Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0001
L. Balagué
{"title":"« Littérature mineure » et culture pop : les liens possibles","authors":"L. Balagué","doi":"10.47743/aic-2021-2-0001","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0001","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":"70887385","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-2021-2-0009
Dragoş Carasevici
{"title":"Mr. Yeats sings the blues. O discuţie a albumului An Appointment with Mr. Yeats (The Waterboys) din perspectiva teoriei receptării","authors":"Dragoş Carasevici","doi":"10.47743/aic-2021-2-0009","DOIUrl":"https://doi.org/10.47743/aic-2021-2-0009","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":"70887661","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-2021-2-0011
C. Constantinescu
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.
这篇文章是对挪威重金属乐队Ulver采用威廉·布莱克(William Blake)的《天堂与地狱的婚姻》(the Marriage of Heaven and Hell, 1790)的具体过程的调查。Blake的发光板启发并组织了一张因其独创性而备受赞誉的专辑，这必须在金属音乐和文字/音乐改编的背景下进行分析。正如Robert Walser在1993年(与魔鬼一起跑)中提出的那样，本文还通过分析专辑《Themes from William Blake’s Marriage of Heaven and Hell》(1998)所基于的象征实践，概述了金属音乐作为话语的观点。这张专辑为Ulver开创了一个新的方向，不仅在思想或抒情的角度，而且在音乐上。前卫的电子和前卫的金属，干净的声乐风格，支持布莱克的想法，感官世界可以导致精神，欲望的压抑破坏精神。由于适应研究现在是媒介研究的核心，因此有必要尽可能广泛地考虑适应问题。迈克尔·j·迈耶在《文学与音乐改编》一书中强调，对文本的每一次阅读都必然是误读，我们的阅读都是在我们自己的兴趣方向上进行的。如果是这样，那么我们可以很容易地断言，今天流行音乐的阅读方式，就是歌剧的阅读方式，例如，在过去威尔第或柏辽兹读莎士比亚的时候，就像大卫·弗朗西斯·厄罗斯(David Francis Urrows)所肯定的那样。受西奥多·阿多诺(Theodor W. Adorno)对流行音乐批判的影响，我的观点是，乌尔弗版本的布莱克的《天堂与地狱的婚姻》不仅仅是一种改编，而是一种转换，正如艾莉森·斯通(Alison Stone)所说的那样，具有特定的含义，可以成为与流行音乐相反的另一种音乐话语。
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Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0010
Tijana Čupić
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.
{"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}
Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0007
María Inés Arrizabalaga
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.
《安格斯传奇》(A saga de Angus)的第一卷《O primeiro guerreiro》于2003年在巴西出版，此后出现在不同的新媒体产品上。我打算用“知识流化”和“超媒体翻译”的概念来解释文学与互联网的融合;以及“虚构”的出现，无论是在文学进入虚拟环境的过程中，还是在传奇故事对历史档案的普遍参考中。我试图揭示:1)文学事实被“翻译”到新媒体和英语中所隐含的“多重人才要求”，其明确目的是普及消费受众，从而扩大文学批评家和翻译学者的范围;ii)“数字游牧”是pessfilho、他的读者、文学评论家和翻译学者的特征，他们都在处理从历史到文学的“中转”产品，以及英语主导的虚拟环境;iii)文学、大众传媒和翻译研究框架下的“文学记忆效应”动态。
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Pub Date : 2021-01-01DOI: 10.47743/aic-2021-2-0013
K. Khan
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.
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Pub Date : 2021-01-01DOI: 10.47743/aic-2021-1-0003
D. Moreau
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.
在罗兰·托波尔的《房客》中，与他人的关系被系统地表现为一种不平等的权力平衡，被认为是一种引发焦虑的经历，改变了对自我的看法。身份的错位伴随着个人精神的逐渐毁灭，这种毁灭在残酷和暴力的猛烈发作中达到了高潮。因此，他者的问题与深切的孤立感和受迫害感所造成的身份危机密切相关。主人公特里科夫斯基无法保持对自我的连贯感知，迷失在一个虚构的世界里，他只能是一个受迫害的受害者，一个殉道者和失去个性的替罪羊，他陷入了偏执和严重的情绪困扰。在罗兰·托波尔的小说中，他人的存在不断地削弱了他的感性——被敌意、愤怒和仇恨驱使的无情的折磨者。在这个过程中，我们可以看到，在这个过程中，我们可以看到，在这个过程中，我们可以看到，在这个过程中，我们可以看到，在这个过程中，我们可以看到，在这个过程中，我们可以看到，在这个过程中，我们可以看到，在这个过程中，我们可以看到。这个错位进步de l 'identite du personnage,隐约的所属de解构procedant par enchainement倒atteindre联合国paroxysme de cruaute malveillante、印版等确定问题de上次某个它se介绍ici,就是说像一个知觉万岁呢一协定开胃de soi一graduelle non-coincidence soi-meme, menant联合国echange ontologique不该l 'horreur ne的'etablir联合国冠军d未来构建de peur et de souffrance。特雷可夫斯基，殉道者(martyrisis)，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样，与其他的人一样。
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Pub Date : 2020-01-01DOI: 10.47743/aic-2020-1-0007
Serenela Ghiţeanu
{"title":"Herta Müller sau Istoria ca istorie personală distrusă","authors":"Serenela Ghiţeanu","doi":"10.47743/aic-2020-1-0007","DOIUrl":"https://doi.org/10.47743/aic-2020-1-0007","url":null,"abstract":"","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70884288","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 : 2020-01-01DOI: 10.47743/aic-2020-1-0012
R. Milán
{"title":"Una Historia para dejar atrás las historias: tres ensayos de Julián Marías","authors":"R. Milán","doi":"10.47743/aic-2020-1-0012","DOIUrl":"https://doi.org/10.47743/aic-2020-1-0012","url":null,"abstract":"","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70884597","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 : 2020-01-01DOI: 10.47743/aic-2020-2-0001
Dragoş Carasevici
{"title":"Goethe Demythified. Urfaust in Friedrich Dürrenmatt’s Vision as a Director","authors":"Dragoş Carasevici","doi":"10.47743/aic-2020-2-0001","DOIUrl":"https://doi.org/10.47743/aic-2020-2-0001","url":null,"abstract":"","PeriodicalId":30923,"journal":{"name":"Acta Iassyensia Comparationis","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70884619","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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