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    Wyświetlanie 1-8 z 8
    Tytuł:
    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
    Autorzy:
    Popłońska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/24987870.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Irene Adler
    Sherlock Holmes
    adaptation
    appropriation
    reinterpretation
    transmedia fandom
    fan fiction
    Opis:
    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.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2014, 2, 1; 41-49
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Gazing at Eurydice: Authorship and Otherness in Bracha L. Ettinger
    Autorzy:
    Kisiel, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1394585.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Bracha L. Ettinger
    artist
    otherness
    Eurydice
    Holocaust
    matrixial theory
    appropriation
    ready-made
    Opis:
    A historical photograph of women and children from the Mizocz ghetto taken in 1942 just before their execution constitutes one of the most recurring motifs in Bracha L. Ettinger’s visual art. By means of her artworks, Ettinger endeavours to retrieve these women’s dignity and work through their traumas at a point when they are unable to do it themselves. Yet, one cannot ignore a number of questions that arise in the context of this kind of aesthetic practice; after all, Ettinger uses an archival photograph, taken by an anonymous photographer, and her acts of altering and decontextualising this “ready-made” material are aimed at producing a certain artistic effect. The objective of this article is to reflect on the issue of authorship in Bracha L. Ettinger’s theory and art. Having introduced two Eurydicial artworks, I proceed to unravel the status of a matrixial artist-author. In order to do so, I analyse such notions as ready-made art, matrixial Otherness, trauma of the World, gaze, and appropriation.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2020, 6, 1; 7-17
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    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
    Autorzy:
    Popłońska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/653571.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Irene Adler
    Sherlock Holmes
    adaptation
    appropriation
    reinterpretation
    transmedia fandom
    fan fiction
    Opis:
    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.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2014, 2, 1
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Three Lives of a Cemetery: the History of a Military Cemetery in the Village of Marcinowa Wola in Masuria
    Trzy życia cmentarza – losy cmentarza wojennego w miejscowości Marcinowa Wola na Mazurach
    Autorzy:
    Bernat, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/681847.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    cmentarz
    krajobraz kulturowy
    zawłaszczanie krajobrazu
    Mazury
    cemetery
    cultural landscape
    appropriation of landscape
    Masuria
    Opis:
    Marcinowa Wola to typowa mazurska wieś, w której po wojnie nastąpiła niemal całkowita wymiana mieszkańców. Przybywająca tu polska i ukraińska ludność, dotknięta doświadczeniami wojny, musiała przezwyciężyć wszechobecne poczucie obcości poniemieckiego miejsca. Jednym ze sposobów zmagania się z nim był postępujący akt zawłaszczania –przejmowania zastanych elementów krajobrazu kulturowego i adaptowania ich na swoje własne potrzeby. Celem niniejszego artykułu stało się zrekonstruowanie tego procesu na przykładzie cmentarza z I wojny światowej, na którym spoczęli żołnierze niemieccy i rosyjscy. Miejsce, jakie zajmował on w świadomości mieszkańców, ulegało na przestrzeni lat radykalnym zmianom. Mimo że zlokalizowany w centrum wsi, cmentarz w pierwszych latach powojennych pozostawał zupełnie wyłączony z życia społecznego. Zanegowany jako miejsce przynależące do wspólnoty, odarty z sacrum, przez długi okres niszczał i zarastał. Gdy dojrzewać zaczęło kolejne pokolenie mieszkańców, cmentarz, nietraktowany już od dawna jako miejsce święte, otrzymał nową funkcję – centrum spotkań towarzyskich. Jednak gdy młodzież dorosła, o miejscu znowu na pewien czas zapomniano. Dopiero niedawno mieszkańcy zaczęli dostrzegać jego wartość jako cmentarza – nie tyle jednak sakralną, co historyczną. Można mniemać, że został on przyswojony jako element własnego dziedzictwa, a zatem proces zawłaszczenia osiągnął ostateczną fazę.
    Marcinowa Wola is a typical locality in Masuria (northern Poland), where a nearly total exchange of citizens took place after WW2. Polish and Ukrainian people coming here after the war had to deal with the sense of strangeness connected with the German presence in the near past. One of the ways of overcoming that impression was appropriation of their surroundings – an act of adapting the cultural landscape to their needs. A very vivid example of this process is the cemetery from the Great War located in Marcinowa Wola. The perception of this place among the local inhabitants changed dramatically over the years. Although it is located in the centre of the village, the cemetery was out of the social life during the first years after the war. As it was not treated as a sacred place any more, it was eroding and overgrowing for years. Everything changed in the 1970s, when the next generation became adolescent. Young people started to use the cemetery as their meeting place and in this way they adapted it to a new, completely different role. However, when the youth grew up, the place was once again forgotten for some time, and only recently did the inhabitants see its value as a cemetery, however, not in sacred but historical terms. It can be assumed that it was assimilated as an element of their own heritage, which means that the process of appropriation has been completed.
    Źródło:
    Acta Universitatis Lodziensis. Folia Archaeologica; 2019, 34; 97-105
    0208-6034
    2449-8300
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Archaeologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”
    Autorzy:
    Tink, James
    Powiązania:
    https://bibliotekanauki.pl/articles/2048126.pdf
    Data publikacji:
    2021-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jan Kott
    grotesque
    absurd
    Macbeth
    adaptation and appropriation
    Macbeth, Macbeth
    Ewan Fernie
    the posthuman
    Opis:
    Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 71-85
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Supernatural Beings and Their Appropriation of Knowledge and Power in The Seafarer by Conor McPherson and Woman and Scarecrow by Marina Carr
    Autorzy:
    Koneczniak, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/1394582.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Carr
    Marina
    McPherson
    Conor
    supernatural
    knowledge
    manipulation
    appropriation
    The Seafarer
    Woman and Scarecrow
    Opis:
    This article is a comparative analysis of Woman and Scarecrow by Marina Carr and The Seafarer by Conor McPherson from a hauntological perspective. It aims at discussing the influence of supernatural beings on mortal protagonists as well as addressing the configurations of power and knowledge formed between the characters. Woman and Scarecrow follows the final moments of a dying woman accompanied by the mysterious figure of Scarecrow, who is hidden from other characters. The verbal exchanges between Scarecrow and Woman will be interpreted as a manifestation of the apparent power possessed by the former, the ambiguous supernatural figure, over the latter, a human being, in terms of appropriating the knowledge about the woman’s past. In McPherson’s The Seafarer, a mysterious relationship develops between Sharky and Mr. Lockhart, who knows about Sharky’s past, too. This paper will demonstrate both similarities and differences in the way in which Carr and McPherson make use of supernatural beings that manipulate human characters in the most crucial moments of their lives and will situate the two plays within the recent rise of interest in spectrality in Irish drama.
    Źródło:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2020, 6, 1; 40-51
    2353-6098
    Pojawia się w:
    Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Writing and Rewriting Nationhood: "Henry V" and Political Appropriation of Shakespeare
    Autorzy:
    Minami, Hikaru
    Powiązania:
    https://bibliotekanauki.pl/articles/39759277.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    'King Henry V'
    'Henry IV'
    'King Richard II'
    'Cymbeline'
    Brexit
    national identity
    populism
    nationalism
    adaptation and appropriation
    Laurence Olivier
    Kenneth Branagh
    Opis:
    Shakespeare’s Henry V is often regarded as a nationalistic play and has been appropriated for political spin and propaganda to enhance the sense of national unity. Shakespeare captures the emerging nationalistic feeling of the Tudor era in Henry’s emphasis on national history and pride, but various parts of the text suggest a more diverse and complex figures of the king and his subjects than a war hero and the united nation. Such complexity, however, is often ignored in political appropriation. Laurence Olivier’s film adaptation during WWII glamorizes the war and defines the English nation as a courageous “band of brothers” through its presentation of Shakespeare’s play a shared story or history of national victory. Kenneth Branagh’s film in 1989, on the other hand, captures the ugliness of war but it still romanticizes the sacrifice for the country. In 2016, Shakespeare was made part of the Brexit discourse of growing nationalism at the time of the EU referendum. Brexit was imagined as a victory that will bring back freedom and sovereignty the country once enjoyed, and Shakespeare was used to represent the greatness of Britain. Shakespeare’s text, however, depicts the war against the continent in a more skeptical than glorifying tone. The war scenes are scattered with humorous dialogues and critical comments and the multi-national captains of Henry’s army are constantly at odds with one another. Shakespeare thus provides us with a wider view of nationhood, resisting the simplifying force of politics.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 115-131
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Being European: "Hamlet" on the Israeli Stage
    Autorzy:
    Barzilai, Reut
    Powiązania:
    https://bibliotekanauki.pl/articles/1033507.pdf
    Data publikacji:
    2020-06-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Theatre
    appropriation
    Zvi Friedland
    Konrad Swinarski
    Dinu Cernescu
    Rina Yerushalmi
    Steven Berkoff
    Habima Theatre
    The Cameri Theatre of Tel Aviv
    Itim Ensemble
    Haifa Municipal Theatre
    Opis:
    One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 27-53
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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