{"title":"吞食哈姆雷特:作为一种改编方法论的文化食人论","authors":"Marcelo Amorim","doi":"10.5007/2175-7968.2023.e92576","DOIUrl":null,"url":null,"abstract":"This paper focuses on two film productions of the Shakespearean play Hamlet (1600-1601), both made in Brazil in the 1970s. It is my contention that A herança (“The Inheritance”), by Ozualdo Candeias (1970), and O jogo da vida e da morte (“The Game of Life and Death”), by Mario Kuperman (1971), constitute intertextual works which can be understood as transcultural, anthropophagic adaptations of the Shakespearean drama.\n ","PeriodicalId":41963,"journal":{"name":"Cadernos de Traducao","volume":"1 1","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Devouring Hamlet: Cultural Anthropophagy as an Adaptation Methodology\",\"authors\":\"Marcelo Amorim\",\"doi\":\"10.5007/2175-7968.2023.e92576\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This paper focuses on two film productions of the Shakespearean play Hamlet (1600-1601), both made in Brazil in the 1970s. It is my contention that A herança (“The Inheritance”), by Ozualdo Candeias (1970), and O jogo da vida e da morte (“The Game of Life and Death”), by Mario Kuperman (1971), constitute intertextual works which can be understood as transcultural, anthropophagic adaptations of the Shakespearean drama.\\n \",\"PeriodicalId\":41963,\"journal\":{\"name\":\"Cadernos de Traducao\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2023-05-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cadernos de Traducao\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5007/2175-7968.2023.e92576\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LANGUAGE & LINGUISTICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cadernos de Traducao","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5007/2175-7968.2023.e92576","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LANGUAGE & LINGUISTICS","Score":null,"Total":0}
Devouring Hamlet: Cultural Anthropophagy as an Adaptation Methodology
This paper focuses on two film productions of the Shakespearean play Hamlet (1600-1601), both made in Brazil in the 1970s. It is my contention that A herança (“The Inheritance”), by Ozualdo Candeias (1970), and O jogo da vida e da morte (“The Game of Life and Death”), by Mario Kuperman (1971), constitute intertextual works which can be understood as transcultural, anthropophagic adaptations of the Shakespearean drama.
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