After 'The Turn of the Screw' / Life’s a Peach Crónica

Q3 Social Sciences
Susana Chávez-Silverman
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引用次数: 0

Abstract

Hace unos días, I watched “The Turn of the Screw.” Esa famosa versión I’d fetichized for years. Décadas, actually. Years ago mi estudiante Sasha Fariña (creo recordar que she was a CMC science student, enrolled in my Latin American poetry seminar) fisgó en el internido y teorizó que it had actually been a TV special. Me acuerdo que that didn’t sound right to me, and I let it drift back down hacia el ether del olvido. Pero después de trabajar todo el santo día en Operasie Restorasie (as Wim baptised my writing process para Our Ubuntu, Montenegro) me sentí bien burnt out and in the invisible linksy way of things de repente on a whim hice Google el film--for the millionth time. Esta vez, instead of the myriad other versions que siempre he descartado al tiro al ver el cast o el año (“The Innocents” con la Deborah Kerr es bien spooky, pero way too early; la 1999 version con la sublime Jodhi May también es buena, pero too late), bingo, this could be it, me dije.
出自《拧螺丝》/人生如桃Crónica
几天前,我看了《螺丝的转动》。那个著名的版本我崇拜多年。几十年来,actually。几年前,我的学生Sasha farina(我记得她是CMC科学学生,参加了我的拉丁美洲诗歌研讨会)偶然发现了这个节目,并推测这实际上是一个电视特别节目。我记得那对我来说听起来不对,我让它回到遗忘的以太中。但在Operasie Restorasie工作了一整天(Wim为我们的Ubuntu,黑山命名为我的写作过程)后,我感觉非常疲惫,在无形的联系方式中,突然间我拍了谷歌电影——百万次。这一次,我选择了麦利亚德的其他版本,我在看演员阵容或年份时总是把它们排除在外(黛博拉·克尔主演的《无辜者》很吓人,但太早了;1999年的版本与崇高的乔迪可能也很好,但为时已晚),答对了,这可能是它,我告诉自己。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.50
自引率
0.00%
发文量
4
审稿时长
52 weeks
期刊介绍: PORTAL Journal of Multidisciplinary International Studies is a fully peer reviewed journal with two main issues per year, and is published by UTSePress. In some years there may be additional special focus issues. The journal is dedicated to publishing scholarship by practitioners of—and dissenters from—international, regional, area, migration, and ethnic studies. Portal also provides a space for cultural producers interested in the internationalization of cultures. Portal is conceived as a “multidisciplinary venture,” to use Michel Chaouli’s words. That is, Portal signifies “a place where researchers [and cultural producers] are exposed to different ways of posing questions and proffering answers, without creating out of their differing disciplinary languages a common theoretical or methodological pidgin” (2003, p. 57). Our hope is that scholars working in the humanities, social sciences, and potentially other disciplinary areas, will encounter in Portal scenarios about contemporary societies and cultures and their material and imaginative relation to processes of transnationalization, polyculturation, transmigration, globalization, and anti-globalization.
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