportion. One might argue that such is the case of Irene Adler, the most recognisable female character from the Sherlock Holmes canon. Although we are not given much information on her in the original story and she hardly speaks in her own voice, for the community of readers she has become the most significant woman that Sherlock Holmes had ever encountered. Thus, the creators who adapted her for the screen also treated the heroine of “A Scandal in Bohemia” symbolically, allowing themselves to freely portray her presence in their versions of the story. For certain reasons, Irene Adler has been interpreted in pop-culture differently at various times: as the woman who beat Holmes with her wit, the detective’s romantic interest, his nemesis or a femme fatale figure. This tendency seems to be pushed to the extreme recently and the adaptations of the heroine in question gravitate towards a sexually confident, overtly self-aware, as well as dominant (both sexually and mentally) rival to Holmes. The idea behind this paper is to investigate the transformation of Irene Adler’s character from the originally debatably scandalous adventuress to her modern portrayal as a dominatrix in the BBC miniseries, Sherlock. Hence, I will concentrate on this most recent take on the woman in the episode “A Scandal in Belgravia,” attempting to analyse in what ways the creators of the show go back to the roots and succeed in capturing the essence of Irene Adler’s figure, and conversely – in what measure does this adaptation epitomize the changes done to the character over the years of reinterpreting and diverting from its literary counterpart.
11
Publication available in full text mode
Content available

Conan Edogawa – detektyw z komiksów Gōshō Aoyamy jako superbohater

57%
Chudoba M.
Białostockie Studia Literaturoznawcze
|
2020
|
issue 17
245-263
EN
The aim of this paper is a character analysis of Conan Edogawa – the protagonist of Meitantei Conan by Gōshō Aoyama ­– as a variation of the superhero. The research material includes manga, animated series adaptation and related cinematic films. The broadly understood criminal novel (mostly the Sherlock Holmes cycle by Arthur Conan Doyle) was the source of inspiration for the Japanese artist. The analysis of the collected material demonstrates that the described franchise used a transmedia narration. Both Aoyama and the authors of animated adaptations use transfictionality in their works. With the combined usage of the criminal and superhero elements, the Japanese artist created an omnipotent and omniscient superhero detective who can solve any mystery.
PL
Celem niniejszego artykułu jest analiza postaci Conana Edogawy, protagonisty komiksowego cyklu Meitantei Conan autorstwa Gōshō Aoyamy jako wariacji na temat superbohatera. Materiał badawczy, oprócz mangi, stanowią serial animowany będący jej adaptacją oraz powiązane z nim filmy kinowe. Źródło inspiracji dla japońskiego artysty stanowi szeroko pojęta literatura kryminalna, a zwłaszcza opowiadania o Sherlocku Holmesie autorstwa Artura Conana Doyle’a. Analiza zebranego materiału wykazała, że opisywana franczyza ma charakter narracji transmedialnej. Ponadto Aoyama, jak również twórcy animowanych adaptacji komiksu Meitantei Conan, posługuje się transfikcjonalnością. Japoński artysta dzięki połączeniu elementów kryminalnych z superbohaterskimi oraz częściowemu ich sparodiowaniu, stworzył postać „omnipotentnego”, wszechwiedzącego detektywa-superherosa, który jest w stanie rozwiązać każdą zagadkę.
12
Publication available in full text mode
Content available

“Jerome at the BBC”: Subversion, caricature, and humanity in Three Men in a Boat

51%
Sehmby D. S.
The European Journal of Humour Research
|
2014
|
vol. 2
|
issue 2
EN
Through characters who openly express distress over imagined pains, “Jerome at the BBC” treats BBC’s Three Men in a Boat as a playful critique of heroic masculinity, or what the paper defines as confident cognisant agency. Airing in 1975, BBC’s adaptation is released after the media ascension of James Bond and in the heyday of tough Hollywood heroes, bold figures who refuse to complain about, let alone give in, to physical pain – unlike Jerome’s men. Jerome’s original and its BBC adaptation are layered comical texts. By channelling Jerome’s critique of the colonial, seafaring male into contemporary notions of the Hollywood-hero type, this paper examines the BBC film’s boisterous lack of masculine agency, the quiet parody of action sequences, and the gingerly movement towards a conclusion that does not bang, but whimpers. Moreover, the paper asserts that the humour also functions on a less grand level, by being an effective caricature of human behaviour – a healthy dose of cultural self-mockery. Furthermore, through revealing moments, by the telefilm’s end, the characters do not simply remain caricatures to be laughed at, but become identifiable and relatable human beings.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.