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The article is to describe an interesting phenomenon of the duplication of the literary patterns of behaviour among female protagonists created by Jane Austen. The subject of the paper is the analysis of the set books of the heroines invented by the British author in the both social and cultural context. Jane Austen’s novels can be regarded as the treasury of knowledge on the existence of the young girls at that time. The omnipresent conventions took away their right to dreams and self-fulfilment in almost every sphere of life. Lots of them found the coveted hope of improving their lives on the pages of overly aesthetic, sentimental novels. The characters from the books became inspirational among the female sex. The view of young ladies was based on their inner cultivation of the behaviour and mood which were inseparable from the girls from the popular romances. The patterns, continually given by fiction, took the place of humanistic and scientific knowledge, making the girls unaware – without the simplest information about the world. The subjects given in a wrong way by wrong teachers lowered their interest in education among youth, which also led to the popularity of sentimental, historical (especially those presenting the romance on the background of crucial events form the history of the given country) and Gothic novels. The text will concern the analysis of the attitude of the heroines created by the British author – on the basis of their set books and the position of Jane Austen in the range of literary criticism and the above-mentioned social phenomenon.
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The aim of the article is the consideration of the way in which Jane Austen asks in her novels about the status of reality. The subject of the interest are the narrations about “crime” understood as the events breaching the normal social experience and revealing how fragile the reality is. The significant context of the consideration is the classical detective literature. The author proves that the work of Jane Austen can be characterized by the similar reflection on societies in which the project of social reality is entangled. Referring to the conception of Luc Boltanski, she shows that, in the novels of the British writer, crime is a form of “reality testing”. Austen casts in doubt the frames of reality and reveals the conventional dimension of the social life. Her purpose, however, is not to disclose the social world – she sees the possibility of its integration.
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The graphic designs proposed by Polish publishers cannot be compared neither in number, nor in diversity to those presented by Margaret C. Sullivan in Jane Austen Cover to Cover: 200 Years of Classic Book Covers. Nevertheless, they are a valuable and still undiscussed source of knowledge on the Polish reception of Austen’s novels. Further information on this subject is provided in the first part of the paper by a compilation of book series in which some or all of the texts by Austen have appeared since the 1990s. The analysis of the book covers takes into consideration the relation between the design and the content of the narrative as well as the character of the artwork and its origin. The most popular were 19th century paintings (portraits, genre scenes, less frequently landscapes), film stills from the movie adaptations and floral patterns. As one of the aims of the study was to answer the question how the covers direct the reading process and place the text in the literary tradition, the remarks on the publishers’ choices were supplemented with the readers’ reviews. In the conclusion, it was suggested how the potential, new editions could be designed to stand out from the former ones.
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The subject of the article is the reception of Jane Austen in the sphere of e-culture – its fragment connected to websites and discussion forums concerning the writer. The phenomenon of “Austen mania” starts in Poland mainly because of the popularity of the movies based on Jane Austen prose. These sites and forums played not only a popularizing role, spreading the knowledge about the writers’ biography, work, film adaptations, or Regency, but they also grouped the society of fans who felt the need of being close to the other readers of Austen and some virtual companion in a feminine sphere created by numerous, common interpretation of the behaviour of the heroes of her prose, and also fans’ creativity in the area of gadgets, Regency costumes and literary tourism. The other form of activity is fan fiction, slightly represented on the forums and sites, especially in the comparison to fan fiction around the work of Austen in the English-speaking circle. They are most frequently the translations from The Republic of Pemberley, not prepared, unfinished, fragmentated, or personal attempts of a romance kind, in a style of Harlequin literature and a sentimental tone.
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The article is devoted to the works of Emma Tennant, an English writer, the author of, inter alia, the continuation of Sense and Sensibility, Emma, as well as Pride and Prejudice. A characteristic feature of Tennant’s writing was the ability to give new meanings to the texts and myths of the popular culture – so she did with the story of Elinor and Marianne, or Sylvia Plath, to whom she devoted one of her better texts. The article, based on the example of Emma Tennant’s writing, focuses on the issues of the strategy of creating literature as rewriting and functioning of feminist ideas in the modern literature.
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The article analyses an ITV series Lost in Austen (2008), directed by Dan Zeff, as an example of postmodern play with Pride and Prejudice. Moving the contemporary heroine to the imaginary, textual sphere, the movie compares the reality of the 19th and the 21st century, emphasizing the visibly different positions of women. It not only “rewrites” the course of events, but also makes the tensions (which were previously silenced by the romance convention) more dynamic. Oscillating between the parody and nostalgia, Lost in Austen both continues and enriches Pride and Prejudice. Playful engagement with the original novel is the principal theme and motif of the series, but also the subject of its parodistic criticism. Lost in Austen engages both with the novel and with its 20th century reception. Moreover, by creative reinterpretation of the writer’s text, it shows the changing paradigms of the 20th century criticism and the cultural and literary theory. Highlighting the aspects of the novel important for the contemporary era, it initiates an interesting dialogue with the rich intertextual tapestry that contemporary popular culture weaved around Jane Austen.
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Contemporary (Re)interpretation of Jane Austen’s Novels – about Looking for Freedom is a comparative study of the works of the author of Sense and Sensibility and the British series Taboo. As the main aim of paper the author took the search for analogies in these, far and totally different, as it may seems, texts of culture. Naming after Carrie Vaughn the works of Miss Austen as the “universe mirrors”, the author drew the attention to the modern “reflections” of Austen’s characters (anti-heroes, look-alikes) and today’s reinterpretation of the 19th century. For the palimpsest reading of the Austen’s novel she used the tools of the feminist criticism and the postcolonial theory. It allowed her to observe the femininemasculine relations, the relations based on a master-servant pattern, and, at the end, to analyse the political, social, cultural image of the coloniser and the colonised, which has been made by the colonial regime at that time. The author of the article put these two discourses together in order to prove that the rights of the 19th century wife were limited to those of a slave from the Dark Continent.
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The presence of women in Cameroonian cinema begins from its origin. However, this presence is conditioned by men who define their role within this ecosystem. This article is aims at describing the discursive constructs produced by men on women within this system by portraying how they participate in its domestication and how these discursive products impact on filmmaking activities.
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The political censorship in Romania during the communist period set off the so-called exile. Romanian writers, who did not submit to the political regime, leaning towards a realistic, aesthetic, transparent and open literature, waiving the opacity of words and the hiding of truth in their approach, were forced to endure the route to exile.
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The essay focuses on the end-life crisis in two plays by Edward Albee, The Sandbox (1960) and The American Dream (1961) and investigates the contexts of this crisis through the figure of Grandma and her means of encountering age and death. I will use age studies and the close reading of the two dramas in order to see the ways in which Albee’s senior citizens challenge mainstream constructions of aging by reconnecting with their pasts in various ways on their deathbeds. They build up an idiosyncratic “age autobiography” (to use Margaret Morgenroth Gullette’s term) in an inventory of events and feelings by assessing a complete(d) life. By doing so they achieve an “agewise” (Gulette) identity that comes full circle in the very moment of grace.
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Translation is a human activity and like all human activities, it has its difficulties and satisfactions. With the aim to enlighten some theories regarding the translations, we are going to explore the studies of the theorists Anca Greere (2003), Hans J. Vermeer (2000) and Christiane Nord (1997). By examining the above theories, our goal is to obtain a clearer view upon the difficulties encountered in the translating activity, on the one hand and on the other, to find the proper way to surpass these difficulties. The translator as a professional has to take into account different aspects in order to comply with the translation task. Thus, the translator has to consider aspects related to the analysis of the source text, this constituting a source of information. On the other hand, the translator has to consider aspects regarding the text type, the text production and the recipient of the target text. In addition to presenting theoretical considerations on functional approaches, the applicative part of our paper will bring to attention four types of translation mistakes, which any translator should avoid and some viable solutions to the problems they pose.
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Some Africans more specifically some dagara, no more want nowadays that their future husbands pay the traditional dowry. Their parents think the contrary. The absence of these social principles deprives this human association of its title of sacred union. Certain antagonisms of the two different worlds appear of which one is inclined to westernization and the other to africanization. This tensive atmosphere led us to the reflection on ‘The dagara dowry’. The problem that it creates is expressed by these terms: be known, explained, well interpreted to the service of the two rival parties. That is the reason of the following sub-titles:”The hermeneutic and intermedial implications”. Our exegetics is based on the behavioral semiotic of the signs and the dagara oral discourses.
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In this article, we have chosen to study the issue of reformulation in master dissertations, and more precisely within the literature review, a compulsory chapter in any research work. We have noticed that students very often use elementary reformulation, ie reformulation very close to the source text to reformulate the discourse of other authors. From a corpus made up of extracts from master dissertations written in French as a foreign language and in Romanian as a mother tongue, we will examine the practice of elementary reformulation implemented by the students during the development of the literature review. When students write in French, in addition to the standards to be respected as well as the mastery of scientific knowledge of which they are not yet experts, they must handle one more knowledge : French as a foreign language. In this perspective, the comparative approach will allow us to see if the practice of elementary reformulation is linked to the mastery of scientific discourse or to the linguistic skills of young writers.
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This article addresses some aspects of semantics. Important historical, theoretical and practical landmarks are mentioned in the context of the proposed title. In general, the study of music as a type of language should be considered a separate area, which is undoubtedly related to semiotics, but cannot be reduced to just that. Therefore, the definition of semiotic properties in music should not be associated with a statement of it’s linguistic nature. Apparently, semiotic laws may not have total power in the space of artistic communication. Paradoxical, but by denying semiotics in universalism and it’s full complicity, it may be possible to reveal it’s new explanatory possibilities. In some cases, semiotic models in music have a clear, "open" appearance, in all other situations, they are optional or absent. If in previous stylistic eras the color had at most a structural role, the composers of the twentieth century go beyond this mentality, focusing on the special functionality of the timbre, which has become a main parameter of sound. This direction imposes some changes in the musical language, the formal structures, the compositional techniques, the widening of the possibilities of emitting the sound on the traditional instruments, etc. Theories argued by illustrious musicologists and composers are presented. This article is a part of a more complex research.
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Migration cinema, which is based on the movement in a new area opened outside the borders of the national cinema, which is formed by the homogenization of the common culture lived within national borders, takes the interaction created by cultural encounters in its center. Based on the transitions and encounters between the homeland of departure and the new country reached, the studies on theorizing of migration cinema, which is based primarily on the country border and then on cultural interaction, have also been diversified based on these two concepts. Despite a meaning that has become independent from its origin and development process in today's global system and that includes the production, distribution and screening stages of the cinema industry with the influence of technological developments; The concept of transnational cinema characterizes immigration and immigrant cinema.Although cinematic transnationalism has come to encompass an internationality stemming from the multi-component conditions inherent in film production, transnational cinema studies continue to progress by preserving the thematic emphasis. Transnational cinema is the on-screen representation of real transnational processes and experiences of migration and exile, and is concerned with a broad field that encompasses phenomena that are certainly more interesting in their differences than in their similarities. The last decade, in which the subject of transnational cinema has been intensively addressed in many film and media schools and cinema studies, has shown that the discussion of the transnational field also brings the issue of the future of national cinemas. This field, which has been expanding and transforming with various scientific studies, is evolving towards "post-national" cinema by including national cinemas, which are gradually falling off the agenda under the influence of the dominant mainstream cinema together with neoliberal policies and globalization.In this special issue of Göç Magazine devoted to Göç and Cinema, there are studies that deal with the relationship between migration and cinema from various aspects.
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Owing largely to the political situation in the United States, which seems to head, dangerously so, towards a dystopian Gilead, Margaret Atwood’s The Handmaid’s Tale gets, at the end of the 2010s, to be re-told by many voices: that of her original creator – by her writing a sequel, The Testaments (2019) –, but also those assumed in successful transmedial adaptations – the homonymous graphic novel authored by Renee Nault (2019) and the TV series that has taken Offred beyond her final step “into the darkness within, or else the light” (Atwood 2010: 307) into the second, third and fourth seasons. Aside from Season 1, which follows closely the convoluted structure of Offred’s monological testimony, the TV series seems, at a glance, less a multimodal adaptation and more an appropriation of a late 20th-century novel that has become a political and cultural phenomenon. Part of a project concerned with the many re-tellings of The Handmaid’s Tale, this paper aims to analyse the TV series’ fabric beyond the plot departures from its hypotext, as well as the latter’s ‘translations’, with a view to proving its unquestionable indebtedness to the ‘mistressmind’ of contemporary speculative fiction.
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How to Be Both by Ali Smith, which centres around the concept of art and reality to a great extent, is an experimental novel that invites the reader to think through dualities, including life and death, artwork and human; and, significantly, from the perspectives of eyes and camera. Divided into two sections, the novel includes two stories which are decade-apart. One of them focuses on the life of the 15th-century artist Francesco del Cossa, and the other is reflected through the point of view of George, a young girl from the contemporary period, dealing with the loss of her mother, as she recalls some precious moments she shared with her. The different plots merge when George and her mother go to see the paintings of Cossa. By foregrounding the two kinds of perception, Smith’s novel signifies the art critic John Berger’s theory of perspective, indicated in his BBC series-based book Ways of Seeing. According to Berger’s cultural theory, the human eye, like a painting on the wall, can only be in one place at a time. Yet, the camera takes its visible world with it as it moves, and through the camera we can see things which are not in front of us; it is freed from the boundaries of time and space. The aim of this paper is to demonstrate the significance of gaze while interpreting relative reality in Smith’s novel by employing Berger’s cultural and artistic theory.
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