{"title":"Borderline communities: aesthetic and authorial thresholds in the postcolonial script and film adaptations of Jhumpa Lahiri’s The Namesake","authors":"Rebecca Anastasi","doi":"10.4000/interfaces.4589","DOIUrl":"https://doi.org/10.4000/interfaces.4589","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48306567","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}
1 Modern prose adaptations of Shakespeare’s plays have crossed many borders – generic, cultural, temporal – and the novels commissioned and published as part of Penguin Random House’s Hogarth Shakespeare project are no exception: they involve a series of such recontextualisations of Shakespeare’s work. In the project, which is still ongoing, a series of novelists was commissioned to retell a Shakespeare play in prose form. The series began with the publication of Jeanette Winterson’s version of The Winter’s Tale , The Gap of Time , in 2015, and it will be concluded with the publication of Gillian Flynn’s retelling of Hamlet . Three novels were published in 2016: Howard Jacobson’s Shylock is My Name (a retelling of The Merchant of Venice ), Anne Tyler’s Vinegar Girl ( The Taming of the Shrew ) and Margaret Atwood’s Hag-Seed ( The Tempest ); in 2017 Tracy Chevalier’s New Boy ( Othello ) and Edward St. Aubyn’s Dunbar ( King Lear ) were released, and Jo Nesbø’s Macbeth was published in 2018. Continuing “a lengthy history of Shakespearean reconceptualisations”, the project also contributes to the current tendency of “updating Shakespeare’s works and substituting a modern idiom for Shakespeare’s” (Cavanagh 99; Lanier 230). 2 The commissioned authors and the popular conceptions of their work as representative of a certain form of writing play a particularly important role in the process of establishing a new generic framework for the modern reworkings of Shakespeare’s plays: the adaptation process involves not only a recontextualisation of the material from the genre of drama to that of prose, but the choice of author to adapt it may also serve adaptation in very specific subgenre, or microgenre, defined by the and The novels commissioned and published as part of the Hogarth Shakespeare project involve a series of recontextualisations of Shakespeare’s work, not only from the genre of drama to that of prose or a range of established subgenres, but the choice of author to adapt it may also serve to locate the adaptation in a very specific microgenre defined by the connotations engendered by the modern author’s oeuvre – and frame its reception accordingly. The article discusses how this process finds expression in the Hogarth Shakespeare project paratexts, which are seen as ways of making creative use of the popular conceptions of the modern authors evoked by their very names to reframe, revise and re-energise Shakespeare’s work for new audiences, in part through the specific form of (micro)generic recontextualisation that they bring about. centrale dans ce procédé : l’apparition du nom de Jo Nesbø sur la couverture de Macbeth , les arguments des critiques de Edward St. Aubyn qui relatent à nouveau l’histoire du Roi Lear , ou l’utilisation de Gillian Flynn pour adapter Hamlet sont des façons d’exploiter de manière créative les conceptions populaires des auteurs modernes évoqués par leurs appellations pour redéfinir, réviser et redynamiser les travaux de Sh
{"title":"“What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project","authors":"Eli Løfaldli","doi":"10.4000/interfaces.5053","DOIUrl":"https://doi.org/10.4000/interfaces.5053","url":null,"abstract":"1 Modern prose adaptations of Shakespeare’s plays have crossed many borders – generic, cultural, temporal – and the novels commissioned and published as part of Penguin Random House’s Hogarth Shakespeare project are no exception: they involve a series of such recontextualisations of Shakespeare’s work. In the project, which is still ongoing, a series of novelists was commissioned to retell a Shakespeare play in prose form. The series began with the publication of Jeanette Winterson’s version of The Winter’s Tale , The Gap of Time , in 2015, and it will be concluded with the publication of Gillian Flynn’s retelling of Hamlet . Three novels were published in 2016: Howard Jacobson’s Shylock is My Name (a retelling of The Merchant of Venice ), Anne Tyler’s Vinegar Girl ( The Taming of the Shrew ) and Margaret Atwood’s Hag-Seed ( The Tempest ); in 2017 Tracy Chevalier’s New Boy ( Othello ) and Edward St. Aubyn’s Dunbar ( King Lear ) were released, and Jo Nesbø’s Macbeth was published in 2018. Continuing “a lengthy history of Shakespearean reconceptualisations”, the project also contributes to the current tendency of “updating Shakespeare’s works and substituting a modern idiom for Shakespeare’s” (Cavanagh 99; Lanier 230). 2 The commissioned authors and the popular conceptions of their work as representative of a certain form of writing play a particularly important role in the process of establishing a new generic framework for the modern reworkings of Shakespeare’s plays: the adaptation process involves not only a recontextualisation of the material from the genre of drama to that of prose, but the choice of author to adapt it may also serve adaptation in very specific subgenre, or microgenre, defined by the and The novels commissioned and published as part of the Hogarth Shakespeare project involve a series of recontextualisations of Shakespeare’s work, not only from the genre of drama to that of prose or a range of established subgenres, but the choice of author to adapt it may also serve to locate the adaptation in a very specific microgenre defined by the connotations engendered by the modern author’s oeuvre – and frame its reception accordingly. The article discusses how this process finds expression in the Hogarth Shakespeare project paratexts, which are seen as ways of making creative use of the popular conceptions of the modern authors evoked by their very names to reframe, revise and re-energise Shakespeare’s work for new audiences, in part through the specific form of (micro)generic recontextualisation that they bring about. centrale dans ce procédé : l’apparition du nom de Jo Nesbø sur la couverture de Macbeth , les arguments des critiques de Edward St. Aubyn qui relatent à nouveau l’histoire du Roi Lear , ou l’utilisation de Gillian Flynn pour adapter Hamlet sont des façons d’exploiter de manière créative les conceptions populaires des auteurs modernes évoqués par leurs appellations pour redéfinir, réviser et redynamiser les travaux de Sh","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46392036","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}
d'abord la façon dont la fragmentation peut être lissée pour faire place à un ensemble confortable qui entre dans un genre par le biais de deux mini-series télévisées adaptées l'une d'un cycle de nouvelles ( Olive Kitteridge , HBO 2014) et l'autre d'un cycle de romans ( Case Histories , BBC 2011-2013). Ensuite, l'étude des adaptations de Lady Susan et de Sanditon, tous deux de Jane Austen, qui ne fournissent ni l'un ni l'autre de fin heureuse romantique permettra de voir comment la modification des seuils peut au contraire libérer l'adaptation des conventions et attentes ( Love and Friendship by Whit Stillmann, 2016 and Sanditon , ITV 2019).
首先可以平滑分散方式来建立一套在一间舒适的那种通过两个电视mini-series适应一个新的周期(Olive Kitteridge之一,2014年HBO另一个周期(小说)和BBC Histories栏,2011 - 2013年)。接下来,研究调整Lady苏珊和Sanditon简·奥斯汀,两人都不提供的,两者都不是浪漫的结局将如何改变阈值调整公约相反可以释放的期望和维特(Love and amitie by Stillmann 2019)、2016 and Sanditon ITV。
{"title":"Adapting fragmentation: changing borders in Olive Kitteridge (HBO 2014); Case Histories, (BBC 2011-2013); Love and Friendship (2016) and Sanditon (ITV 2019)","authors":"Armelle Parey","doi":"10.4000/interfaces.4858","DOIUrl":"https://doi.org/10.4000/interfaces.4858","url":null,"abstract":"d'abord la façon dont la fragmentation peut être lissée pour faire place à un ensemble confortable qui entre dans un genre par le biais de deux mini-series télévisées adaptées l'une d'un cycle de nouvelles ( Olive Kitteridge , HBO 2014) et l'autre d'un cycle de romans ( Case Histories , BBC 2011-2013). Ensuite, l'étude des adaptations de Lady Susan et de Sanditon, tous deux de Jane Austen, qui ne fournissent ni l'un ni l'autre de fin heureuse romantique permettra de voir comment la modification des seuils peut au contraire libérer l'adaptation des conventions et attentes ( Love and Friendship by Whit Stillmann, 2016 and Sanditon , ITV 2019).","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42541452","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}
{"title":"Towards an archival study of screenplay versions: the role of screenwriting research for adaptation studies","authors":"Dagmar Brunow","doi":"10.4000/interfaces.4494","DOIUrl":"https://doi.org/10.4000/interfaces.4494","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48226531","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}
{"title":"Marges et cimaises. Art et littérature au XIXe siècle, du musée aux imprimés, Luce Abélès","authors":"Amélie de Chaisemartin","doi":"10.4000/interfaces.5249","DOIUrl":"https://doi.org/10.4000/interfaces.5249","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45899411","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}
{"title":"Berlin, Capital of Serial Adaptation. Exploring and Expanding a Political Storyworld in Babylon Berlin","authors":"Juliane Blank","doi":"10.4000/interfaces.4798","DOIUrl":"https://doi.org/10.4000/interfaces.4798","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43028034","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}
1 This article focuses on the negotiation of borders in Anna Seghers’ novel Transit (1944) and Christian Petzold’s film of the same name (2018). Seghers’ Exilroman , set in the 1940s, describes the torment of a nameless refugee from Germany waiting to escape Marseille, one of the last open ports in a Europe ravaged by National Socialism. Seventy years later, Petzold’s film delves into the history of displacement and nationalism in Europe by setting the fascist persecution in the 1940s amongst the refugee “crisis” in the present day. Drawing on a trans-period approach which is already present in Seghers’ book, the Berlin School director presents expulsion and migration as timeless phenomena, grounding his film in the historical movement of populations across borders. Both authors construe the crossing of borders as a loss of identity and alienation, but offer different solutions, if any, to what they perceive as an existential as well as a political predicament. After providing some background to each work and author, I will analyse Petzold’s diachronic adaptation of Seghers’ novel before demonstrating that he deploys an understanding of migration inherent in the earlier text. Considering both authors’ representation of displacement as the loss, not only of the home, but also of the self, I will then examine how their coping strategies involve creating and sharing narratives, yet diverge in fundamental ways: Seghers’ self-reliance and international solidarity is juxtaposed with Petzold’s submitting to the absurdity of the transit space. Finally, I will argue that the state of crisis experienced by Seghers’ and Petzold’s protagonists is tied to the enforcement of borders both within and around Europe, making this an enduring humanitarian as well as artistic issue which needs to be addressed in order to protect the rich yet contested multicultural community which has historically shaped, and continues to shape, this continent. décrit le tourment d'un réfugié allemand sans nom attendant de s'échapper du Marseille des années 1940, l'une des dernières frontières ouvertes dans une Europe ravagée par le national-socialisme. 70 ans plus tard, le film multilingue du réalisateur de l'école de Berlin se penche sur l'histoire des déplacements et du nationalisme en Europe en situant la persécution fasciste des années 1940 dans le contexte de la crise des migrants dans la France d'aujourd'hui. L'approche trans-périodique distinctive de Petzold donne la parole aux marginalisés et aux déplacés sur deux siècles et deux continents, rendant impossible de séparer la "vieille" de la "nouvelle" Europe. Présentant l'expulsion et la migration comme des phénomènes intemporels, Petzold parle de la fluctuation historique des frontières et des mouvements de populations. Les deux auteurs interprètent le franchissement des frontières comme une perte d'identité et une aliénation, mais proposent des solutions différentes, si tant est qu'il y en ait, à ce qu'ils perçoivent comme
{"title":"Negotiating Borders in Anna Seghers’ and Christian Petzold’s Transit","authors":"Cordula Böcking","doi":"10.4000/interfaces.5400","DOIUrl":"https://doi.org/10.4000/interfaces.5400","url":null,"abstract":"1 This article focuses on the negotiation of borders in Anna Seghers’ novel Transit (1944) and Christian Petzold’s film of the same name (2018). Seghers’ Exilroman , set in the 1940s, describes the torment of a nameless refugee from Germany waiting to escape Marseille, one of the last open ports in a Europe ravaged by National Socialism. Seventy years later, Petzold’s film delves into the history of displacement and nationalism in Europe by setting the fascist persecution in the 1940s amongst the refugee “crisis” in the present day. Drawing on a trans-period approach which is already present in Seghers’ book, the Berlin School director presents expulsion and migration as timeless phenomena, grounding his film in the historical movement of populations across borders. Both authors construe the crossing of borders as a loss of identity and alienation, but offer different solutions, if any, to what they perceive as an existential as well as a political predicament. After providing some background to each work and author, I will analyse Petzold’s diachronic adaptation of Seghers’ novel before demonstrating that he deploys an understanding of migration inherent in the earlier text. Considering both authors’ representation of displacement as the loss, not only of the home, but also of the self, I will then examine how their coping strategies involve creating and sharing narratives, yet diverge in fundamental ways: Seghers’ self-reliance and international solidarity is juxtaposed with Petzold’s submitting to the absurdity of the transit space. Finally, I will argue that the state of crisis experienced by Seghers’ and Petzold’s protagonists is tied to the enforcement of borders both within and around Europe, making this an enduring humanitarian as well as artistic issue which needs to be addressed in order to protect the rich yet contested multicultural community which has historically shaped, and continues to shape, this continent. décrit le tourment d'un réfugié allemand sans nom attendant de s'échapper du Marseille des années 1940, l'une des dernières frontières ouvertes dans une Europe ravagée par le national-socialisme. 70 ans plus tard, le film multilingue du réalisateur de l'école de Berlin se penche sur l'histoire des déplacements et du nationalisme en Europe en situant la persécution fasciste des années 1940 dans le contexte de la crise des migrants dans la France d'aujourd'hui. L'approche trans-périodique distinctive de Petzold donne la parole aux marginalisés et aux déplacés sur deux siècles et deux continents, rendant impossible de séparer la \"vieille\" de la \"nouvelle\" Europe. Présentant l'expulsion et la migration comme des phénomènes intemporels, Petzold parle de la fluctuation historique des frontières et des mouvements de populations. Les deux auteurs interprètent le franchissement des frontières comme une perte d'identité et une aliénation, mais proposent des solutions différentes, si tant est qu'il y en ait, à ce qu'ils perçoivent comme ","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49399554","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}
{"title":"Film adaptations crossing borders: The reception of Spanish literature in the United States through film","authors":"A. Reisenauer","doi":"10.4000/interfaces.4424","DOIUrl":"https://doi.org/10.4000/interfaces.4424","url":null,"abstract":"","PeriodicalId":50353,"journal":{"name":"Interfaces","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48791674","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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