Browsing by Subject "film adaptation"
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Item Image and Text in Nineteenth-century Britain and Its After-images(2011-08-08) Terry, Gina Opdycke"Image and Text" focuses on the consequences of multi-media interaction on the concept of a work's meaning(s) in three distinct publishing trends in nineteenth-century Britain: graphic satire, the literary annuals, and book illustration. The graphic satire of engravers James Gillray and George Cruikshank is replete with textual components that rely on the interaction of media for the overall satirical impact. Literary annuals combine engravings with the ekphrastic poetry of writers including William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Letitia Elizabeth Landon. Book illustrations provided writers Sir Walter Scott and Alfred, Lord Tennyson a means to recycle previously published works as "new" texts; the engravings promote an illusion of textual originality and reality by imparting visual meanings onto the text. In turn, the close proximity of text to image changes visual meanings by making the images susceptible to textual meanings. Many of the theoretical implications resulting from the pairing of media resound in modern film adaptations, which often provide commentary about nineteenth-century visual culture and the self-reflexivity of media. The critical heritage that has responded to the pairing of media in nineteenth-century print culture often expresses uneasiness with the relationship between text and mechanically produced images, and this uneasiness has often resulted in the treatment of text and image as separate components of multi-media works. "Image and Text" recovers the dialogue between media in nineteenth-century print forms often overlooked in critical commentary that favors the study of an elusive and sometimes fictional concept of an original work; each chapter acknowledges the collaborative nature of the production of multi-media works and their ability to promote textual newness, originality (or the illusion of originality), and (un)reality. Multi-media works challenge critical conventions regarding artistic and authorial originality, and they enter into battles over fidelity of meaning. By recognizing multi-media works as part of a diverse genre it becomes possible to expand critical dialogue about such works past fidelity studies. Text and image cannot faithfully represent the other; what they can do is engage in dialogue: with each other, with their historical and cultural moments, and with their successors and predecessors.Item The Universal Quixote: Appropriations of a Literary Icon(2013-07-09) McGraw, Mark DavidFirst functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near-universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes? novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17^(th) century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character?s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers? appropriative requirements due to his paradoxical nature. The Quixote?s ?cuerdo loco? or ?wise fool? inherits paradoxy from Erasmus of Rotterdam?s In Praise of Folly. It is Don Quixote?s paradoxy that allows readers and viewers to choose the aspects of the protagonist that they find most useful. Some of that difference in interpretation has been diachronic, starting with a burlesque view of Don Quixote as the insane hidalgo, later developing a romantic interpretation of the protagonist as a noble knight. Much of that difference has been geographical, with Spanish appropriators tending to reflect Don Quixote as a heroic reflection of national character, and many outside of Spain choosing to use the knight as a symbol of impracticality and failure. Ultimately, Don Quixote?s long lasting influence has been due to his ability to embody the best of the human spirit; the desire to fashion oneself into a more noble identity and achieve greater deeds than one?s cultural environment would normally allow.