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1

Macbeth in (the Shade of) Iraq: Crossing the Borders of Poland, Nato and the Defensive War

100%
Fabiszak J.
Linguaculture
|
2010
|
vol. 2010
|
issue 2
83-90
EN
The numerous Polish productions of Macbeth in an overt or covert fashion address issues that have been at the core of political debate in the past decade, such as the state’s engagement in military missions that are in fact real wars. Furthermore, they also comment on the new Polish political system (is it still “new”?) and the situation of individuals in it, how they can profit in it. The paper discusses productions such as Andrzej Wajda’s (2004) from the Stary Theatre in Kraków, Maja Kleczewska’s (2004) from the Kochanowski Theatre in Opole, Grzegorz Jarzyna’s (2005; the full title is “2007: Macbeth”) from the Teatr Rozmaitości (TR) in Warsaw, and Piotr Kruszczyński’s (2005) from the Polski Theatre in Warsaw.
2

Rewriting and Appropriating Francesco Guicciardini’s Storia D’Italia in Elizabethan England: Geoffrey Fenton’s Translation and Shakespeare’s Henry V

100%
Zaharia O.-A.
Messages, Sages and Ages
|
2016
|
vol. 3
|
issue 1
60-71
EN
The exploration of the multifarious ways in which cultural reworkings and translations have been involved in the transmission and circulation of various discourses, concepts and ideas in different historical periods and places, has become one of the most productive fields of inquiry in Early Modern Studies. Both translation and cultural reworking have been understood as forms of rewriting that involve altering, reinterpreting and adapting texts (Fischlin&Fortier, 2000; Lefevere, 1992). The main difference between the two concepts lies in their relation to the text/texts they are supposed to rewrite. Thus, translations are related to more direct and evident means of appropriation and rewriting, most often acknowledging themselves as attempts to render a specific text from one language/culture into another. Cultural reworkings, on the other hand, presuppose the appropriation and remaking of various texts and discourses in a more indirect manner, without necessarily pointing to the particular texts that are being rewritten. They represent threads that can be identifiable or at times altered beyond recognition, frequently leading to the creation of a completely different text. Therefore, cultural reworking involves the appropriation, rewriting and recontextualization - more or less explicit- of literary and non-literary texts and discourses that belong to the, cultural, political and ideological context of a certain work.
3
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A Warfare Metaphor and its Functional Aims in an Actual Armed Conflict – the Forty-Four Day War

75%
Muradian G.
Academic Journal of Modern Philology
|
2022
|
issue 15
225-234
PL
The present case study in general and the multimodal analysis of the warfare metaphor in particular tend to focus on the prevalence of metaphor framing related to news schemas documented over the period of the forty-four days of an actual war - the 2020 Nagorno-Karabagh war. Certain questions (Why was the warfare metaphor so widely used in this forty-four day war? How and in what ways did this type of metaphor realize its functional aims?) are addressed in the present case study by analyzing theoretical and empirical data on the subject and by advancing my own account of the functions of the warfare metaphor in war discourse presented in mass-mediated communication. Metaphor framing and its effects usually depend on words (the linguistic or verbal metaphor), however, such effect also depend on multimodal representations of the verbal metaphor, namely on the visual image. I therefore argue that metaphor framing and metaphor effects should be examined and explicitly described within the frames of multimodal analysis which can disclose how the convergence of verbal and the visual metaphor affects rhetorical war situations and increases the audience’s reception of the message of the war. Hence, this case study will show that the wartime metaphor, with the application of multimodality, conveys information of the war and impacts public opinion, thus striving to achieve positive outcomes. The results show that metaphor framing and the given type of metaphor is encountered in actual war to draw and capture public attention through emotionally charged multimodal devices aimed at informing and impacting public opinion, thus persuading and motivating the world to take urgent steps to stop the further escalation of the conflict. The usage of such metaphor framing closely connected with the context of war might result in certain outcomes illuminating that the warfare metaphor contributes to the understanding of complexities and abstractions of war discourse at large.
4
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Autorskie (od)tworzenie. O intertekstualnych wątkach w twórczości Tima Burtona

51%
Żakieta K.
Ogrody Nauk i Sztuk
|
2013
|
issue 3
PL
Artykuł skupia się na analizie gier z konwencją, wykorzystaniu gatunków, symboli, schematów oraz klisz kulturowych w wybranych fi lmach Tima Burtona. Ważny aspekt rozważań stanowi dialogiczność między innymi takich fi lmów jak Edward Nożycoręki czy Jeździec bez głowy, bowiem właśnie żywioł intertekstualny czyni twórczość Burtona na tyle oryginalną, by móc ją określać mianem kina autorskiego.
EN
This article is focused on playing with convention, genre, symbols and cultural clichés in selected Tim Burton’s fi lms. The most important aspect of this work is the dialogism in such fi lms as Edward Scissorhands or Sleepy Hollow, because intertextuality is exactly what makes Burton’s work original enough to be considered an auteur cinema.
5

“I came a long way to get here”: Narrative point of view, the trope of the journey and recontextualization in Kaye Gibbons’s Ellen Foster and its cinematic adaptation

45%
Niewiadomska-Flis U.
Roczniki Humanistyczne
|
2015
|
vol. 63
|
issue 11: Anglica
259-273
EN
The main theoretical aim of this article is to analyze the ways in which the narrative discourse and thematic concerns of Kaye Gibbons’s best-selling novel Ellen Foster (1987), the literary original, are creatively re-worked in a different medium—its cinematic adaptation, the Hallmark Hall of Fame film. Therefore, I seek to show how the narrative point of view of the novel Ellen Foster is transcoded to the film of the same name, and to what degree the thematic concerns of the literary precursor find their way into a different medium. I will also analyze the final words uttered by the narrator within the rhetoric and narrative logic of both media to see whether they are consistent with the cultural discourse the texts are engaged in.
PL
Przesłanką teoretyczną artykułu jest analiza procesu adaptacji dyskursu narracyjnego i rozległego spektrum tematycznego, przeprowadzona w oparciu o ekranizację powieści Kaye Gibbons Ellen Foster z 1987 r. Głównym celem artykułu jest ukazanie sposobu prezentacji narracyjnego punktu widzenia oraz zagadnień tematycznych przeniesionych z literackiego pierwowzoru do filmu o takim samym tytule z serii the Hallmark Hall of Fame. Dokładnej analizie zostały poddane słowa występujące w zakończeniu dzieł, posługujących się odmiennymi środkami przekazu, rozpatrywane w kontekście retorycznym i logicznym. Oddzielne miejsce zostało poświęcone kwestii spójności obydwu mediów z dyskursem kulturowym, w który się wpisują.
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