Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0012
É. Schulz
{"title":"Le shtetl de Sholem Aleichem : du roman yiddish au film américain","authors":"É. Schulz","doi":"10.47743/aic-2021-2-0012","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0012","url":null,"abstract":"","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":"70887487","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}
Pub Date : 2021-01-01DOI: 10.47743/aic-2021-1-0005
Khaled Guerid, M. Hammouda
{"title":"Aïni et l’archétype du « personhatique » : une réflexion sur le personnage porteur de haine dans La Grande Maison de Mohammed Dib","authors":"Khaled Guerid, M. Hammouda","doi":"10.47743/aic-2021-1-0005","DOIUrl":"https://doi.org/10.47743/aic-2021-1-0005","url":null,"abstract":"","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":"70886937","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}
Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0006
Kathrin Neis
In this paper, I deal with metafiction in British television series SHERLOCK. For this purpose, I have chosen, as an example, “The Empty Hearse”, an episode with frequent occurrences of metafiction. Originally devised as a literary concept, I will show that metafiction is also applicable to televisual ‘texts’. In accordance with Patricia Waugh, I understand metafiction as a literary form that “self-consciously and systematically draws attention to its status as an artefact” and thereby addresses “questions about the relationship between fiction and reality” (Waugh, 1984: 2). This could also be the case in media understood as belonging to popular culture. Firstly, I take a short look at metafiction in Arthur Conan Doyle’s Sherlock Holmes canon. Secondly, I examine its occurrence in the TV series episode. In doing so, I distinguish between two forms of metafiction: metafiction that can be understood immanently and metafiction that requires additional contextual knowledge on the part of the viewer. This form draws on intertextual references rooted in popular culture. In the end, it becomes clear that both forms are used in the episode. However, by no means do they always have a disruptive character; on the contrary, they often have an additional immersive effect.
{"title":"‘The (Meta) Game is On’. Metafiction in SHERLOCK","authors":"Kathrin Neis","doi":"10.47743/aic-2021-2-0006","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0006","url":null,"abstract":"In this paper, I deal with metafiction in British television series SHERLOCK. For this purpose, I have chosen, as an example, “The Empty Hearse”, an episode with frequent occurrences of metafiction. Originally devised as a literary concept, I will show that metafiction is also applicable to televisual ‘texts’. In accordance with Patricia Waugh, I understand metafiction as a literary form that “self-consciously and systematically draws attention to its status as an artefact” and thereby addresses “questions about the relationship between fiction and reality” (Waugh, 1984: 2). This could also be the case in media understood as belonging to popular culture. Firstly, I take a short look at metafiction in Arthur Conan Doyle’s Sherlock Holmes canon. Secondly, I examine its occurrence in the TV series episode. In doing so, I distinguish between two forms of metafiction: metafiction that can be understood immanently and metafiction that requires additional contextual knowledge on the part of the viewer. This form draws on intertextual references rooted in popular culture. In the end, it becomes clear that both forms are used in the episode. However, by no means do they always have a disruptive character; on the contrary, they often have an additional immersive effect.","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":"70886993","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}
Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0005
Andrei Cojocaru
{"title":"A New Way to (Mis)Understand the Power of Fantasy in Mark Lawrence’s The Broken Empire Trilogy","authors":"Andrei Cojocaru","doi":"10.47743/aic-2021-2-0005","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0005","url":null,"abstract":"","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":"70887293","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}
Pub Date : 2021-01-01DOI: 10.47743/aic-2021-1-0004
Charikleia Magdalini Kefalidou
{"title":"Une histoire de chiens : haine, génocide et mémoire palimpsestique dans L’Île de l’âme de Denis Donikian","authors":"Charikleia Magdalini Kefalidou","doi":"10.47743/aic-2021-1-0004","DOIUrl":"https://doi.org/10.47743/aic-2021-1-0004","url":null,"abstract":"","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":"70886785","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}
Pub Date : 2021-01-01DOI: 10.47743/aic-2021-1-0001
Lavinia Similaru
{"title":"Meandros del odio y de la admiración en Fortunata y Jacinta de Benito Pérez Galdós","authors":"Lavinia Similaru","doi":"10.47743/aic-2021-1-0001","DOIUrl":"https://doi.org/10.47743/aic-2021-1-0001","url":null,"abstract":"","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":"70886655","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}
Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0002
Laura Ciochină-Carasevici
The aim of this article is to verify that the interpretation that the playwright Dale Wasserman and the lyricist Joe Darion put on the novel Don Quixote of La Mancha by means of the popular song The Impossible Dream from the musical Man of La Mancha (1965) turns Don Quixote into a spokesman of the society of the tumultuous 1960s, which allows us to consider the masterpiece of Cervantes eternally current. At the same time, another aim of the present study is to analyse the extent to which Dale Wasserman’s and Joe Darion’s interpretation – rooted in modernity – deprives Don Quixote of his baroque marrow, that is, the game of contrasts of which his being and his perception of the world are composed. En este trabajo me propongo demostrar que la interpretación que el dramaturgo Dale Wasserman y el letrista Joe Darion hacen del Quijote a través de la canción popular The Impossible Dream del musical Man of La Mancha (1965) transforma a Don Quijote en un exponente de la sociedad de los alborotados años 1960, lo que hace que la obra maestra de Cervantes pueda ser considerada eternamente actual. Al mismo tiempo, otro objetivo del presente trabajo es analizar la medida en que la interpretación de Dale Wasserman y Joe Darion —arraigada en la modernidad— le quita a don Quijote la médula barroca, o sea, el juego de contrastes de que se componen su ser y su percepción del mundo.
{"title":"Dimensiones psicosociales de la interpretación de la novela Don Quijote de la Mancha a la luz de la canción popular The Impossible Dream del musical Man of La Mancha","authors":"Laura Ciochină-Carasevici","doi":"10.47743/aic-2021-2-0002","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0002","url":null,"abstract":"The aim of this article is to verify that the interpretation that the playwright Dale Wasserman and the lyricist Joe Darion put on the novel Don Quixote of La Mancha by means of the popular song The Impossible Dream from the musical Man of La Mancha (1965) turns Don Quixote into a spokesman of the society of the tumultuous 1960s, which allows us to consider the masterpiece of Cervantes eternally current. At the same time, another aim of the present study is to analyse the extent to which Dale Wasserman’s and Joe Darion’s interpretation – rooted in modernity – deprives Don Quixote of his baroque marrow, that is, the game of contrasts of which his being and his perception of the world are composed. En este trabajo me propongo demostrar que la interpretación que el dramaturgo Dale Wasserman y el letrista Joe Darion hacen del Quijote a través de la canción popular The Impossible Dream del musical Man of La Mancha (1965) transforma a Don Quijote en un exponente de la sociedad de los alborotados años 1960, lo que hace que la obra maestra de Cervantes pueda ser considerada eternamente actual. Al mismo tiempo, otro objetivo del presente trabajo es analizar la medida en que la interpretación de Dale Wasserman y Joe Darion —arraigada en la modernidad— le quita a don Quijote la médula barroca, o sea, el juego de contrastes de que se componen su ser y su percepción del mundo.","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":"70887256","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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