scholarly journals Dzieje grzechu, czyli Protokół zbrodni i nieszczęść

2017 ◽  
Vol 20 (29) ◽  
pp. 85-101
Author(s):  
Roman Włodek
Keyword(s):  
Twentieth Century ◽  
Film Adaptation ◽  
Basic Unit ◽  
The Novel ◽  
Single Motherhood ◽  
Italian Version ◽  
Free Love ◽  
25Th Anniversary ◽  
Back Seat ◽  
The Family

Stefan Żeromski’s novel, The Story of a Sin (1908), was controversial and considered scandalous at the beginning of the twentieth century. Żeromski was accused of undermining the significance of the family as the basic unit of society. His book, it was said, promoted “free love,” by disparaging Polish women and vividly portraying the moral degradation of the heroine. Theatrical and film adaptations of the novel met with similar charges (Leon Schiller, Polish Theatrical adaptation, Warsaw, 1926). The first film adaptation appeared in 1911, followed by an Italian version in 1917 (La Storia di unpeccato). In 1933, Sfinks, the most honored Polish film studio, produced yet another adaptation for the studio’s 25th anniversary. Such issues as divorce, abortion, single motherhood, and prostitution (topical issues in society and major themes in the book) took a back seat to the film’s criminal motif.

Materializing Ulysses

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Twentieth Century ◽  
Film Adaptation ◽  
The Novel ◽  
Perceived Power

This chapter compares the reception of Joyce’s 1922 Ulysses with that of Joseph Strick’s 1967 film adaptation of the novel. Although Ulysses had been legally publishable in England for decades, Strick’s film still encountered censorship from the British Board of Film Censors. The chapter argues that Joyce’s novel, for all its obscenity and provocation, mitigated its threat by foregrounding its own printedness, allying its fate to the waning power of print as a bearer of obscenity. Strick’s film, by contrast, activated the perceived power of film. The contrast of the two versions of Ulysses, which are often identical in language, thus offers a valuable window on how obscenity changed across media through the twentieth century. In making this argument, the chapter surveys print strategies of censorship, including the asterisk, and how these strategies operated in a range of works.

scholarly journals De Roberto and Faenza: Ideological Shifts in I Viceré

2013 ◽  
Vol 34 (1) ◽  
pp. 241-266
Author(s):  
Annamaria Pagliaro
Keyword(s):  
Social Change ◽  
Political System ◽  
Film Adaptation ◽  
The Novel ◽  
Narrative Strategies ◽  
Family Saga ◽  
The Family ◽  
The Relationship

This article examines the relationship between De Roberto’s I Viceré and Faenza’s film adaptation focusing on the two texts’ different ideological positions and narrative strategies. Both texts depict the mechanisms employed by a ruling caste to remain in power through a period of acute social change. The novel, through a multifocal narration, gives agency to individuals for shaping their environment and presents them in their alienating subjective deformation of reality, casting the historymaking process and any interpretation of it in an ambivalent light. The film focuses on the family saga and on the ongoing trasformismo of the Italian political system bringing to the fore its resonance with the present. The characters, particularly Consalvo as the principal voice, are represented as victims of a larger socio-political mechanism.

We the Animals and Honoring an Intimate Story of Brutal Love

2021 ◽  
pp. 002216782110086
Author(s):  
Nisha Gupta ◽  
Eric Greene
Keyword(s):  
New York ◽  
Working Class ◽  
Family Dynamics ◽  
Coming Of Age ◽  
Mixed Race ◽  
Film Adaptation ◽  
The Novel ◽  
Upstate New York ◽  
The Family

In this edited interview, psychologists Nisha Gupta and Eric Greene interview filmmaker Jeremiah Zagar about We the Animals (2018), his film adaptation of the novel by Justin Torres. We the Animals is a coming-of-age story of an adolescent boy named Jonah who grows up with rambunctious brothers in a working class mixed-race family in upstate New York, and who must contend with both his volatile father and his emerging queer sexuality. Jonah’s mother and father have a volatile relationship that makes and unmakes the family many times over, often leaving the boys fending for themselves. As his brothers harden and grow into versions of their father, Jonah, who is the youngest, becomes increasingly aware of his desperate need to escape. Driven to the edge, Jonah embraces an imagined world all of his own. In this conversation, Jeremiah describes what it was like to honor novelist Justin’s intimate story by bringing it to screen, depict the nuanced realities of love interlaced with violence within family dynamics, and craft an immersive story that poses more questions than it answers.

scholarly journals Evolutionary Love and Companionate Marriage in Jane Austen's Novel Pride and Prejudice

2021 ◽  
Vol 3 (1) ◽  
pp. 105-121
Author(s):  
Khalil Alquraidhy
Keyword(s):  
Jane Austen ◽  
Evolutionary Process ◽  
Basic Unit ◽  
The Novel ◽  
Pride And Prejudice ◽  
Passionate Love ◽  
Fundamental Relationship ◽  
The Family ◽  
Basic Theme ◽  
Companionate Marriage

In the novel Pride and Prejudice, Jane Austen has selected the basic unit of human relationship, the family.  In the family we have several forms of relationships. The most fundamental relationship is there in terms of love and marriage which form the basic theme of the novel Pride and Prejudice. In the research paper, love has been analyzed as an evolutionary process. It is the logic of love that unfolds the characteristics of its main characters.  Their love has been brought out from the usual shadow of emotionalism and sentimentality. It has been put under the direct control of their ratiocination. And that is the peculiarity of Austen's treatment of love. The characters have passed through various stages of love so that, ultimately, they reach the final stage of passionate love, shorn of their pride and prejudice. From there they move to marriage which I have called the companionate marriage. When they enter matrimony, they enter it as pure companions moving together, hand in hand, in their life. It is not the marriage as established and defined by the early nineteenth century society. Austen's lovers do not abjure the society, yet they do not accept this society's concept of marriage completely. As they have shaped their love, so they will shape their marriage.

SISTEM SOSIAL ALA NIKLASH LUHMAN DALAM NOVEL SEPERTIGA MALAM DI MANHATTAN KARYA ARUMI E

2019 ◽  
Vol 7 (2) ◽  
pp. 49
Author(s):  
Anton Wahyudi
Keyword(s):  
Social System ◽  
System Approach ◽  
Research Method ◽  
Qualitative Method ◽  
The Novel ◽  
Original Culture ◽  
The Family ◽  
Data Source ◽  
Social System Approach ◽  
Fictional Story

The novel Sepertiga Malam di Manhattan by Arumi E is very interesting to study. This novel is a novel about the struggle of a family to get happiness. This novel is the Arumi E's 27th newest novel. The struggle in this novel is to make the family happy, expecting for the baby. Before writing the novel, Arumi E did a research in the places written in the novel to achieve a very interesting fictional story and most of this story was taken from the traveling results so it was so interesting. The objective of this research is to describe (1) the Autopoetic System in the novel Sepertiga MalamdiManhattan by Arumi E. (2) The differentiation system in the Novel Sepertiga Malamdi Manhattan by Arumi E.The research method used is in the form of a descriptive qualitative method that uses a social system approach. The method used by the researcher is the dialectical method. The data source used in this research is the novel Sepertiga Malamdi Manhattan by Arumi E, published by Gramedia publisher in 2018. The data collection in this study uses the steps of reading the novel. To collect data, the researcher use any instrument.There are two results of the study: (1) The autopoetic system in the novel Sepertiga MalamdiManhattan by Arumi E. is concerning to some characters who have their own beliefs or rules in their lives who do not want to follow the rules of others, they are more confident in their own way to success and purpose of life. (2) The system of differentiation in the novel Sepertiga Malamdi Manhattan by Arumi E. is covering the handling of changes in the environment, the characters are able to adapt to the new environment, which has a different culture from the original culture. This shows evidence of the system autopoetic and differentiation in the novel Sepertiga MalamdiManhattan by Arumi E.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

The Formation of a Budding Man Alone: The God Boy (Murray Reece, 1976)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
New Zealand ◽  
Religious Beliefs ◽  
Coming Of Age ◽  
World War ◽  
Value System ◽  
Feature Films ◽  
The Family

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.

Buried Narratives: Exhuming the Mother's Story in Oliver Twist

2018 ◽  
Vol 8 (3) ◽  
pp. 247-266
Author(s):  
Michelle L. Wilson
Keyword(s):  
Social Change ◽  
Maternal Inheritance ◽  
The Novel ◽  
Poor Law ◽  
The Family ◽  
The Law ◽  
First Time ◽  
Critical Consideration

Initially, Oliver Twist (1839) might seem representative of the archetypal male social plot, following an orphan and finding him a place by discovering the father and settling the boy within his inheritance. But Agnes Fleming haunts this narrative, undoing its neat, linear transmission. This reconsideration of maternal inheritance and plot in the novel occurs against the backdrop of legal and social change. I extend the critical consideration of the novel's relationship to the New Poor Law by thinking about its reflection on the bastardy clauses. And here, of course, is where the mother enters. Under the bastardy clauses, the responsibility for economic maintenance of bastard children was, for the first time, legally assigned to the mother, relieving the father of any and all obligation. Oliver Twist manages to critique the bastardy clauses for their release of the father, while simultaneously embracing the placement of the mother at the head of the family line. Both Oliver and the novel thus suggest that it is the mother's story that matters, her name through which we find our own. And by containing both plots – that of the father and the mother – Oliver Twist reveals the violence implicit in traditional modes of inheritance in the novel and under the law.

DRAMATIC ELEMENTS IN DASHNER’S MAZE RUNNER NOVEL AND FILM ADAPTATION

2020 ◽  
Vol 2 (2) ◽  
pp. 80-88
Author(s):  
Anggia Putria ◽  
Muizzu Nurhadi
Keyword(s):  
Qualitative Method ◽  
Film Adaptation ◽  
The Novel ◽  
Descriptive Qualitative

The research aims to reveal how the application of dramatic elements of Dashner’s Maze Runner is transformed into its film adaptation. To achieve the purpose, the researcher analyzes seven dramatic elements by Gustav Freytag’s Pyramid which consist of exposition, inciting moment, rising action, climax, falling action, resolution, and denouement. This research uses the descriptive qualitative method. The results of this research are the differences of the dramatic elements in the novel and film adaptation are not significant because only the scenes of exposition and rising action are not similar.

Organizing in the 1970s

2017 ◽  
Author(s):  
Emily E. LB. Twarog
Keyword(s):  
Twentieth Century ◽  
Private Sector ◽  
Labor Movement ◽  
Women's Movement ◽  
Public Life ◽  
Grocery Store ◽  
National Organization ◽  
Consumer Activism ◽  
Family Economy ◽  
The Family

In 1973, housewives in California launched what would be the last meat boycott of the twentieth century. And, like its predecessors, the 1973 boycott gained national momentum albeit with little political traction now that Peterson had left public life for a job in the private sector as the consumer advisor to the Giant grocery store chain. And in some quarters of the labor movement, activists drew very clear links between the family economy and the stagnation plaguing workers’ wages. The 1973 boycott led to the founding of the National Consumers Congress, a national organization intended to unite consumer organizers. While it was a short-lived organization, it demonstrates the momentum that consumer activism was building. This chapter also reflects on the lost coordinating opportunity between housewives organizing around consumer issues and the women’s movement in the 1970s.

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