Search results

1

The Contemporary British-Jewish Family and the Significance of Its Confines in "The Innocents", Francesca Segal’s Retelling of Edith Wharton

100%

Chmielewska A.

Anglica Wratislaviensia

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2019

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issue 57

11-23

EN

After France, Great Britain has the second largest Jewish population in Europe. It is worth taking a closer look at the constantly evolving literature created by this minority. The tendency observed in recent years has been the interest of British-Jewish novelists in the subject of Jewish families from different communities. Some struggle with ultra-Orthodoxy, others are secular, while still others, as in Francesca Segal’s debut novel The Innocents, are in between the two extremes. The author decided to raise the subject of Jewish families by rewriting the acknowledged The Age of Innocence by Edith Wharton.

2

Route 66 and No End: Further Fortunes of Shakespeare’s Sonnet 66

100%

Pfister M.

Linguaculture

|

2010

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vol. 2010

|

issue 2

39-50

EN

At the SHINE-conference in Murcia in 1999 I claimed that sonnet 66 has been largely disregarded by Anglo-American critics whereas, in continental Europe, it has been frequently used as a medium of protest in crucial political situations. In the light of more recent findings I will revise this claim and draw attention to English poets and novelists from the Romantic period to Modernism reworking or working with the sonnet with a political thrust

3

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

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2016

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vol. 3

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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.

4

Об особенностях стилистических ошибок в рерайтерских новостных интернет-сообщениях (на примере материалов агентств NEWSru.com и Lenta.ru)

100%

ЛАЩУК О. Р.

Stylistyka

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2013

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vol. 22

267-277

EN

The author researches the field of production the news messages on the Internet by rewriting, the specifics of this field, conditioned both by the method of production of the information item and by the consumers’ requirements. The author investigates the stylistic mistakes in news stories produced by agencies that specialize in rewriting.

5

Joan Maragall: creació, traducció i reescriptura

100%

Ardolino F.

Studia Romanica Posnaniensia

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2021

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vol. 48

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issue 3

5-18

EN

What is the role of translation in Maragall’s work? If his first goal was to bestow cultural support to Catalan literature with the addition of the European authors of Modernism, the second stage of the Catalan poet’s agenda becomes more ambitious, delving into the origins of Western literature and culminating in the translation of the Homeric Hymns. My contribution analyzes how, on the one hand, the Catalan rewriting of the works of Nietzsche, Goethe, Novalis, or Dante draws a progressive and continuous line within Maragall’s ideas; and, on the other hand, what impact these versions have on his own literary creation, through the loanwords that spread across his translations, and his poetry.

6

Zabawa konwencjami w Hoodwinked!

89%

Kozera D.

Acta Humana

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2015

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vol. 6

EN

Hoodwinked! is a computer-animated movie retelling the story of Little Red Riding Hood. Although the storyline of a little girl who is harassed by the wolf while going to her grandma is retained, the creators have played with narrative conventions and changed it into a whodunit musical with the “Rashomon effect”. Many unexpected twists added to the story build up a completely new picture of the commonly known fairy tale. This paper focuses on the unique intertextuality of Hoodwinked! which is a prime example of the postmodern genre with a host of cinematic allusions and pop culture references. The analysis of these elements and ones specific for a folktale prove that such a combination forms a palatable product that cannot be called a pale imitation.

PL

Hoodwinked! to film będący przykładem animacji komputerowej, który opowiada na nowo historię Czerwonego Kapturka. Choć główna oś fabuły, w której mała dziewczynka zostaje zaatakowana przez wilka podczas swej wyprawy do babci, jest w nim zachowana, do znanej baśni wprowadzono też wiele zmian. Przede wszystkim twórcy filmu zabawili się narracyjną konwencją, zmieniając historię w musicalowy kryminał z „efektem Rashomon”. Stąd wiele niespodziewanych zwrotów akcji zmienia obraz dobrze znanego utworu. Opracowanie skupia się na wyjątkowej intertekstualności Hoodwinked!, który jest doskonałym przykładem kina postmodernistycznego z mnóstwem aluzji i odniesień do kultury popularnej. Analiza tych elementów i cech charakterystycznych baśni udowadnia, że film ten zasługuje na więcej aniżeli miano słabej imitacji.

7

Refocalization as a Strategy of Apocryphal Rewriting

88%

Dynkowska J.

Zagadnienia Rodzajów Literackich

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2016

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vol. 59/117 z.1

63-79

EN

The paper discusses refocalization as a strategy of rewriting in the literary apocrypha (D. Szajnert). Refocalization, that is based on G. Genette and H. Jenkins’ conclusions, refers to the shift from the perspective and narrative that dominates canonical works into perspective and narrative predominant in the literary apocrypha of the canonical works. As the subject of research I chose the apocrypha of the Homeric epics (M. Atwood’s The Penelopiad and Ch. Wolf’s Cassandra) in which patriarchal, omniscient narrative is replaced by perspective and narrative of women marginalized in the epic.

8

APPROCHE MÉTATEXTUELLE DU DISCOURS DRAMATIQUE IONESCIEN - LE DIALOGUE AVEC LA TRADITION LITTÉRAIRE

88%

LAZĂR A.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2012

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vol. 4

23-41

EN

Literary works are a constant topic of commentary. Literary texts carry specific metalinguistic and metapragmatic elements and require metalinguistic and metapragmatic codes and competences in order to prevent misunderstanding. Our paper aims to highlight the reasons for attaching the metatextual label to Eugène Ionesco’s dramatic work. Ionesco’s plays can be viewed as some sort of comment on previous dramatic texts defying the traditional theatrical conventions. Remarks on literature and art appear all through his life: in critical texts, as well as in his characters’ statements. Metatextual comment is deeply embedded in the production of dramatic text itself and is placed at the natural confluence of the playwright and the reader, that is, of the one who writes the plays and the one who watches his writing.

9

Novélisation comme traduction intersémiotique: Cinéma de Tanguy Viel

88%

Maziarczyk A.

Romanica Wratislaviensia

|

2013

|

vol. 60

123 - 130

EN

In the epoch of the often declared decline of literature, which is moving away from print, considered to be an obsolete medium, and trying to find its place in new media, Tanguy Viel, against these tendencies, undertakes a transposition from the visual to the verbal. His novel, not accidentally entitled Cinéma, is one of the most original examples of novelisation, a process involving an intersemiotic translation of visual codes into verbal signs. In contrast to typical novelisations, which are usually an element of commercial exploitation of a particular film’s popularity, Cinéma consists in an artistic transfer of a film to a literary text. Basing on theories of novelisation, this article seeks to demonstrate how Tanguy Viel uses words and narrative techniques to verbalise and narrativise a film.

10

Réécrire Don Juan au XXe siècle : entre hybridité et intermédialité, nouveaux modes d’exploitation d’un mythe

88%

Gournay A.

Quêtes littéraires

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2016

|

issue 6

118-127

EN

The contemporary rewritings of Don Juan’s myth highlight several forms of hybridity and illustrate the stakes involved. The hybridation affects in the first place the sources of the myth since the authors appeal to numerous intertextual references. But the successive transpositions of the mythical scenario also lead to a generic hybridity. This intermediality has a reflexive dimension: it raises the question of the limits of language to talk about the myth and abolishes the frontier between fiction and critical speech.

11

The Final Victory for the Barbarians?

75%

Vermoortel P.

Werkwinkel

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2016

|

vol. 11

|

issue 1

29-40

EN

In 1860 the Dutch author Multatuli (pen name of Eduard Douwes Dekker) published Max Havelaar, which was to become the most famous 19th century Dutch novel. In 2010 the book was rewritten by NRC-journalist Gijsbert van Es. His purpose was to make the book more accessible for secondary school pupils for whom Max Havelaar was on the mandatory reading list. He modernized the language, updated the vocabulary but also cut out a number of long-winded passages, making the 2010 version about one fifth shorter than the original. This article analyses the many reactions to the adaptation, going from lavish praise to complete disapproval. The article focuses on the arguments of advocates and opponents, evaluating their validity. It also tries to answer the question whether the author has achieved his aim.

12

Emma Tennant. Rozważna i romantyczna

75%

Poniatowska I.

Przegląd Humanistyczny

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2019

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vol. 63(2 (465))

115-123

PL

The article is devoted to the works of Emma Tennant, an English writer, the author of, inter alia, the continuation of Sense and Sensibility, Emma, as well as Pride and Prejudice. A characteristic feature of Tennant’s writing was the ability to give new meanings to the texts and myths of the popular culture – so she did with the story of Elinor and Marianne, or Sylvia Plath, to whom she devoted one of her better texts. The article, based on the example of Emma Tennant’s writing, focuses on the issues of the strategy of creating literature as rewriting and functioning of feminist ideas in the modern literature.

13

Haunting across the Class Divide: Sarah Waters’s Affinity and The Little Stranger

75%

Klonowska B.

Avant

|

2017

|

vol. 8

|

issue 2

EN

Haunting in literary fiction is often interpreted psychologically as a sign of suppressed psychic content or as nostalgia or mourning for the loss. Yet, it may also be used allegorically as a manifestation of hidden social conflicts, and hence mark a political agenda of thus constructed works. In the novels by Sarah Waters spectres, poltergeists and haunting appear not as a sign of or a contact with an outer reality; to the contrary, they may be seen as perfectly human-though eccentric-expressions of class and economic inferiority. In Affinity spectres and spiritual séances are presented as a means of earning money by lower classes and the latter’s cunning use of the upper classes’ credulity. In The Little Stranger the poltergeist may be interpreted as an accumulated anger and desire of the servants long ignored by the masters of the emblematic country house. In both, haunting and ghosts manifest vengeance of the underprivileged taken on the socially superior. The essay shows how fictional haunting and spectrality, far from marking a supernatural reality or introducing extrasensory concepts, may function as an allegorical method to discuss political and social problems such as class inequality or social justice.

14

Haunting across the Class Divide: Sarah Waters’s Affinity and The Little Stranger

75%

Klonowska B.

Avant

|

2017

|

vol. 8

|

issue 2

EN

Haunting in literary fiction is often interpreted psychologically as a sign of suppressed psychic content or as nostalgia or mourning for the loss. Yet, it may also be used allegorically as a manifestation of hidden social conflicts, and hence mark a political agenda of thus constructed works. In the novels by Sarah Waters spectres, poltergeists and haunting appear not as a sign of or a contact with an outer reality; to the contrary, they may be seen as perfectly human-though eccentric-expressions of class and economic inferiority. In Affinity spectres and spiritual séances are presented as a means of earning money by lower classes and the latter’s cunning use of the upper classes’ credulity. In The Little Stranger the poltergeist may be interpreted as an accumulated anger and desire of the servants long ignored by the masters of the emblematic country house. In both, haunting and ghosts manifest vengeance of the underprivileged taken on the socially superior. The essay shows how fictional haunting and spectrality, far from marking a supernatural reality or introducing extrasensory concepts, may function as an allegorical method to discuss political and social problems such as class inequality or social justice.

15

Catherine Clément, dix mille guitares & un bada, rendez-vous avec l’histoire...

75%

Ribeiro Gonçalves A. H., Université de l’Algarve

Acta Universitatis Lodziensis. Folia Litteraria Romanica

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2014

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vol. 009

PL

Sebastianizm jest najbardziej uniwersalnym spośród portugalskich mitów. Ponad czterysta lat po bitwie pod Al-Kasr al-Kabir niektórzy wciąż wierzą, że „król w ukryciu” powróci, aby ocalić kraj i podbić Piąte Imperium. — Catherine Clément proponuje nam szczególną interpretację związanych z tym faktów w powieści „Dziesięć tysięcy gitar” (2010), wybrawszy indyjskiego nosorożca na narratora historii o jego europejskich właścicielach: Sebastianie I, Rudolfie II i Krystynie Wazównie. Biograficzne przedstawienie trzech koronowanych głów, nadające spójność fabule, może zdradzić czytelnikowi aspekty życia pominięte przez „czarne legendy”. To przesłanie nadziei w naszej globalnej wiosce, długa droga do przebycia w naszej podróży przez życie…

EN

The sebastianism is the most universal of Portuguese myths. More than four centuries after the battle of Ksar-el-Kebir, some people still believe the return of the “Hidden king” to save the country and conquer the Fifth Empire. — Catherine Clément offers us a very special interpretation of the facts in the novel “Ten thousand guitars” (2010). She chose an Indian rhinoceros to tell the story of his European owners: Sebastian of Portugal, Rudolph II of Germany and Christina of Sweden. —The biographical representation of the three crowned heads that unify the narrative has the power to reveal to the reader facets of life that can take charge of black legends derail. Message of hope in our global village, a long way to go in our journey through life...

16

Sur la postérité de quelques contes de Charles Perrault

63%

Wandzioch M.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2015

|

vol. Special Issue: Le monde de la litérrature

84-91

EN

The fairy tales with their literary form, given by Charles Perrault in 17th century, have become with the passing of time a part of collective patrimony. No wonder many writers have been making use of this source in order to create their versions of Perrault’s stories. The most interesting fairy tales seem to be those which rewrite Bluebeard. One of them is Amélie Nothomb’s novel, published in 2012 and supporting the same title, in which readers can find a realisation of the phenomenon called by G. Genette a “pragmatic transposition” (“transposition pragmatique”).

17

Re-Working Shakespeare: Heiner Müller’s Macbeth

63%

Nicolaescu M.

American, British and Canadian Studies Journal

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2015

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vol. 25

|

issue 1

119-131

EN

This article focuses on particular meanings of the term “work,” as related first to the process of adapting Shakespeare and secondly to the ideological and philosophical resonances of this term as employed in the socialist propaganda in East Germany and which Heiner Müller introduces into Shakespeare’s text and gives an ironical twist to. In the first part it points to a few aspects of East German doctrinaire readings of Shakespeare, which were further contested and deconstructed in Müller’s translation cum adaptation. The final part zooms in on the reconfiguring of the established meanings attached to the concept of work in Müller’s rewriting of Macbeth and on the relation between these meanings and the philosophy of history he proposes in his adaptation.

18

Grenzüberschreitungen in intersemiotischer Translation: Dieter Jüdts Graphic novel Heimsuchung und andere Erzählungen von Bruno Schulz

63%

LUKAS K.

Transfer. Reception studies

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2018

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vol. 3

PL

W artykule omówiono powieść graficzną niemieckiego rysownika Dietera Jüdta (1995), która stanowi adaptację prozy Brunona Schulza w postaci komiksu. Komiks literacki potraktowano tu jako rodzaj przekładu intersemiotycznego oraz jako gatunek hybrydyczny i transgresyjny, przekraczający granice między kodami i mediami, między sztuką „wysoką” a popkulturą. Ponieważ komiks D. Jüdta bazuje nie bezpośrednio na opowiadaniach Schulza, lecz na ich niemieckim przekładzie pióra Josefa Hahna, transgresja polega tu dodatkowo na przekroczeniu granic między językami. Współczesne artystyczne nawiązania do twórczości Schulza, tzw. rewritings o formach hybrydycznych i transgresyjnych, inspirowane są „po-granicznym” charakterem życia i twórczości samego Schulza, przekraczającego granice między kulturami i językami, między literaturą a sztukami wizualnymi. Celem artykułu jest pokazanie różnych form transgresji w powieści graficznej D. Jüdta: zarówno tych, które sam Schulz tematyzuje w swej prozie, a rysownik unaocznia środkami wizualnymi (transgresje przestrzeni i materii), jak również tych, które są efektem własnej kreatywności autora ko-miksu (motywy dalekowschodnie jako tematyczne „przekroczenie granic” oryginału). Transgresje, które są immanentną cechą twórczości Schulza, stanowią dominantę przekładu intersemiotycznego i uzasadniają fakt, że D. Jüdt w swojej adaptacji wykracza poza granice dotychczasowych odczytań prozy Schulza.

EN

The paper deals with the graphic novel by the German illustrator Dieter Jüdt which is an adaption of short stories by the Polish author Bruno Schulz. Graphic novel or literary comic (i.e., literary work adapted into comic book) is viewed as an intersemiotic translation and as a hybrid, transgressive genre crossing the borders between codes and media, between “highbrow” art and popular culture. Since the source text of Jüdt’s comic book is not the Polish original by Schulz but its German translation by Josef Hahn, transgression means here, additionally, crossing the language border. Remarkably enough, contemporary rewritings of Bruno Schulz’ work, often taking on hybrid and transgressive forms, are inspired by the “in-betweenness” of the Polish writer himself who used to cross the boundaries between languages and cultures, between literature and visual arts. The aim of the paper is to show different forms of transgression in Dieter Jüdt’s graphic novel. These are transgressions described by Schulz in his short stories and illustrated in the comic book by visual means (transgressions of space and matter), as well as transgressions arising out of Dieter Jüdtʼs own creativity (Japanese motifs which exceed the subject matter of the source text). Transgressions which are an immanent feature of Schulz’ work constitute the dominant of the intersemiotic translation and justify the fact that the German artist goes far beyond the established interpretations of Schulz’ prose.

DE

Im Beitrag wird die Graphic novel des deutschen Grafikers Dieter Jüdt untersucht, der 1995 die Prosa von Bruno Schulz in Form eines Comics adaptierte. Ein Lite-raturcomic wird als eine intersemiotische Translation und ein transgressives, hybrides Genre angesehen, in dem Grenzen zwischen Codes und Medien, zwischen „hoher“ Kunst und „trivialer“ Popkultur überschritten werden. Da Jüdts Literaturcomic auf der deutschen Übersetzung von Josef Hahn basiert, wird darin zusätzlich die sprachliche Grenze übertre-ten. Die These lautet, dass Schulzʼ Wandeln zwischen Kulturen, Sprachen sowie der Wort- und der Bildkunst hybride, transgressive rewritings seines OEuvres bis heute inspiriert. Der Beitrag setzt sich zum Ziel, verschiedene Formen von Transgressionen in Jüdts Graphic novel zu beleuchten: diejenigen, die Schulz in seiner Vorlage selbst thematisiert und die vom Comic-Autor mit visuellen Mitteln veranschaulicht werden (die Transgressionen des Raums und der Materie), sowie diejenigen, die der eigenen Kreativität des Zeichners entspringen (die Verwendung fernöstlicher Motive als thematische Überschreitung der Vorlage). Die Transgressionen, die dem Werk von Schulz immanent sind, bilden – so die Schlussfolgerung – die Dominante der intersemiotischen Translation und rechtfertigen die Überschreitung der bisherigen Interpretationskontexte durch den Comic-Autor.

19

L’empreinte de l’oubli dans L’Affaire Furtif (2010) de Sylvain Prudhomme et L’Empreinte à Crusoé (2012) de Patrick Chamoiseau

63%

Bataille M.

Cahiers ERTA

|

2022

|

issue 31

28-46

EN

L'Affaire Furtif (2010) by Sylvain Prudhomme and L'Empreinte à Crusoé (2012) by Patrick Chamoiseau invest the ‘robinsonade’ genre with a renewed thought on memory and forgetfulness. These stories have the particularity of enriching the thematic and philosophical treatment of forgetfulness with a literary approach, in the light of the mythical legacy in which they are involved. Forgetfulness constitutes an initiatory threshold, desired in Prudhomme's case or endured in Chamoiseau's, thanks to which the main characters discover or rediscover themselves. Above all, the two stories have a strong specular dimension used to think on the weight of literary legacy in scriptural work.

20

On Bruno Schulz’s Demythologization of Reality

63%

Durkalewicz W.

|

2019

|

vol. 67

|

issue 1: Literatura polska - Selected Papers in English

83-111

EN

The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 1 (2014). This article is an attempt at an analysis of the changes occurring in the area of Schulz’s narrative identity that is being constituted. It is assumed that the turning point for Schulz’s personal myth was first of all the success of The Street of Crocodiles and a number of events in his personal life (splitting up with his fiancée, his brother’s death, his health problems). Each of these factors starts to influence, in its own way, the writer’s questioning of the possibility to continue writing, that is, interpreting the world, discovering history, “making reality sensible.” The success of The Street of Crocodiles becomes a challenge that is difficult to respond to in these new conditions. The writer’s “brilliant epoch,” the epoch of “writing for himself,” comes to an end. The “Schulz” issue is in danger of sinking into oblivion. The narrative space is gradually transformed into a space of coping with alienation, division, loneliness. These motifs are articulated in a special way in the stories Dodo, The Pensioner, and Loneliness. If, in these stories, overcoming failure in life is indeed impossible (Dodo) or proceeds owing to “sponging off somebody [else]’s life” (The Pensioner), or “parasitizing metaphors” (Loneliness), in The Homeland the rewriting of an individual myth ab origine takes place. The act of this “rewriting” is understood as consequently departing from the basic principles of Schulz’s literary hermeneutics and philosophy of literature. The reality appearing as a result of this departure is a reality that is not rooted in genuine experience, a quasi-reality of “negative values,” a reality of a narrative disaster signaling the definitive “death of Bruno the Great.”

Refine search results

The Contemporary British-Jewish Family and the Significance of Its Confines in "The Innocents", Francesca Segal’s Retelling of Edith Wharton

Route 66 and No End: Further Fortunes of Shakespeare’s Sonnet 66

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

Об особенностях стилистических ошибок в рерайтерских новостных интернет-сообщениях (на примере материалов агентств NEWSru.com и Lenta.ru)

Joan Maragall: creació, traducció i reescriptura

Zabawa konwencjami w Hoodwinked!

Refocalization as a Strategy of Apocryphal Rewriting

APPROCHE MÉTATEXTUELLE DU DISCOURS DRAMATIQUE IONESCIEN - LE DIALOGUE AVEC LA TRADITION LITTÉRAIRE

Novélisation comme traduction intersémiotique: Cinéma de Tanguy Viel

Réécrire Don Juan au XXe siècle : entre hybridité et intermédialité, nouveaux modes d’exploitation d’un mythe

The Final Victory for the Barbarians?

Emma Tennant. Rozważna i romantyczna

Haunting across the Class Divide: Sarah Waters’s Affinity and The Little Stranger

Haunting across the Class Divide: Sarah Waters’s Affinity and The Little Stranger

Catherine Clément, dix mille guitares & un bada, rendez-vous avec l’histoire...

Sur la postérité de quelques contes de Charles Perrault

Re-Working Shakespeare: Heiner Müller’s Macbeth

Grenzüberschreitungen in intersemiotischer Translation: Dieter Jüdts Graphic novel Heimsuchung und andere Erzählungen von Bruno Schulz

L’empreinte de l’oubli dans L’Affaire Furtif (2010) de Sylvain Prudhomme et L’Empreinte à Crusoé (2012) de Patrick Chamoiseau

On Bruno Schulz’s Demythologization of Reality