Acta Iassyensia Comparationis最新文献_第7页

« Littérature mineure » et culture pop : les liens possibles “小小挫折”让文化流行起来:更少的可能性

Acta Iassyensia Comparationis Pub Date : 2021-01-01 DOI: 10.47743/aic-2021-2-0001

L. Balagué

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Mr. Yeats sings the blues. O discuţie a albumului An Appointment with Mr. Yeats (The Waterboys) din perspectiva teoriei receptării 叶芝先生唱蓝调。O discuţie一本小册子《与叶芝先生的约会》(《水男孩》)in perspectiva teoriei receitrecrii

Acta Iassyensia Comparationis Pub Date : 2021-01-01 DOI: 10.47743/aic-2021-2-0009

Dragoş Carasevici

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Adaptation and Transposition in Ulver’s Themes from William Blake’s Marriage of Heaven and Hell 布莱克《天堂与地狱的婚姻》中乌尔弗主题的改编与转换

Acta Iassyensia Comparationis Pub Date : 2021-01-01 DOI: 10.47743/aic-2021-2-0011

C. Constantinescu

{"title":"Adaptation and Transposition in Ulver’s Themes from William Blake’s Marriage of Heaven and Hell","authors":"C. Constantinescu","doi":"10.47743/aic-2021-2-0011","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0011","url":null,"abstract":"This article is a survey of the specificity of the process of adopting William Blake’s ‘illuminated book’ The Marriage of Heaven and Hell (1790) by the Norwegian (heavy-)metal band Ulver. The illuminated plates of Blake inspired and also structured an album highly praised for its originality, that must be analyzed in the context of metal music and word/music adaptation. The paper also sketches, as Robert Walser suggested in 1993 (Running with the Devil), a view of metal music as discourse, by analyzing the signifying practices the album Themes from William Blake’s Marriage of Heaven and Hell (1998) is based on. The album initiated a new direction for Ulver, not only as ideological or lyrical perspective, but also musically. The avant-garde electronic and progressive metal with clean vocal style supported Blake’s idea that the sensual world can lead to the spiritual, and that the repression of desire destroys the spirit. As adaptation studies are now central to intermedia studies, it is necessary to take into account the adaptation issue as broad as possible. Michael J. Meyer emphasizes in Literature and Musical Adaptation the idea that every reading of the text is necessarily a misreading, and that our readings are made in the direction of our own interests. If so, then we could easily affirm that the reading that pop music does today is the reading that opera, for example, has done in the past, when Verdi or Berlioz read Shakespeare, as David Francis Urrows affirms. Influenced by Theodor W. Adorno’s critique of popular music, my point is that Ulver’s version of Blake’s Marriage of Heaven and Hell is not a mere adaptation, but a transposition, with specific meanings, as Alison Stone argues, and can be an alternative musical discourse as opposed to pop music.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70887858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The Perfect Miss Narco: On Hateful Representation of Women in Netflix TV Shows El Chapo and Narcos: Mexico 完美的毒枭小姐:论奈飞电视节目《矮子》和《毒枭:墨西哥》中女性的可恨表现

Acta Iassyensia Comparationis Pub Date : 2021-01-01 DOI: 10.47743/aic-2021-2-0010

Tijana Čupić

{"title":"The Perfect Miss Narco: On Hateful Representation of Women in Netflix TV Shows El Chapo and Narcos: Mexico","authors":"Tijana Čupić","doi":"10.47743/aic-2021-2-0010","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0010","url":null,"abstract":"TIJANA CUPIC Boston University tijanac@bu.edu The aim of this research paper is to rethink the representation of women in two Netflix TV shows, El Chapo and Narcos: Mexico. The explanation for the selection of these two shows lies in the fact they occur in the same country and approximately in the same time period and in their popularity. Both TV shows tackle drug trafficking in northern Mexico and the relationship between Mexico and the United States. This paper will include media and film analysis, but also historical literature overview regarding women in drug trafficking from revisionist and feminist points of view (Campbell, 2008; Carey, 2014; Franco Diaz, 2015). In the TV shows analysis, we will analyze trophy women and women within the family (mothers, for example) as part of the narcoesthetics. The second category we will analyze is rare, empowered women in drug trafficking, which will include an analysis of the woman body. Body as a category is an important part of the analysis of instrumentalization and objectification of women in drug trafficking, and El Chapo and Narcos: Mexico exploit that aspect in the sense of Debord’s ideas on spectacle.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70887881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Angus Saga: How Do Fluidization of Knowledge, Hyper media Translation and Defiction Combine for a Fictional World of the MacLachlan Clan? 《安格斯传奇》:知识流化、超媒体翻译和描述如何结合成一个虚构的麦克拉克伦家族世界?

Acta Iassyensia Comparationis Pub Date : 2021-01-01 DOI: 10.47743/aic-2021-2-0007

María Inés Arrizabalaga

{"title":"The Angus Saga: How Do Fluidization of Knowledge, Hyper media Translation and Defiction Combine for a Fictional World of the MacLachlan Clan?","authors":"María Inés Arrizabalaga","doi":"10.47743/aic-2021-2-0007","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0007","url":null,"abstract":"O primeiro guerreiro, the initial volume of Orlando Pães Filho’s A saga de Angus (The Angus Saga), was published in Brazil in 2003, appearing in different products of new media ever since. I plan to use the concepts of “fluidization of knowledge” and “hypermedia translation” for explaining the convergence of Literature and the Internet; and the occurrence of “defiction” both in the passage of Literature to virtual environments, and in the saga’s popular reference to historical archives. I attempt to shed light on: i) the “multi talent requirements” implied in a literary fact “translated” to the new media and into English for the explicit purpose of popularising the consuming audience and consequently the scope of literary critics and translation scholars; ii) “digital nomadism” as characterises Pães Filho, his readers, literary critics and translation scholars, all of them dealing with products “in transit” from History to Literature, and English-dominated virtual environments; iii) the dynamics of “literary memory effects” in the framework of Literature, popular (Mass) Media and Translation Studies.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70887062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Censorship and the Cultural Ambiguities of Singing against Authoritarianism in Zimbabwe: The Case of Winky D’s Popular Music 审查制度和文化的模糊性歌唱反对威权主义在津巴布韦:Winky D的流行音乐的情况下

Acta Iassyensia Comparationis Pub Date : 2021-01-01 DOI: 10.47743/aic-2021-2-0013

K. Khan

{"title":"Censorship and the Cultural Ambiguities of Singing against Authoritarianism in Zimbabwe: The Case of Winky D’s Popular Music","authors":"K. Khan","doi":"10.47743/aic-2021-2-0013","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0013","url":null,"abstract":"In Zimbabwe, popular music, namely the dancehall music genre, has become a cultural site where official forces of political repression and libertarian voices of subalterns desiring indepen dence clash in a relationship plagued with censorship. In this setting, singing against the danger of silence imposed by political authoritarianism develops libertarian tales whose implications go beyond resistance or cultural obedience. The nature and political consequences of the concerns and cultural ambiguities that emerge in Winky D’s musical lyrics in several of his well-known popular songs are examined in this article. The essay shows how official censorship may popularise a musician’s songs in ways that are unforeseen by the artist and create identities defined by cultural ambivalences that may identify the performer as both hero and underdog/villain. This paper uses purposive sampling for textual and content analysis to highlight the symbolic and cultural instability in song narratives. The qualitative technique underpins both textual and content analysis. Its relevance stems from the fact that it emphasises the multiplicity of cultural subjectivities. This viewpoint is informed by postcolonial theory, which recognises the ability of new cultural voices and identities to split the grip imposed by censorship. Alternative or non-officially sanctioned locations for popular music can be used to ventilate its ideals.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70887633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Le Locataire chimérique de Roland Topor : La haine de l’autre comme outrage à l’ipséité 罗兰·托普的幻想房客:对他人的仇恨是对同类的侮辱

Acta Iassyensia Comparationis Pub Date : 2021-01-01 DOI: 10.47743/aic-2021-1-0003

D. Moreau

{"title":"Le Locataire chimérique de Roland Topor : La haine de l’autre comme outrage à l’ipséité","authors":"D. Moreau","doi":"10.47743/aic-2021-1-0003","DOIUrl":"https://doi.org/10.47743/aic-2021-1-0003","url":null,"abstract":"The relationship with the others in The Tenant by Roland Topor is systematically represented as an unequal balance of power, felt as an anxiety-provoking experience that transforms the perception of the self. The dislocation of identity is accompanied by a progressive destruction of the individual psyche that reaches its climax in a fierce paroxysm of cruelty and violence. The problem of the other is thus closely related to the identity crisis caused by a deep sense of isolation and persecution. Unable to maintain a coherent perception of the self, lost in a fictitious world where he can be only a persecuted victim, a martyred and depersonalized scapegoat, the main character Trelkovsky sinks into paranoia and severe emotional distress. Ipseity in Roland Topor’s novel is constantly undermined by the presence of the others – pitiless torturers motivated by hostility, anger and hatred. Le rapport à l’autre dans Le Locataire chimérique de Roland Topor est représenté de façon systématique comme un rapport de forces disproportionné, ressenti comme une menace éminemment anxiogène et transformant la perception de soi. Cette dislocation progressive de l’identité du personnage, subtil mouvement de déconstruction procédant par enchaînement pour atteindre un paroxysme de cruauté malveillante, forme et détermine la question de l’autre telle qu’elle se présente ici, c’est-à-dire comme une perception vive d’une mise hors de soi, d’une graduelle non-coïncidence à soi-même, menant à un échange ontologique dont l’horreur ne fait qu’établir un champ d’avenir constitué de peur et de souffrance. Trelkovsky, martyrisé et désidentifié, évolue ainsi dans un autre ordre de réalité : lieu du fantastique mais aussi – et surtout – lieu du livre, monde fictionnel qui, dans un déplacement essentiel, instaure en lui-même un état de choses uniquement déterminé par son fonctionnement propre, et où l’ipséité est sans cesse mise à mal par la présence d’autrui.","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70886751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Herta Müller sau Istoria ca istorie personală distrusă 赫塔·穆勒或被摧毁的个人历史

Acta Iassyensia Comparationis Pub Date : 2020-01-01 DOI: 10.47743/aic-2020-1-0007

Serenela Ghiţeanu

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Una Historia para dejar atrás las historias: tres ensayos de Julián Marías 一个把故事抛在身后的故事:julian marias的三篇文章

Acta Iassyensia Comparationis Pub Date : 2020-01-01 DOI: 10.47743/aic-2020-1-0012

R. Milán

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Goethe Demythified. Urfaust in Friedrich Dürrenmatt’s Vision as a Director 歌德Demythified。弗里德里希·德·伦马特作为导演的愿景中的不确定性

Acta Iassyensia Comparationis Pub Date : 2020-01-01 DOI: 10.47743/aic-2020-2-0001

Dragoş Carasevici

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