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Adapting Kafka 调整卡夫卡

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2024-05-23 DOI: 10.1080/02666286.2023.2278124

Carsten Strathausen

引用次数: 0

Book to screen and back again—Dany Laferrière and (re)writing “Vers le sud” 从书本到银幕再到书本--达尼-拉费里耶尔（Dany Laferrière）和（重新）创作 "Vers le sud"（《南方之路》）。

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2024-05-23 DOI: 10.1080/02666286.2023.2278126

Timothy Lomeli

引用次数: 0

Introduction to transmedia adaptations of literary “classics” in 20th–21st-century artistic expression 20-21 世纪艺术表现形式中文学 "经典 "的跨媒体改编介绍

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2024-05-23 DOI: 10.1080/02666286.2023.2278122

Jennifer Boum Make, Verena R. Kick

引用次数: 0

“When I’m a Human Being”: race, bodies, and power in Disney’s adaptations of “The Frog King or Iron Henry” "当我还是个人时"：迪斯尼改编的《蛙王与铁亨利》中的种族、身体与权力

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2024-05-23 DOI: 10.1080/02666286.2023.2278125

Brandy E. Wilcox

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“Adaptation Studies”: steps towards a necessary re-foundation "适应性研究"：重新奠定必要基础的步骤

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2024-05-23 DOI: 10.1080/02666286.2023.2278123

Guy Spielmann

引用次数: 0

Suspending ekphrasis: Christopher Marlowe’s ‘Brazen World’ in Part 2 of Tamburlaine the Great and its influence 暂停短语:克里斯托弗·马洛的“厚颜无耻的世界”在坦伯兰大帝的第二部分及其影响

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2023.2184129

Lucy Potter

{"title":"Suspending ekphrasis: Christopher Marlowe’s ‘Brazen World’ in Part 2 of Tamburlaine the Great and its influence","authors":"Lucy Potter","doi":"10.1080/02666286.2023.2184129","DOIUrl":"https://doi.org/10.1080/02666286.2023.2184129","url":null,"abstract":"Abstract I argue that Part 2 of Christopher Marlowe’s Tamburlaine the Great (1587; published 1590) upends the narrative operations of ekphrasis at work in Part 1 to expose Sir Philip Sidney’s ‘brazen world’ progressively. I track Part 2’s descent into this world through rhetorical insufficiencies that generate flawed ekphrases, which lack the requisite enargeia (vivid description) to be seen in the mind’s eye. Particular attention is paid to Zenocrate’s death scene as well as Tamburlaine’s preservation of her body in a gold-lined coffin. I argue that the coffin is a symbol of Tamburlaine’s rhetorical inadequacy and an aesthetic time capsule in which Marlowe suspends ekphrasis. This suspension complicates the ways in which audiences ‘see’, and is the site of a contest between ‘poetic’ (ekphrastic) and ‘dramatic’ (spectacular) ways of seeing. Through the ekphrastic interaction between the Tamburlaine plays, Marlowe challenges dramatists to revive the operations of ekphrasis in new ways. I examine William Shakespeare’s response to this challenge in The Winter’s Tale (1611; published 1623), arguing that he reconciles the poetic and dramatic ways of seeing to create a stage-picture of the revival of ekphrasis in the coming to life of Hermione’s statue.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"135 44","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138085926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A speaking silence: “universal language” and multilingualism in The Shape of Water 无声无声:《水形物语》中的“通用语言”和多语言

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2023.2193960

Nina Elisabeth Cook

引用次数: 0

Plas Newydd’s poetics of exchange: portraiture, poetry, and the intermediality of eighteenth-century gift culture 普拉斯·纽伊德的交换诗学:肖像、诗歌和十八世纪礼物文化的中介性

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2021.1931753

Freya Gowrley

引用次数: 0

Did Bernini’s Ecstasy of St. Teresa cross a seventeenth-century line of decorum? 贝尔尼尼的《圣特蕾莎的狂喜》是否越过了17世纪的礼仪界限?

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-11-15 DOI: 10.1080/02666286.2023.2180931

Franco Mormando

引用次数: 0

The renaissance of a twelfth-century papal manuscript fragment in Medici Florence: a new reading of Fra Angelico’s David 美第奇佛罗伦萨 12 世纪教皇手稿碎片的复兴：对弗拉-安杰利科《大卫》的新解读

IF 0.3 3区社会学

WORD & IMAGE Pub Date : 2023-10-02 DOI: 10.1080/02666286.2023.2182585

Anna Welch

{"title":"The renaissance of a twelfth-century papal manuscript fragment in Medici Florence: a new reading of Fra Angelico’s David","authors":"Anna Welch","doi":"10.1080/02666286.2023.2182585","DOIUrl":"https://doi.org/10.1080/02666286.2023.2182585","url":null,"abstract":"Abstract Of the small corpus of works on vellum and paper attributed to the Tuscan Dominican friar and artist Fra Angelico (c.1400–55) and his circle, one drawing has been repeatedly singled out as widely accepted to be by his hand: King David Playing a Psaltery (c.1430) (now British Museum, London). The vellum leaf on which Fra Angelico drew features text on its verso that has until now been misunderstood as a fragment of a fifteenth-century breviary, leading it to be positioned simply as an example of his work as an illuminator. This article demonstrates that despite this misunderstanding, there is indeed an important relationship between the text and image on this sheet. The text is a fragment of a twelfth-century choir psalter and is significant as perhaps the oldest surviving evidence of the liturgy of the Papal Curia. Through a combination of palaeographical, liturgical, and art-historical analysis, I identify the leaf as a central Italian fragment dating to c.1150–80, which Fra Angelico encountered as a result of the presence of the Papal Curia in Florence during the papacy of Eugene IV, from 1434 to 1436 and again from 1439 to 1443. Stylistic and iconographic analysis demonstrates that Fra Angelico deliberately evoked the antique mode of the prefatory miniature in response to the age of the leaf, making the drawing an early example of the Renaissance desire to emulate classical models, received through a Carolingian filter. The close relationship between the David drawing and Fra Angelico’s work for Cosimo de’ Medici’s cell in San Marco—after the latter’s return to Florence from exile in 1434, supported by Eugene IV—is identified for the first time. The date of the drawing is refined from c.1430 to c.1435, the year Fra Angelico and his community moved from Fiesole to San Marco in Florence.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"25 1","pages":"384 - 401"},"PeriodicalIF":0.3,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139324717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0