Raymond Queneau's 1959 novel Zazie dans le métro has been adapted into two text/image versions, by Jacques Carelman in 1966 and by Clément Oubrerie in 2008. Carelman's version is strongly inscribed in the fidelity discourse, while Oubrerie advocates a process of complete appropriation of the source text by the adapter. This article will explore how the three interrelated aspects of approach to adaptation, text/image combination and readership and reader's experience, shape the transposition of the source text into two strikingly different text/image versions by Carelman and Oubrerie. Focusing on the transposition of the literary voices of the source text, it will discuss the differing manners in which the adapters use the specificity of their chosen medium to make the characters of Zazie dans le métro speak in text and image to their new readers.
Jacques Carelman's and Clément Oubrerie's Zazie dans le métro
The Language of Paris Railways, 1870–1914
By tracking railway language through periodicals and poetry, this article examines the words and images used to make sense of Paris's new subway and streetcars between 1870 and 1914. It proposes a new threefold approach to understanding the appropriation of technology, which reworks its agents, sites, and chronologies. It maintains that appropriation takes both material and symbolic forms, and that appropriation processes transform both appropriated objects and their cultural contexts. Language anchors appropriation as it operates through circulating texts. For Paris, railways were both transportation technologies and versatile tools for making meaning. Railways set spaces, customs, identities, and images adrift, which traditionalists found threatening, progressives found promising, and avant-gardists found inspiring. Fitting Paris with railways required both reimagining and rebuilding the city, and reshaping what railways could be. The article concludes that appropriation is neither linear nor complete, but rather an ongoing and unfinished negotiation of the meaning of technologies.
Alameddine’s Appropriation of Shakespeare’s Tragedies
particular scenes or appropriations of Shakespearean themes, explicitly alluding to or carrying traces of Shakespeare’s plays. Alameddine models Aaliya after Lady Macbeth, using both direct and indirect references. Just as Shakespeare reveals Lady Macbeth
Comment on the Special Section on Cultural Appropriation
“Appropriation“ is a complex term used in many different realms, and an almost ubiquitous phenomenon. Conceptually linked to questions of mobility, appropriation has both a social and physical dimension. This essay delineates the term's employment in key political and academic discourses, and interrogates its inherent logic with regard to possession, the attribution of purpose and value, and the social reciprocity of the parties involved in the act. Starting off with questions of just distribution in modern nation-states, the argument then traces appropriation in contemporary debates on copyright in a digital age, and provides a sketch of the larger political imaginary informing acts of appropriation.
The Appropriation of Shakespeare in Fadia Faqir’s Willow Trees Don’t Weep
Hussein A. Alhawamdeh
This article traces William Shakespeare’s echo in Willow Trees Don’t Weep (2014) by Fadia Faqir, a Jordanian/British novelist, to examine the function of Faqir’s appropriation of Shakespeare’s Othello (1604) and Cymbeline (1611) in creating
Finding the time for social reproduction theory
Jan Newberry and Rachel Rosen
insights from Marxist feminist scholars about the gendered and racialized character of this labor and its appropriation. We recognize that women and children's everyday lives are often entangled through this labor and its expectation, even as we are wary of
German Pork Butchers in Britain
Margrit Schulte Beerbühl
Today foreign restaurants and food shops shape the culinary landscape of Britain. While the impact of post-war migration on the traditional eating habits of the British population has received some attention in historical research, the influence of former waves of immigrants has hardly been studied. This paper focuses on the immigration of German pork butchers and their contribution to the development of meat consumption in Britain. By looking at the pattern of migration it will be shown that migrants created geographically widespread networks in Britain. Within these networks they transferred skills, know-how and social capital. Through a complex process of adaptation and appropriation German sausages were incorporated into the British diet. This process involved natives as well as immigrants. The former had to overcome established food habits while the latter had to adapt their recipes to local taste preferences.
Pragmatic Approaches to Sustainability
Hans Peter Hahn
Bicycles have a wide range of functions and roles in West Africa. They have vital functions for everyday necessities, but they also constitute prestige objects. The appreciation of bicycles in Africa started very early, almost simultaneously with their diffusion as consumer goods in Europe. However, the adoption of bicycles followed a specific pathway, which is explained in this article within the conceptual framework of appropriation. Cultural appropriation highlights the significant modifications of bicycles in Africa and the abandonment of some functions like braking. In spite of the technical simplifications, modified bicycles are perceived as having higher value, by virtue of their fitness for the tough roads and their increased reliability. Appropriation results in a specific “Africanized“ bicycle, which makes possible a prolonged usage. This essay argues that the “Africanized“ bicycle constitutes a model of sustainability in matters of transport, one which is not sufficiently recognized in current debates about sustainable innovations.
Michael D. Picone
Initially, being mass produced and sequential, comic art was excluded from fine art museums. Some comics artists themselves have expressed ambivalence about the value of inclusion (but counter-arguments are proposed, challenging the perception of incompatibility). However, a pivotal element in the break from the ranks of artistic modernism has been the appropriation of comic art motifs for use in museum-grade pop art, figuration narrative and their successors. In counterpoint, comic art is replete with examples of museum art being appropriated in order to obtain diegetic enrichment of various sorts, either for the purpose of parody or in relation to plot construction. Against this backdrop, and abetted by the twin challenge that art museums are facing to remain relevant and to increase revenue, a game-changing development is afoot, leading to a co-operative re-positioning of art museums and comics artists. With the Louvre taking the lead, many art museums in France and Italy are now commissioning works of comic art based on the museum's own collections, often launched with companion exhibits. The resultant 'art within art' lends itself readily to rich experimentation with themes incorporating intertextuality and parallel narrative.
Nicki Minaj’s Anaconda, Instagram Reproductions, and Viral Memetic Violence
Aria S. Halliday
with the blurred boundaries of girlhood and womanhood through Barbification, I problematize the distinction between childhood and adulthood for Black girls and women in US visual culture and consider the stakes of appropriation. Focusing on memes