Adaptation (Literature)

This volume is a collection of studies that examine various aspects of translation studies. It addresses theoretical issues, the practice of translation, and its historical dimensions, thereby offering an overview of the interdisciplinary nature of translation. As supplementary course material for classes in translation theory and translation practice, the volume aims to stimulate students’ interest in the many facets of literary translation, while contributing to their professional development and expanding their knowledge of translation studies.

En estos últimos años, buena parte de la ficción insólita española (literatura, cine y cómic) ha mostrado una recurrente predilección por la ambientación rural a la hora de construir historias cuyo efecto básico es la inquietud, ya sea generada por vías más fantásticas o realistas. Estas obras, que hemos bautizado con el término agrohorror, ofrecen un retrato distorsionado (en ocasiones hasta lo grotesco) de la vida en los pueblos y deben comprenderse y analizarse desde el cruce de caminos entre las literaturas de la ruralidad y las narrativas de terror.

Desde estos códigos, el agrohorror se bifurca en multitud de caminos que van desde el miedo metafísico de lo fantástico hasta el terror más realista; desde una dantesca seriedad violenta hasta la incómoda risa macabra del grotesco o hasta el nihilismo de lo absurdo. Es así como explora, con muy distintos filtros, los diversos matices del mundo rural: costumbres, problemáticas sociales y económicas, violencia, memoria histórica, despoblación, ecología, etc.

Para pensar en profundidad sobre estas y otras cuestiones, recogemos en el presente volumen un total de nueve trabajos que dan cuenta de cuestiones teóricas (David Roas y Raúl Molina Gil), arqueológicas (Álvaro López Fernández) y críticas, aplicadas al cine (Elios Mendieta) y a la narrativa en español (Rosa María Díez Cobo, Maria Ayete Gil y Violeta Fernández-Pacheco Laffond) y en gallego (Rexina Vega). A ello se añade un texto de la escritora Ana Martínez Castillo, a modo de poética (personal) del agrohorror.

This paper explores the interaction between cultures and the transformation of texts through Victor LaValle's graphic novel, Destroyer (2017), a modern retelling of Mary Shelley's Frankenstein. The study clearly establishes the connection between adaptation and intertextuality, illustrating how LaValle's work challenges established ideas of cultural identity and narrative authority. It contends that these adaptations, viewed through the concept of "destruction", are not simple reproductions of original texts but rather significant modifications that create new meanings and perspectives. Destroyer (2017) utilises the hybrid form of graphic fiction to engage in a dialogic relationship with the Frankenstein narrative, emphasising the complexities of racial dynamics in the United States and demonstrating the potential of literary adaptations to promote cultural discussion and critique.

This qualitative research discusses the interest of the audience in narrative reconfiguration in Frozen (2013) and Frozen II (2019) by Disney by analyzing 50 online reviews of Frozen (2013) and Frozen II (2019) using discourse analysis and comparing them with each other. The study, based on the engagement theory (Smith, 1995) and the use of Appraisal Theory (Martin and White, 2005), examines the linguistic construction of engagement by the audience, interpretation of narrative continuity and change by viewers and appraisal of sequel narratives. Results show that there are three prevailing trends, namely, (1) nostalgic attachment of the original forming evaluative structures, (2) ambivalent reactions to narrative expansion between appreciation and critique, and (3) discrepant emotional commitment to character development. Viewers create a form of involvement by making comparative judgments, emotional revelation and thematic unity judgment. The analysis shows that the key to successful sequel reception is to strike the balance between familiarity and relevant innovation with respect to the prior emotional investment.

Toute traduction littéraire s'inscrit dans une dynamique de transfert visant à transposer les réalités linguistiques et socioculturelles de la langue source vers la langue cible afin d'assurer une communication interculturelle efficace. Dans cette perspective, l'émergence d'une retraduction suggère souvent que la version initiale n'a pas pleinement atteint ses objectifs communicationnels, nécessitant ainsi une nouvelle médiation pour combler les lacunes de la première version. Cet article propose une analyse comparative approfondie de deux versions anglaises du roman emblématique, L'Enfant noir, de Camara Laye-The Dark Child et The African Child. L'objectif est d'examiner comment le traitement des aspects culturels guinéennes et le rendu des réalités africaines motivent le processus de retraduction. S'appuyant sur la théorie des normes de Gideon Toury, l'étude évalue ces deux oeuvres à l'aune de l'adéquation (la fidélité aux structures du texte source) et de l'acceptabilité (la conformité aux normes esthétiques et linguistiques du système cible). À travers une analyse textuelle rigoureuse de segments marqués par les éléments culturels (aliments, vêtements, termes de politesse, etc.), les résultats démontrent que la retraduction modifie substantiellement les choix de la première version au profit d'un perfectionnement sémantique et stylistique. Cette approche révèle que le retraducteur, appréhendant le texte comme un produit destiné à s'intégrer durablement dans la culture réceptrice, privilégie les normes socioculturelles du lectorat anglophone pour améliorer la lisibilité de l'oeuvre. En définitive, cette étude illustre que la retraduction agit comme un processus constant de reconfiguration de l'image textuelle, visant une naturalisation du texte pour garantir son intégration optimale au sein du système culturel cible.

This article examines how minority engagements with Shakespeare in Türkiye, specifically Armenian and Kurdish translations and stagings, function as acts of cultural negotiation, political visibility, and legitimisation rather than as passive receptions of a global canon. Drawing on theories of adaptation, appropriation, accessibility, and minor literature, the article argues that Shakespeare's works have provided minority communities with a sociopolitical resource through which linguistic and theatrical agency have been asserted across different historical moments. Focusing on the Armenian reception of Shakespeare in the late Ottoman period and the Kurdish turn to Shakespeare in the Republican era in the 2010s, the article situates these practices within what Lauren Kruger terms "theatrical nationhood." Particular attention is given to Othello and Hamlet, whose representations of displacement, marginality, and political crisis resonate with minority experiences in Türkiye. By tracing translation strategies at textual and paratextual levels, the article demonstrates how accessibility works bidirectionally: how Shakespeare is appropriated into the Armenian and Kurdish languages, and how these cultures are legitimised within global literary circuits at the same time.

In this chapter, Collins is interested specifically in the materiality of Hindi horror movie posters and song booklets, which he argues constitute a type of advertising unique to Indian cinema. As a long- time collector himself, Collins uses extensive (and oft en exclusive) archival visual materials to
discuss a diverse range of subjects including possession, colonialism, tantra,
rasa aesthetics and the idea of the wet sari. Collins’s chapter also contains ten color reproductions of movie posters and song booklets.

This project aims to apply Queer Theory, a 20th century critical theory which examines gender and sexuality from a non-normative perspective, gender performitivity theory and also to identify heterotopic spaces with the help of Michel Foucault’s definition for heterotopology and his principles for heterotopias. Queer theory analyses gender, sexuality and biological sex from a radical point of view and this theory was formed with women studies and gay and lesbian studies as a basis and are against the hetero-normative society which establish heterosexuality as the superior sexual orientation. Foucault says that heterotopias are other spaces in real world which emit the properties of utopia and who are “deviant” according to the society are made to live in these places. These places can also be personal spaces created by people on their own to distance themselves from the real world which forces them to follow the norms set by the society. The project will analyse two neo-historical novels, Fingersmith by Sarah Waters and Memory of Light by Ruth Vanita to give an extensive research on how gender performance is also influenced by sociological and cultural aspects of the countries where the characters live in the novels. Sarah Waters is a Welsh writer who has written various neo-historical works like Tipping the Velvet, Affinity, Fingersmith and The Night Watch. Fingersmith is a neo-Victorian novel published in the year 2002 which narrates the tale of two female protagonists, Susan Trinder and Maud Lilly, whose lives become intertwined because of a plan made by Mr. Richard Rivers or Gentleman, to swindle money from the rich heiress, Miss Lilly, by marrying her. Mr. Rivers’
hope of getting the fortune, however, is thwarted because Maud and Lilly fall for each other. The novel portrays how the two women navigate their feelings while also trying to fool each other for money and freedom. Ruth Vanita is an Indian writer, scholar and an activist who was a co-editor in the first feminist magazine called Manushi and she has researched on Indian history through the lens of gender and sexuality. Memory of Light is a poetic novel published in 2020, which is set in the 18th century. It beautifully describes the love story of the narrator, Nafis Bai, and Chapla Bai, two courtesans who meet by chance and gracefully fall in love. The book gives an aesthetically pleasing image of the courtesan life and the courts, describes the daily life of the courtesans and also how sexuality is not dictated by any authority inside the kothas. The chapter IV of the project identifies the various heterotopias in the two novels and also analyses the way gender is performed in the novels. I have argued how through social constructivism, one can understand how non-normative sexuality only seems out of the ordinary because of internalization of normative gender expression perpetuated by social construct of gender identity. Various heterotopias have also been identified in this chapter on the basis of the six principles laid down by Michel Foucault in his essay Of Other Spaces such as Maud’s room, kothas and Mr. Lilly’s library because they satisfy the principles. I have concluded the project by stating how the books were chosen and how the theories were applied to these books because of its non-normative representation of women and female relationships.

This article explores the figure of Ulysses as an intertextual performance rather than as a stable character or heroic archetype. Drawing on Julia Kristeva's and Tiphaine Samoyault's theories of intertextuality, as well as Erika Fischer-Lichte's concept of performance as a transformative, autopoietic event and Richard Schechner's notion of restored behaviour, the study argues that Ulysses functions not as a subject but as a dynamic textual operator. This spectral, reactivable presence traverses literature as a mechanism of poetic and structural destabilisation. From Ulysses by James Joyce to Édouard Glissant's Poetics of Relation and Claudia Rankine's Citizen: An American Lyric, the name of Ulysses is cited, fragmented, erased, or reconfigured through citation, travesty, repetition, and rhythmic transformation. Intertextuality is treated as a scenographic device-a performative space in which meaning is produced not by identity but by echo, rupture, and variation. In diasporic and postcolonial literatures, Ulysses becomes a spectral operator-no longer a returning hero, but a figural rhythm of loss and non-return. Ithaca is not a destination but a gap in the narrative field. Ulysses, as a performance of intertextuality, exemplifies a broader mode of literary existence: writing as affective deviation, as unfinished recurrence, and as poetic persistence in the absence of closure.

En la introducción de Fausto, Miguel Vedda analiza la figura de Margarita, y menciona las características atractivas de las mujeres para la burguesía alemana de la época: "el sentimiento del honor y la pureza son el único blasón que distingue a las jóvenes núbiles: la hija virtuosa es una mercancía cuya conveniente transacción ayuda a sustentar el dominio del pater familias (2015: pág. 49). La figura femenina en la literatura se desenvuelve pasiva, pura, y relacionada a la vida doméstica y a la religión. Sin embargo, las obras que desarrollaremos en este texto, el fragmento Woyzeck de Büchner y la obra Blancanieves de los hermanos Grimm, los personajes femeninos se categorizan en el otro extremo y se vinculan con el concepto del mal. Vamos a trabajar con los personajes de la reina malvada en Blancanieves, y Marie, la esposa de Woyzeck de la obra homónima, para poder desarrollar esta vinculación entre el mal y lo femenino. Adicionalmente, ambas obras literarias encuentran un punto en común con una tercera obra, a través del uso y función de los objetos. Aquel tercer texto es el mito de Narciso y Eco de Ovidio.

Our analysis aims to identify the hierarchical relationship be- tween the chivalric coherence and the marvellous aspects of the magic carole motif, according to the principle of double coherence (chivalric and mythi- cal) stated by Jean Fourquet. From the point of view of mythical coherence, the magic carole has specific characteristics that are related to archaic con- ceptions of space and time: inside the carole, time seems to be suspended, if not to be inscribed in a mythical dimension; the knight who join the danse loses the memory of his quest, as well as of everything and anyone outside it. From the point of view of courtly or chivalric coherence, the magic carole represents, for the knight, the risk of diverting from the heroic progression to remain in a feminine and erotic prison.

The chapter studies a network of source texts by tracing the influences of the Swedish translation of L. M. Montgomery's Anne of Green Gables on the Polish, Finnish, and Norwegian versions. Identifying the source texts used in each translation determines whether they are direct or indirect, and singular or compilative (Ivaska 2020, Rosa et al. 2017). Material from the publishers' archives and bibliographical material is analyzed, and results are confirmed by a comparative textual analysis of the translations and their presumed source texts regarding proper names, intertextual references, and infantilizing strategies. This examination of a network of source texts shows that the source text is not stable, as all three translations analyzed have different singular or compilative source texts.

Tratto dal romanzo simbolo della resistenza francese, "Il silenzio del mare" è passato alla storia per la sua altissima qualità formale, uno straordinario esercizio di stile (frutto della collaborazione di Melville con il direttore della fotografia, Henri Henri Decaë); e per le sue caratteristiche produttive, che ne fanno un antesignano di un'idea di cinema indipendente che si diffonderà con la nouvelle vague.

"a diverse range of contributors were asked to rethink, reframe, and recontextualize Shakespeare’s drama in relation to contemporary debates across the academy and public discourse. Accordingly, this new collection presents a variety of new voices emerging out of contemporary Shakespeare and performance studies in the wider context of a global age of culture wars, identity politics, digital transformation, and pedagogic innovation.
"Shakespeare: New Voices" is a bold and necessary collection for our times. It not only examines Shakespeare’s place in twenty-first-century culture but also interrogates the role that literature, performance, and theory can play in social justice movements, intensifying culture wars, and emancipatory pedagogy.

This paper presents a concise comparative study of the major films based on the life and writings
of Saadat Hasan Manto, focusing primarily on Sarmad Khoosat’s Manto (2015) and Nandita
Das’s Manto (2018). Through an analysis of narrative structure, representational strategies, and
historical framing, the study examines how each film constructs Manto’s persona and interprets
his literary ethos. The comparison highlights significant differences in thematic emphasis,
cinematic tone, and cultural perspective, despite a shared commitment to portraying Manto’s
uncompromising realism. The findings demonstrate how these films contribute to contemporary
readings of Manto and underscore the role of cinema in shaping literary memory in South Asia.
Key words: Saadat Hassan manto,biographical films, Pakistani Cinema, indian cinema, film
and literature, partition narratives

Farah Khan's Om Shanti Om (2007) stands as one of the most self-referential and exuberant films in modern Hindi cinema-a glamorous homage to Bollywood's past, present, and cinematic ethos. This paper critically examines how Om Shanti Om functions as both a celebration and a satire of Bollywood. Drawing from intertextual analysis, film theory, and popular culture studies, the paper explores how the film embraces nostalgia, melodrama, and spectacle while simultaneously parodying the industry's excesses, superficiality, and moral contradictions. The study identifies the "good" aspects-its affectionate tribute to cinematic history, meta-humour, and revival of masala cinema-the "bad"-its overindulgence in stereotypes and gender objectification-and the "ugly"-its selfcongratulatory tone and lack of deeper critique. The analysis situates Om Shanti Om within the discourse of postmodern Bollywood, where parody and pastiche blend to redefine popular cinema.

Praca analizuje funkcje baśni i bajek w edukacji polonistycznej na poziomie szkoły podstawowej, ze szczególnym uwzględnieniem ich roli dydaktycznej, aksjologicznej i terapeutycznej. Część teoretyczna obejmuje definicje, genezę i obecność baśni w podręcznikach. W części interpretacyjnej, w oparciu o koncepcje J. Bucaya i B. Bettelheima, ukazano baśń jako narzędzie wspierające rozwój psychiczny i tożsamościowy wychowanka. Część empiryczna, oparta na badaniach uczniów klas IV–VI potwierdza, że baśnie pozostają istotnym nośnikiem wartości oraz skutecznym narzędziem wspomagającym rozwój emocjonalny i poznawczy dziecka.

In the past, text-to-speech systems, while effective in functional contexts, were not considered viable substitutes for professional human narrators in audiobook production due to their limited expressive variability. Literary audiobooks, in particular, rely on systematic modulation of pitch, tone, rhythm, and tempo to convey narrative atmosphere, emotional nuance, and character differentiation. Recent advances in artificial intelligence (AI), however, have enabled synthetic voices to approximate these expressive qualities and to perform differentiated narrative roles. As AI-generated voices are increasingly being deployed in commercial audiobook productions, it remains an open empirical question whether they meet listeners' expectations for literary narration. This study reports the results of an experiment evaluation in which self-identified audiobook listeners assessed literary audiobook excerpts performed either by AI-generated voices or by professional human voice actors. Overall, differences in listener evaluations between AI-generated and human voices were minute. Expectations regarding whether a narrator was human or artificial did not moderate these evaluations. Perceived narrator gender played only a marginal role, while the presence or absence of direct speech did not interact with voice type. Listener age and gender showed no systematic effects. Instead, affinity for technology interaction emerged as the strongest (but still weak) predictor of differential evaluations between AI-generated and human voices. Taken together, the modest size of all observed effects suggests that from the listener's perspective, AI-generated voices currently function as a viable substitute for human audiobook narration.

Screenplay translation is an interstitial genre of cultural production, and as a field of study fits in screenwriting, film, theatre, translation, and literary studies. Based on Hiroshima mon amour (1960), by Marguerite Duras, and the translation into English by Richard Seaver (1961), we explore the translation strategies employed for this work and we critically analyse how they impact the reading experience of the translated screenplay. Why for example do the additions and omissions in the characters' dialogues and scene description result in the source text encompassing not only the original screenplay, but also the film itself? In this regard, we suggest that the inclusion of film frames in the English edition serves as a form of intermedial compensation. The readers are more likely to form the impression of reading Duras' screenplay when in fact they are engaging with the interpretation by the film's mega-narrator, which causes a disruption in the communication model of the translated screenplay. In this sense, a translator's note could help readers to grasp translation decisions and the type of screenplay they are reading.

Screenplay translation is an interstitial genre of cultural production, and as a field of study fits in screenwriting, film, theatre, translation, and literary studies. Based on Hiroshima mon amour (1960), by Marguerite Duras, and the translation into English by Richard Seaver (1961), we explore the translation strategies employed for this work and we critically analyse how they impact the reading experience of the translated screenplay. Why for example do the additions and omissions in the characters' dialogues and scene description result in the source text encompassing not only the original screenplay, but also the film itself? In this regard, we suggest that the inclusion of film frames in the English edition serves as a form of intermedial compensation. The readers are more likely to form the impression of reading Duras' screenplay when in fact they are engaging with the interpretation by the film's mega-narrator, which causes a disruption in the communication model of the translated screenplay. In this sense, a translator's note could help readers to grasp translation decisions and the type of screenplay they are reading.

This text is an annotation for the Experimental Film & Video Festival in Seoul (EXiS), 2017 in the program for solo features, Indi-Visuals: Linda Lai. It was adapted into the festival proceeding, and published bi-lingually in English and Korean.

El idilio entre novela y cine es uno de los más sobresalientes de la cultura de masas y los estudios intermediales pueden arrojar luz sobre el enigma que sustenta esta fructífera relación. Para ello son necesarias nuevas categorías interartísticas, superiores hasta las ahora propuestas, a las que llegaremos a partir de tres ideas: la novela como contenido del cine (McLuhan), la centralidad de la novela y los géneros para la imaginación moderna (Bajtín), y la expansión al cine de los subgéneros novelísticos (Beltrán Almería). Sugeriremos que las categorías (cronotopos y símbolos) y los subgéneros propuestos por Bajtín y sus seguidores para teorizar la novela moderna pueden servir como categorías intermediales para explicar la génesis de los géneros cinematográficos. Fijando el epicentro teórico en estos elementos, surge un novedoso mapa genérico-novelístico cuyo trasvase a las pantallas puede dar lugar a una comprensión más ajustada del cine, concebido como novela expandida.

The article closely reviews Nomura Yoshitarō’s 1958 film Harikomi
(Stakeout), which despite its widespread acclaim remains
relatively understudied, in light of a specifically Japanese generic
appropriation of the American cinematic mode known as film
noir. While genre and mode are typically regarded as distinct
categories, I intentionally conflate them to argue that the film
transcends and problematizes conventional categorizations of
film noir as a subgenre, suggesting the formation of an
alternative category. Instead of classifying the film within an
established genre or cinematic movement, I position it within a
line of Japanese films that intertwine social, cultural, and national
media discourses. This line, I posit, offers a critical perspective on
Japanese society and presents a dark vision, although not
necessarily a subversive one. To limit the scope to more readily
identifiable patterns, I frame the discussion around style to
contend that Stakeout draws a line for a specifically Japanese
kind of film noir. Thus, while the following analysis primarily
centres on one film, the overarching objective of the article is to
establish Stakeout as a pivotal point that is in line with both
preceding and subsequent productions in terms of narrative and
cinematic form.

This article explores the use of large language models as a tool in Bible translation, with specific attention to the strengths and weaknesses of the application of AI to specific translation types. Building on the first results from research into AI-assisted translations in plain language (such as the Dutch Bijbel in Gewone Taal), the study compares these findings with a case study on AI use in a more literal study translation (the Nieuwe Concordante Vertaling). The analysis shows that while AI can accelerate and assist in translation, analysis, and annotation, its limitations differ per translation type, making human oversight indispensable.

La historia de la humanidad está atravesada por momentos de inflexión que han ido transformando sus estructuras sociales, culturales y epistemológicas. En las últimas décadas, el vertiginoso avance tecnológico y digital ha inaugurado uno de estos umbrales: un escenario en el que se redefinen las formas de producción, lectura y circulación del saber, donde las humanidades se ven interpeladas a reconsiderar sus métodos, sus objetos de estudio y, en última instancia, su lugar en el entramado contemporáneo del conocimiento. «Palabra y código: las humanidades y el horizonte digital» traza una cartografía crítica de este cambio de paradigma. A través de dieciséis estudios que dialogan desde una perspectiva interdisciplinar, el volumen examina cómo las humanidades están reformulando su sentido y su función en el contexto tecnológico. Las contribuciones aquí reunidas analizan los desplazamientos conceptuales y metodológicos que acompañan la incorporación de herramientas digitales en la investigación y la creación cultural, evidenciando tanto las tensiones como las oportunidades que emergen en este proceso de transformación. La reflexión se articula en tres ejes complementarios. El primero indaga en los fundamentos digitales, con el propósito de establecer marcos teóricos y nuevos enfoques que sustenten este campo emergente, ante la irrupción de la inteligencia artificial. El segundo se centra en las reescrituras y poéticas intermediales, explorando cómo se transforman el canon y los procesos creativos en entornos digitales. Y, finalmente, el tercero aborda los discursos y las memorias culturales, sintetizando la evolución de las narrativas en una sociedad atravesada por el mundo tecnológico.

Résumé : Cette étude se focalise sur "Les Aventures de Till l’Espiègle" (1956), version cinématographique de Gérard Philipe du volumineux roman de Charles De Coster "La Légende d’Ulenspiegel" (1867) narrant la lutte des ‘Gueux’ contre l’oppression espagnole dans la Flandre du XVIe siècle. Notre analyse des résultats esthétiques
de l’écriture filmique dans leur rapport au texte original s’appuie sur des exemples de scènes et plans précis pour comprendre les enjeux des choix du réalisateur français. Si l’accent mis à l’écran sur les aventures burlesques au détriment de l’approfondissement idéologique a suscité jusqu’à présent le mépris de la critique, nous souhaitons souligner des atouts méconnus du film tels que sa recréation dynamique de détails de toiles de Brueghel l’Ancien, malgré les faiblesses de sa vision stéréotypée. Nuancer la perception de cette adaptation, en comparaison notamment avec celle d’Alov et Naoumov (1977), permet de réaffirmer la richesse
de l’oeuvre costérienne considérée comme fondatrice de la littérature belge francophone.

Abstract: This study focuses on "Les Aventures de Till l’Espiègle" (1956), Gérard Philipe’s film adaptation of Charles De Coster’s voluminous novel "La Légende d’Ulenspiegel" (1867), about the fight led by “Les Gueux” against Spanish oppression in sixteenth-century Flanders. Our analysis of how the cinematic writing aesthetically
renders the original text is based on examples of scenes and shots specifically chosen for the insights they yield on the issues that influenced the French director’s choices. While heavily criticised for placing the emphasis on farcical adventures at the expense of ideological depth, the film also has qualities that, so far, have been overlooked. Some of these, such as the way it sets details of Brueghel the Elder’s paintings into action, deserve to be pointed out, despite the flaws of the overall stereotypical approach. When placed under examination, the subtler aspects of
this adaptation – in comparison with that of Alov and Naoumov (1977), for instance – reaffirm the virtues of De Coster’s work, considered foundational in French-language Belgian literature.

Shakespeare has taken a decisive step in leaving imitation to culturally oriented rebranding particularly in Bollywood. His adaptations in Bollywood are the re-working of nemesis one of the fundamental principles of the classical and Shakespearean tragedy. Shakespearean plays compromise nemesis between divine justice, moral consequence and political restoration. Modern Bollywood versions absorb this force more and transfer it into the psychological confrontation and socio-political frameworks. This chapter focuses on comparing Vishal Bhardwaj with Macbeth, Othello, and Hamlet by analyzing the Maqbool (2003), Omkara (2006), and Haider (2014). Using the theory of adaptation, psychoanalysis, the idea of habitus by Bourdieu, and the idea of power established by Foucault, the chapter will argue that these movies turn nemesis into a self-destructing, imminent force of the impact of criminal patriarchy, caste ideology, and historical trauma.

If we begin with definitions, we may never get to the movies. Historically, documentaries were films with ideas, not stars. Documentaries were for exploring social and political issues destined for a campus film series or a public television station, so went the accepted wisdom, but then we happily made an exception for the more provocative post-modern film essayists like Michael Moore. Fair enough. Perhaps. But even before digital filmmaking became routine, the varieties of documentary were impressive. Besides traditional social realist documentaries and personal post-modern explorations -the two examples just cited above -documentary had morphed into an impressive variety of forms: cinema verite (filming "real people in undirected situations"-Stephen Mamber), TV documentaries (celebrity reporter goes on location, with Frontline as the gold standard), agit-prop documentaries (targeting an injustice without regard for journalistic "balance"), structuralist documentaries (exploring imagery, landscape, and action often without a linear narrative), ethnographic fictions (using nonprofessionals to mimic an activity, sometimes scripted, as if they were doing it in "real life"), and mock documentaries (pseudo-documentaries using professional and non professional actors in scripted and semi-scripted action). For a full taxonomy and numerous examples that document globalization, see my Cinema of Globalization. Of course, any of these documentary forms can now be made today digitally and disseminated on the Web. In fact, if their filmmakers are to reach an audience, that's what they'll have to do, since many of the usual venues (independent film theatres, public TV, cable TV, ...

ÖZ Christina Wilkins'in Embodying Adaptation: Character and the Body (2022) adlı çalışması, uyarlama çalışmalarına beden merkezli bir perspektif getirerek karakter kavramını yeniden düşünmeye davet eden teorik bir incelemedir. Altı bölümden oluşan ve henüz Türkçeye çevrilmemiş olan kitap, uyarlamayı yalnızca metinlerarası bir aktarım ya da anlatısal dönüşüm olarak değil, oyuncunun bedeni, performans pratikleri ve izleyici algısı üzerinden kurulan çok katmanlı bir süreç olarak ele alır. Wilkins'in temel iddiası, karakterin uyarlama sürecinde sabit bir öz değil; beden aracılığıyla yeniden üretilen, dönüştürülen ve metin dışı unsurlarla melezleşen bir yapı olduğudur. Çalışma, kuramsal referanslarını performans çalışmaları ve tiyatro literatüründen alsa da analitik olarak büyük ölçüde sinema ve televizyon oyunculuğu örneklerine dayanır. Bu yönüyle kitap, oyuncunun bedenini pasif bir "taşıyıcı" olarak değil, uyarlamanın anlam üretiminde etkin bir "üretici" olarak konumlandırır. Oyuncu bedeni, yıldız imajı, kültürel kodlar, toplumsal normlar ve ideolojik anlamlar gibi önceden yüklenmiş katmanlarla birlikte karakterin algılanışını ve yorumlanışını doğrudan etkiler. Wilkins, uyarlama eleştirisinde sıklıkla merkezi bir yer tutan "sadakat" (fidelity) kavramını da eleştirel biçimde tartışmaya açar. Sadakatin çoğu zaman "öz", "ruh" ya da "doğru temsil" gibi özcü varsayımlar üzerinden işletildiğini göstererek, bu refleksi reddetmekten ziyade bedenin değişken ve bağlamsal doğası üzerinden yeniden düşünmeyi önerir. Ayrıca typecasting, yıldız oyuncu bedeni ve stereotip gibi kavramları uyarlama bağlamında yeniden ele alır. Kitabın en özgün katkılarından biri, oyuncu ve karakter arasındaki hiyerarşiyi sorgulayan charactor kavramıdır. Bu kavram, karakteri bağlama, bedene ve izleyici alımlamasına bağlı olarak sürekli dönüşen bir süreç olarak tanımlar. Sonuç olarak Wilkins'in çalışması, uyarlamayı metinsel sınırların ötesine taşıyarak bedenler arasında gerçekleşen kültürel, ideolojik ve estetik bir süreç olarak kavramsallaştıran güçlü bir teorik çerçeve sunar.

George R.R. Martin’s A Song of Ice and Fire presents a
nuanced exploration of power, governance, and resistance through
archetypal characters that reflect historical and political realities. This
study examines how Martin employs the archetypes of the Just Ruler,
the Machiavellian Strategist, the Revolutionary Leader, and the
Outsider Hero to critique leadership and authority. The Just Ruler,
embodied by characters like Eddard Stark, struggles to uphold honour
in a politically ruthless world, exposing the fragility of ethical
governance. In contrast, the Machiavellian Strategist, represented by
figures such as Tywin Lannister and Petyr Baelish, exemplifies
manipulation and pragmatism, illustrating power as a tool of control.
The Revolutionary Leader, including Robb Stark and Stannis Baratheon,
disrupts established systems but often fails due to political realism.
The Outsider Hero, through Arya Stark and Sandor Clegane, redefines
heroism beyond traditional ideals. Drawing from literary criticism,
political philosophy, and historical parallels, this paper analyses how
Martin’s archetypal figures offer insight into leadership, authority, and
resistance. By situating A Song of Ice and Fire within broader sociopolitical discourse, the study highlights its relevance to real-world power dynamics and the complexities of governance.

Este trabajo ofrece una interpretación de Joker: Folie à Deux (PHILLIPS, 2024) basada en la hipótesis de que el personaje del Joker, en tanto figura narrativa, es estructuralmente inhabitable —entendiendo aquí por “inhabitable” no una condición psicológica o médica, sino una imposibilidad ético-narrativa: la incapacidad de sostener una identidad que articule coherentemente acción, responsabilidad y vínculo con el otro sin disolver al sujeto que la encarna—. Para fundamentar esta idea, se recupera la reflexión final de Jorge Luis Borges en su ensayo “Anotación al 23 de agosto de 1944”, donde describe la ideología nazi como una construcción simbólica, narrativamente posible pero inviable en el plano existencial. En diálogo con este texto borgeano, se analizan las condiciones que hacen posible que el Joker sea un personaje ficcional, recurriendo a la teoría de las matrices narrativas propuesta por Javier Roberto González, que permite cuestionar la (im)posibilidad del Joker de asumir ciertos roles heroicos o antiheroicos, según el caso. Además, se integran las ideas de Annick Louis sobre la postura ética de Borges frente al fascismo para situar el problema no solo en términos narratológicos, sino también en una reflexión más amplia sobre los límites de las formas ideológicas habitables.

Fantasy is an imaginary story with a supernatural element. George Richard Raymond Martin’s A Game of Thrones is an epic fantasy novel. The story revolves around several Noble families fighting for the Throne and the main characters going to fight against evil forces behind the wall. The novel contains plenty of conflict and adventures. This article deals with archetypes in epic fantasy novels of George R. R. Martin's A Game of Thrones from the series A Song of Ice and Fire. Specifically, it is focused on the archetypal analysis of Jon snow and Daenerys Targaryen. The analysis is based on in the light of Joseph Campbell’s concept of the Hero's Journey in fantasy literature. Campbell presents a sequence of steps to identify the hero archetype. The hero's journey can be described as 3 stages and 17 sub stages. The hero's journey can be described as 3 stages and 17 sub-stages. In the selected novel, A Game of Thrones, 6 sub-stages are evident. They are a call to adventure, The Supernatural Aid, crossing of the first Threshold, The Belly of the whale, The Meeting with God, and Meeting the Mentor. They are all analysed in this article.

O conteúdo deste livro está licenciado sob uma Licença de Atribuição Creative Commons Atribuição-Não-Comercial NãoDerivativos 4.0 Internacional (CC BY-NC-ND 4.0). Direitos para esta edição cedidos à Editora Artemis pelos autores. Permitido o download da obra e o compartilhamento, desde que sejam atribuídos créditos aos autores, e sem a possibilidade de alterá-la de nenhuma forma ou utilizá-la para fins comerciais. A responsabilidade pelo conteúdo dos artigos e seus dados, em sua forma, correção e confiabilidade é exclusiva dos autores. A Editora Artemis, em seu compromisso de manter e aperfeiçoar a qualidade e confiabilidade dos trabalhos que publica, conduz a avaliação cega pelos pares de todos manuscritos publicados, com base em critérios de neutralidade e imparcialidade acadêmica.

This paper is concerned with scheduling in Flexible Manufacturing Systems (FMS) using a Fuzzy Logic (FL) approach. Four fuzzy input variables; machine allocated processing time, machine priority, machine available time and transportation priority are defined. The job priority is the fuzzy output variable, showing the priority status of a job to be selected for next operation on a machine. The model will first assign operation of parts to machines under the given production plan and then determine the input sequence of the assigned operations for each machine based on a multi-criteria scheduling scheme. A complete fuzzy scheduling algorithm is developed to solve the operation allocation and operation scheduling problems in FMS environments aiming to approach the objectives of minimizing mean flowtime, maximizing machine utilization and balancing machine usage. The test results demonstrate the superiority of the fuzzy logic approach in most performance measures.

Cette étude s'intéresse aux différentes théories existantes sur l’adaptation cinématographique. En confrontant les langages filmique et romanesque, il s’agit surtout d’examiner les différents concepts qui englobent les adaptations cinématographiques, les notions de temps romanesque et de temps filmique ainsi que d’espace et de narration dans les deux arts. L’objectif est de mettre en relief le mécanisme des deux systèmes – de l’encre et de l’écran – afin de mieux analyser leurs relations de ressemblance et de dissemblance.)

Entre Madame Bovary de Gustave Flaubert et Gemma Bovery d’Anne
Fontaine, il se dégage un contraste palpant : Madame Bovary sert surtout de prétexte à Gemma Bovery, le film n’ayant aucune prétention de transposer à la lettre l’œuvre de G. Flaubert. Cette étude entend faire une exploration comparatiste du roman flaubertien et du film fontainier dans le but de révéler leurs ressemblances et dissemblances, et surtout de percer le mystère du processus d’appropriation du roman par le film sans perdre son originalité. Ainsi, l’étude montre la façon dont une œuvre du patrimoine littéraire est réinventée selon les codes du médium cinématographique. La confrontation du roman avec le film a permis exposer la permanence du bovarysme, tout en soulignant les mutations sociales et culturelles de la France entre le XIXe et le XXIe siècle. L’analyse établit que le film d’A. Fontaine est une relecture moderne du roman de G. Flaubert. L’Emma d’Anne Fontaine est contemporaine. Elle incarne une nouvelle définition du bovarysme au XXIe siècle. C’est une adaptation librement inspirée qui donne à voir la volonté d’innover de la réalisatrice. L’étude des procédés narratifs et esthétiques démontre que le passage du roman au cinéma relève d’un véritable acte de création artistique. Enfin, cette adaptation cinématographique de Madame Bovary est une forme de lecture active de l’hypotexte permettant d’offrir un regard neuf sur le bovarysme.

O artigo propõe uma leitura de Dom Quixote como obra fundamental para compreender o surgimento do romance moderno. Partindo de interpretações clássicas, como as de Hegel e Lukács, o autor mostra que o romance de Cervantes expressa as tensões da modernidade, especialmente o conflito entre ideais elevados e uma realidade cotidiana fragmentada. Nesse contexto, Dom Quixote aparece como um personagem que, movido pela imaginação, confronta um mundo que já não comporta seus valores.

O estudo destaca que Cervantes não apenas critica os livros de cavalaria, mas os transforma por meio da paródia, criando uma narrativa que mistura diferentes gêneros literários da época, como o pastoril, o picaresco e o bizantino. Essa combinação contribui para a inovação formal da obra, que passa a explorar de maneira complexa a relação entre ficção e realidade. Além disso, o artigo enfatiza a multiplicidade de vozes narrativas e a instabilidade da verdade no romance, elementos que antecipam características centrais da literatura moderna.

Outro ponto importante é o papel da leitura: tanto o protagonista quanto vários personagens são definidos por sua relação com os livros, o que evidencia uma reflexão sobre o impacto da ficção na vida. Por fim, o autor mostra como Dom Quixote foi reinterpretado ao longo dos séculos, assumindo diferentes significados conforme o contexto histórico. Assim, o artigo conclui que a obra de Cervantes não apenas inaugura uma nova forma de narrativa, mas também propõe uma reflexão duradoura sobre a natureza da ficção e sua ligação com a experiência humana.

The present study examines the translation and adaptation of a medieval Buddhist tale about an “ugly woman,” with particular attention to how gendered implications were reshaped through its cross-cultural transmission. While previous scholarship has primarily compared textual variants to reconstruct the history of the story’s transmission, it has often overlooked the cultural resonances embedded within these variants. In contrast, this study argues that the Dunhuang variants reinterpret the story’s original Indian setting, characterized by mixed-gender gatherings and social behavior regulated by stipulated fines, into a form more attuned to medieval Chinese gender norms. A comparative analysis of Chinese and Sanskrit sources reveals a dual narrative structure: a flexible, adaptive layer centered on the male protagonist, and a stable, karmically fixed core centered on the “ugly woman.” The male protagonist’s social interactions become key sites of localized adaptation, shaped by audience relatability, cultural expectations and prevailing gender codes. One adaptation reimagines the regular outdoor gatherings of caste-bound Indian landlords as the then newly emergent elaborate indoor Chinese house parties for close associates, where interaction with the host’s wife was customary, namely guangzuo chengqi 廣坐呈妻. By tracing shifts in narrative detail and emphasis, this study shows how Buddhist storytelling engaged with secular cultural values, reflecting medieval ideals of elite sociability and gendered norms.

本文旨在指出敦煌本波斯匿王醜女故事的各種文本變異的重點之一，在於將中國中古新興的社交禮俗，融入原本印度背景中男女雜處的社交場合，使之成為符合中國中古性別文化的情境。波斯匿王醜女故事是著名的佛教譬喻故事，過去對這個故事的研究多半集中在文本比對及其流傳系譜，而文本變異的文化意涵則相對受到忽視。本文則聚焦於單一文本細節，即男主角社交場景之變換，探討敦煌本的作者如何結合中國中古流行的「廣坐呈妻」之風俗，將男女雜會的現象處理成在家內接待親近友人的社交場合。筆者之所以判定敦煌本的情節吸納了中國中古的新興社交習俗，乃是透過文本比對，發現《雜寶藏經》、《大毘婆沙論》及《百緣經》梵文本中的社交場景，為以立約罰金要求夫妻聯袂出席的娛樂性聚會，反映印度種姓制度背景下的社交文化。《賢愚經》和《撰集百緣經》則對此細節避而不談，單純視男主角的社交場合為男主所屬階層的娛樂性聚會。

然而妻子邁出家戶與丈夫的密友出遊社交，並非中國中古習見的現象。在文本在地化的過程中，敦煌本作者融合了敦煌本地「坐局席」的傳統及中古時興的「廣坐呈妻」風俗，將妻子隨同丈夫出外社交的場合，轉變為丈夫特意邀請友人至家中聚會，並安排妻子出面招待以示親重的場景，從而合理化醜女出席的必要性。醜女故事多次譯介進中國的過程中，正值「廣坐呈妻」之風俗漸次在洛陽、建康及長安等地風行，因此很有可能在十世紀時流風被及敦煌，成為敦煌民眾對京城社會的基本認識之一，從而體現文本翻譯及改寫過程中所進行的在地化調整。本文並非純粹的佛教史或文學研究，而是強調研究視野上的整合與創新：從性別史與文化史的角度來研究佛教譬喻故事及其跨域流傳改編，將文本變異視為故事進行跨域傳播時適應文化差異的手段，以期增進對中國中古時期跨域史及比較文化史的了解。

Entre los paradigmas de la tradición y la modernidad que le dan forma a nuestra cultura se dibuja una frontera: un lugar de encuentro y de crisis que se evoca en el título de este libro colectivo a través del cronotopo bajtiniano del umbral. Los textos aquí reunidos exploran distintos modos en que ambas visiones del tiempo y de la historia reconfiguran la narración audiovisual contemporánea. Sus tres secciones encuentran en el cine y otras artes un testimonio vivo de ese espacio de disputa y convergencia, ya sea mediante el análisis puntual de problemas y motivos específicos o desde una mirada transversal, metateórica y panorámica.

Θανάσης Β. Κούγκουλος, «Η κριτική του Δημήτρη Χατζή για την πεζογραφία του Κωνσταντίνου Θεοτόκη», στο Alicia Morales Ortiz - Panagiota Papadopoulou (επιμ.), La civilización del Logos. 3.500 años de historia de la lengua griega. Estudios dedicados al professor Moschos Morfakidis Filactós, Tomo II, Centro de Estudios Bizantinos Neogriegos y Chipriotas - Sociedad Hispánica de Estudios Neogriegos, Granada 2025, σσ. 839-850.

Στη μελέτη μας εξετάζουμε την κριτική αποτίμηση της πεζογραφίας του Κωνσταντίνου Θεοτόκη από τον μεταπολεμικό πεζογράφο και αριστερό διανοούμενο Δημήτρη Χατζή. Ο Χατζής περιλαμβάνει τον Κωνσταντίνο Θεοτόκη σε δύο ανθολογίες και τον αναφέρει σε διάφορες επισκοπήσεις της νέας ελληνικής λογοτεχνίας. Τον Αύγουστο του 1962 υπογράφει το περίπου δισέλιδο άρθρο «Κώστας Θεοτόκης» στο περιοδικό ποικίλης ύλης Πυρσός των πολιτικών προσφύγων, το οποίο τυπώνεται στην Ανατολική Γερμανία. Σύμφωνα με τον Χατζή, ο Θεοτόκης ανταμώνεται με την ηθογραφική απεικόνιση της «ελληνικής ζωής», που κυριαρχεί στον καιρό του, και εντάσσεται οργανικά στο γραμματολογικό της πλαίσιο. Ο μεταπολεμικός διανοητής, εφαρμόζοντας την καθοδηγητική γραμμή του Πρώτου Συνεδρίου των Σοβιετικών Συγγραφέων (1934), διαβεβαιώνει πως ο Θεοτόκης αξιοποιεί στο έπακρο τον κριτικό ρεαλισμό της γενιάς του 1880, δηλαδή τη μετάβαση από την «εξωτερική περιγραφή» στο κοινωνικό, οικονομικό και πολιτισμικό συγκείμενο που ρυθμίζει τη δράση των μυθοπλαστικών χαρακτήρων. Πιστεύει πως η σοσιαλιστική ανατομία της κοινωνικής πραγματικότητας διαποτίζει τη μυθοπλασία του Θεοτόκη, τον οποίο θεωρεί ως προπομπό της «προοδευτικής πεζογραφίας στην Ελλάδα» και τον κατατάσσει δίπλα στους κλασικούς Ρώσους συγγραφείς του 19ου αιώνα.

In the May 2023 issue of PMLA on Translation, Katherine Gillen and Kathryn Vomero Santos present the results of a roundtable on “tradaptation,” a method of translating texts that straddle the tight boundary between translation and adaptation. The term, they explain, was coined by Quebecois playwright Michel Garneau to describe his Shakespeare translations, and the authors contend that the method of “tradapting” Shakespeare is inherently political, an act of resistance against imperialism. This essay identifies a similar phenomenon at work in the tradaptations of Dante’s Inferno by the Jamaican poet Lorna Goodison.

Much like Dante’s cantos, Goodison’s tradaptations turn a keen eye onto human experiences. In shaping her poems, she does not strive to access something universal about the human condition; instead, she narrates life through an emphatically local lens. Just as Dante’s Florence becomes the matrix through which he understands the realms of the afterlife his pilgrim visits, Goodison’s Jamaica is the ground in which her verses are situated and through which her words resonate. Her poems, stories, essays, and translations teem with the sights, sounds, and smells of Jamaican life. Even in her translations of Dante’s cantos, Jamaican place names dot her landscapes: the Blue Mountains, Rock Hall, Bog Walk, Mount Pleasant. Jamaican figures populate her underworld: Marcus Garvey, Nanny, Bob Marley, and her guide Miss Lou, the Jamaican poet, activist, and icon. But her most profound engagement with Dante is in language: a commitment to the Jamaican vernacular and its particular idiom, and a sustained reflection on how the mother tongue shapes and guides one’s understanding and experience of the world and one’s place in it. Her tradaptations re-patriate the poetry of the exiled Dante in a new national and linguistic context, loosening the sommo poeta’s tight grip on meaning while simultaneously honoring the poem’s resonance across times and spaces.

Within the true crime genre, archives play a crucial role-not merely as sources but as dynamic elements that shape the genre's identity, contradictions, and narrative strategies. This paper explores how post-2010 television true crime series engage with television archives, questioning their function as repositories of information, tools for entertainment, and instruments of media self-critique. Focusing primarily on the tv series, Dove nessuno guarda (Sky, 2023), the study proposes a taxonomy of archival sources-national and local television archives; trial proceedings, which transition from personal or judicial archives to television archives. Finally, this study examines how, in contemporary true crime series, television archives themselves become subjects of storytelling, interrogating the media's role in shaping public perception. Through a self-reflexive approach, these narratives position television archives as evidence in a broader discourse on media responsibility and truth-making processes.

Este ensayo analiza la película Blow-Up (1966) del cineasta italiano Michelangelo Antonioni y el cuento “Las babas del diablo” del escritor argentino Julio Cortázar con el objetivo de explicar y reflexionar sobre el diálogo que se establece entre ambos objetos artísticos en torno a la relación conflictiva entre el sujeto como traductor de lo real en términos lacanianos. Luego de revisar el carácter de adaptación adjudicado a la película de Antonioni, se propone que dicho conflicto y la desorientación resultante se encuentran presentes en dos dimensiones: por un lado, en la relación entre el acto de “ver” del espectador y la mirada, en términos lacanianos, que se propone en la película y en el cuento; por otro lado, en la obsesión de los protagonistas con la “verdad” que se oculta detrás de las fotografías que toman ambos. Se concluye que Blow-Up y “Las babas del diablo” comparten el mismo espíritu: la reflexión sobre el lenguaje escrito y fotográfico como herramientas simbólicas en la tentativa de asir lo real.