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A Transtextual Hermeneutic Journey

Horst Rosenthal's Mickey au camp de Gurs (1942)

Yaakova Sacerdoti

Documentation in Paris. 9 I wish to commemorate the date of Rosenthal's deportation to Auschwitz-Birkenau by offering a new poetic perspective to Rosenthal's Mickey based on Gérard Genette's theory of ‘transtextuality’. The Five Categories of

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Editorial

Comics Adaptations of Literary Works

The Editors

This edition of European Comic Art (ECA) is devoted to comics adaptations of literary works. It thereby makes a contribution to adaptation studies, a field that has rapidly expanded in tune with the postmodern awareness that we can no longer securely assign texts to individual authors as genesis and sole creative origin, even if the phenomenon of adaptation itself is not new. Gérard Genette points out that ‘l’humanité, qui découvre sans cesse du sens, ne peut toujours inventer de nouvelles formes’ [humanity, which keeps discovering new meanings, cannot always invent new forms].

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Editorial

Comics and Transnational Exchanges

Lawrence Grove, Anne Magnussen, and Ann Miller

, written and drawn in 1942 while the artist was interned in the Gurs concentration camp in the south of France, before his murder in Auschwitz-Birkenau, at the age of twenty-seven. Sacerdoti's analysis deploys Gérard Genette's work on transtextuality to

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‘Are We Coming to Make a Documentary or a Surrealist Film?’

Demythifying Luis Buñuel’s Tierra sin pan in Fermín Solís’s Buñuel en el laberinto de las tortugas

Marc Ripley

ludic and largely lacks the acerbic tone of satire. As a hypertext of Buñuel’s movie, Solís’s text can be considered within a parodic relationship with Tierra sin pan , following Gérard Genette’s nomenclature. Although Genette identifies three discrete

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‘No More Let Life Divide…’

Victorian Metropolitan Confluence in Penny Dreadful

Sinan Akilli and Seda Öz

Adaptation: Mutations of Cultural Capital’, Shakespeare Studies 38 (2010), 104–13). Yet another metaphor, that of the ‘palimpsest’, was introduced by Gerard Genette in his 1982 study of ‘hypertextuality’ as ‘any relationship uniting a text B … to an earlier

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Esther Demoulin

Coltier, « Apprendre à rédiger des paroles de personnages », Pratiques. Théorie, pratique, pédagogie , no. 64 (décembre 1989) : 8. 18 Jean-Paul Sartre, Les Conférences du Havre sur le roman, Études sartriennes , no. 16 (2012) : 77. 19 Gérard Genette

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Ilan Manouach

., which, according to Gérard Genette, occupy the threshold of the literary work), 36 Conceptual Comics would argue for a topographic consideration of the comics industry. Conceptual Comics insist upon the medium's affordances within localised nodes of

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Aaron Freundschuh, Jonah D. Levy, Patricia Lorcin, Alexis Spire, Steven Zdatny, Caroline Ford, Minayo Nasiali, George Ross, William Poulin-Deltour, and Kathryn Kleppinger

contemporary French literary field. Sabo focuses her analysis here on what Gérard Genette calls the paratext, 2 or the material surrounding the novels themselves. She pays particular attention to the book jackets, cover design, and excerpts presented on the

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Conceptualizing Compassion in Communication for Communication

Emotional Experience in Islamic Sermons (Bengali waʿẓ maḥfils)

Max Stille

(“the Prophet has been sad”). This opposition between the narrator’s depiction of events and the figures’ speech is called the “mode” of narration. 102 It is no coincidence that in delineating what Gérard Genette calls a mimetic as opposed to a diegetic

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‘Abd al-Raḥīm Kamāl’s Dahsha

An Upper Egyptian Lear

Noha Mohamad Mohamad Ibraheem

Shakespeare (Milwaukee, WI: Applause Theatre Book Publishers, 1991), 9. 35 Gérard Genette, Palimpsests: Literature in the Second Degree , trans. Channa Newman and Claude Doubinsky (Lincoln, NE: University of Nebraska Press, 1997), 304. 36 As H.R. Coursen