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Text and Image in Translation
CLEaR, 2016, 3(2), ISSN 2453 - 7128 DOI: 10.1515/clear - 2016 - 0013 Text and Image in T ranslation Milena Yablonsky Pedagogical University of Cracow, Poland [email protected] Abstract The primary objective of the following paper is t he analysis of selected issues related to the translation of comic books. The paper aims at investigating the relationships between the text and the image and their implications in the process of translation. It reflects on the status of the translation of comics/graphic novels - a still largely unexp loited area within Translation Studies and briefly presents a definition and specificity of the genre. Moreover, it discusses Jakobson’s (1971) tripartite distinction into interlinguistic, intralinguistic and intersemiotic translation. The paper concludes with the analysis of certain issues associated with the Polish translation of V like Vendetta by Alan Moore, a text that is copious with intertextual and cultural references. Keywords: graphic novel, comics, V like Vendetta , Jakobson, constrained translat ion, intertextuality Introduction The translation of comic books still occupies a rather unexploited area within the discipline of Translation Studies, maybe due to the fact that it “might be perceived as a field of l esser interest” (Zanettin 273) and comics are usually regarded as an artistic form of a lower status. In Dictionary of Translation Studies by Shuttleworth and Cowie there is no t a single entry on comics. They refer to them only when they explain the term “multi - medial texts” ( 109 - 1 10) as: “ . The multi - medial category consists of texts in which the ver bal content is supplemented by elements in other media; however, all such texts will also simultaneously belong to one of the other, main text - type . -
Alan Moore V for Vendetta
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons Early draft of essay eventually published in Sexual Ideology in the Works of Alan Moore Comer 1 “Body Politics: Unearthing an Embodied Ethics in V for Vendetta” Todd A. Comer In light of the oft-made allegation that superheroes are in many respects carbon copies of the fascist world that they were consciously or unconsciously intended to oppose, V for Vendetta may be Alan Moore’s most direct commentary on the superheroic body and its desires. Intimations of fascism, of course, are everywhere in Moore’s work. The German soldier who shatters Alice’s mirror in Lost Girls, William Gull’s bird-like transcendence in From Hell, Superman’s repression of the too-earthy Swamp Thing in “The Jungle Line,” Moriarty’s cavorite- fueled journey toward heaven (and death) in The League of Extraordinary Gentlemen—all speak to Moore’s critique of the superheroic tendency to marginalize the world and others. Moore and David Lloyd’s graphic novel is the most direct commentary on the superhero body if only because the body of the hero and villain are obnoxiously present, even as they strangely absent themselves. The novel appears to ground agency to an embodied totalitarian world in terms of (dis)embodiment. Agency is, of course, an issue of the body and its representation, but Moore and Lloyd get it wrong, at least on one overt level, by misunderstanding the ultimate goal of fascism and reproducing a notion of agency that merely reproduces on another level the (ontological) state that it presumes to counter. -
Mechanisms of Control in Alan Moore's "V for Vendetta" and George Orwell's "1984"
Mechanisms of Control in Alan Moore's "V for Vendetta" and George Orwell's "1984" Prtenjača, Zvonimir Undergraduate thesis / Završni rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:668248 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnosti i povijesti Zvonimir Prtenjača Mehanizmi kontrole u romanima "O za osvetu" Alana Moorea i "1984." Georgea Orwella Završni rad Mentor: doc. dr. sc. Ljubica Matek Osijek, 2018. Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Odsjek za engleski jezik i književnost Studij: Dvopredmetni sveučilišni preddiplomski studij engleskoga jezika i književnosti i povijesti Zvonimir Prtenjača Mehanizmi kontrole u romanima "O za osvetu" Alana Moorea i "1984." Georgea Orwella Završni rad Znanstveno područje: humanističke znanosti Znanstveno polje: filologija Znanstvena grana: anglistika Mentor: doc. dr. sc. Ljubica Matek Osijek, 2018. J.J. Strossmayer University of Osijek Faculty of Humanities and Social Sciences Study Programme: Double Major BA Study Programme -
Foundation the International Review of Science Fiction Foundation 119 the International Review of Science Fiction
Foundation The International Review of Science Fiction Foundation 119 The International Review of Science Fiction In this issue: Matt Englund reassesses Philip K. Dick’s Galactic Pot Healer George A. Gonzalez explores US military policy in Star Trek Foundation Samantha Kountz analyses the representation of immigration in post-war sf cinema Erica Moore evaluates the post-Darwinism of J.G. Ballard’s Crash Nick Hubble reflects on the legacy of 2000 AD Iain M. Banks and Kim Stanley Robinson in conversation on the subject of utopia Vol. 43 No.119 2014 43 No.119 Vol. Conference reports by Paul Kincaid, Paul March-Russell and Robin Anne Reid In addition, there are reviews by: Jeremy Brett, Molly Cobb, Leimar Garcia-Siino, Lincoln Geraghty, Grace Halden, Andrew Hedgecock, Anna McFarlane, Joe Norman, Andy Sawyer, Will Slocombe, Tom Sykes and Michelle K. Yost Of books by: Jeannette Baxter and Rowland Wymer, David Brittain, Stefan Ekman, Simon Ings, Graham Joyce, Paul McAuley, Howard E. McCurdy, Jonathan Oliver, Christopher Sims, Graham Sleight, David C. Smith, and Thomas Van Parys and I.Q. Hunter Cover image/credit: Ian Gibson Foundation is published three times a year by the Science Fiction Foundation (Registered Charity no. 1041052). It is typeset and printed by The Lavenham Press Ltd., 47 Water Street, Lavenham, Suffolk, CO10 9RD. Foundation is a peer-reviewed journal. Subscription rates for 2015 Individuals (three numbers) United Kingdom £20.00 Europe (inc. Eire) £22.00 Rest of the world £25.00 / $42.00 (U.S.A.) Student discount £14.00 / $23.00 (U.S.A.) Institutions (three numbers) Anywhere £42.00 / $75.00 (U.S.A.) Airmail surcharge £7.00 / $12.00 (U.S.A.) Single issues of Foundation can also be bought for £7.00 / $15.00 (U.S.A.). -
Read Ebook {PDF EPUB} V for Vendetta by Alan Moore Purefoy Abandoned Vendetta Because of Mask
Read Ebook {PDF EPUB} V For Vendetta by Alan Moore Purefoy Abandoned Vendetta Because Of Mask. British actor James Purefoy walked out in his role in V For Vendetta after struggling to wear a mask for the entire film. The A KNIGHT'S TALE star, 41, became so frustrated at having to wear the facial prop until he went to bed at night, he eventually left the terrorist drama and was replaced by MATRIX star Hugo Weaving. He said before leaving the film, "That mask is the thing I'll be wearing through the movie. We'll never see my face. It's a great acting challenge. Wearing that thing takes. a lot of takes. "SPIDER-MAN'S mask comes off. BATMAN'S mask comes off. Even The Elephant Man had eyes. That's all I ask for, just an eye! "Every night I'm in that mask for another three hours when I go home. I have mirrors all over my apartment and I live in it until I go to bed. So my neighbours obviously think I'm mad." Australian actor Weaving admits he can understand Purefoy's annoyance with the mask after taking over the role of V. He says, "I know the difficulties James was having and I was warned by other people. "Certain difficulties with the mask. I just think it can feel very hot. You feel quite. cut off." V For Vendetta Summary. On November 5, 1997, Evey Hammond, an impoverished sixteen-year-old orphan who has turned to prostitution out of a desperation to survive, tries to solicit a man on Guy Fawkes Night. -
V for Vendetta
Study Guide: V For Vendetta popular in that title; during the 26 issues of Warrior several covers featured V for Vendetta. When the publishers cancelled Warrior in 1985 (with two completed issues unpublished due to the cancellation), several companies attempted to convince Moore and Lloyd to let them publish and complete the story. In 1988 DC Comics published a ten-issue series that reprinted the Warrior stories in color, then continued the series to completion. The first new material appeared in issue #7, which included the unpublished episodes that would have appeared in Warrior #27 and #28. Tony Weare drew one chapter ("Vincent") and contributed additional art to two others ("Valerie" and "The Vacation"); Steve Whitaker and Siobhan Dodds worked as colourists on the entire series. The series, including Moore's "Behind the Painted ! Smile" essay and two "interludes" outside the central continuity, then appeared in collected form as a trade The complete film script of V for Vendetta is paperback, published in the US by DC's Vertigo imprint available from the Internet Movie Script Database: (ISBN 0-930289-52-8) and in the UK by Titan Books http://www.imsdb.com/scripts/V-for-Vendetta.html (ISBN 1-85286-291-2). V for Vendetta is a ten-issue comic book series written by Alan Moore and illustrated mostly by David Background Lloyd, set in a dystopian future United Kingdom David Lloyd's paintings for V for Vendetta in imagined from the 1980s to about the 1990s. A Warrior originally appeared in black-and-white. The DC mysterious masked revolutionary who calls himself "V" Comics version published the artwork "colourised" in works to destroy the totalitarian government, profoundly pastels. -
Universidade Federal De Minas Gerais Faculdade De Filosofia E Ciências Humanas Departamento De História REPRESENTAÇÕES POLÍ
1 Universidade Federal de Minas Gerais Faculdade de Filosofia e Ciências Humanas Departamento de História REPRESENTAÇÕES POLÍTICAS DA GUERRA FRIA: AS HISTÓRIAS EM QUADRINHOS DE ALAN MOORE NA DÉCADA DE 1980 . Márcio dos Santos Rodrigues 2011 2 Márcio dos Santos Rodrigues REPRESENTAÇÕES POLÍTICAS DA GUERRA FRIA: AS HISTÓRIAS EM QUADRINHOS DE ALAN MOORE NA DÉCADA DE 1980 Dissertação apresentada ao Programa de Pós- Graduação Historia da Faculdade de Filosofia e Ciências Humanas da Universidade Federal de Minas Gerais como requisito parcial para a obtenção do título de Mestre em História Linha de Pesquisa: História e Culturas Políticas Orientador: Prof. Dr. Rodrigo Patto Sá Motta . 2011 3 907.2 Rodrigues, Márcio dos Santos R696r Representações políticas da Guerra Fria [manuscrito] : as histórias em 2011 quadrinhos de Alan Moore na década de 1980 / Márcio dos Santos Rodrigues. – 2011. 212 f. Orientador: Rodrigo Patto Sá Motta. Dissertação (mestrado) – Universidade Federal de Minas Gerais, Faculdade de Filosofia e Ciências. 1. Moore, Alan . 2. História – Teses. 3. História em quadrinhos – Teses. 4.Guerra fria - Teses . I. Motta, Rodrigo Patto Sá. II. Universidade Federal de Minas Gerais. Faculdade de Filosofia. III. Título. 4 Representações políticas da Guerra Fria: As Histórias em Quadrinhos de Alan Moore na década de 1980 Dissertação apresentada ao Programa de Pós-Graduação Historia da Faculdade de Filosofia e Ciências Humanas da Universidade Federal de Minas Gerais como requisito parcial para a obtenção do título de Mestre em História Banca Examinadora: _________________________________________________________ Prof. Dr. Rodrigo Patto Sá Motta (Orientador - UFMG) _________________________________________________________ Prof.Dr. João Pinto Furtado (UFMG) _________________________________________________________ Prof. Dr. Carlos Eduardo Barbosa Sarmento (CPDOC/FGV) _________________________________________________________ Profa Dr a. -
The V's Motivation of Being a Terrorist As Seen in Alan
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI V’S MOTIVATION OF BEING A TERRORIST AS SEEN IN ALAN MOORE’S V FOR VENDETTA GRAPHIC NOVEL A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfilment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Andreas Leo Kresnawan Putra Student Number: 131214163 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI V’S MOTIVATION OF BEING A TERRORIST AS SEEN IN ALAN MOORE’S V FOR VENDETTA GRAPHIC NOVEL A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfilment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Andreas Leo Kresnawan Putra Student Number: 131214163 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI “It gives me strength to have somebody to fight for; I can never fight for myself, but, for others, I can kill.” Emilie Autumn, The Asylum for Wayward Victorian Girls This thesis is dedicated to: My Parents Cyprianus Louis Noviatno And Agnes Widyastuti “Being deeply loved by someone gives you strength, while loving someone deeply gives you courage.” Lao Tzu iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI STATEMENT OF WORK’S ORIGINALITY I honestly declare that this thesis, which I have written, does not contain the work or parts of the work of other people, except those cited in the quotations and the references, as a scientific paper should. -
Issue 10; Vol. 3, No. 1 (Fall, 2006)
SSOOMMEE FFAANNTTAASSTTIICC Issue #10, Fall, 2006 An Interview with Elizabeth Bear Vol. 3, No. 1 by Matthew Appleton http://www.somefantastic.us/ Born in Hartford, Connecticut in 1971, Elizabeth attended the ISSN # 1555-2241 University of Connecticut, studying English and Anthropology, but Features did not graduate. She worked in a variety of occupations during the An Interview with Elizabeth Bear, 1 ‘90s, selling a few stories to small‐press publications along the way. by Matthew Appleton She began writing earnestly in 2001 and has produced numerous King Kong as Reality Television, 19 novels and short stories since. by Sara K. Ellis In 2005, she won the Campbell Award for Best New Writer and A Double-Take on V for Vendetta, 21 by Richard Fuller saw the publication of Jenny Casey trilogy—actually a single novel broken into three volumes: Hammered, Scardown and World‐ Book/Graphic Novel Reviews wired—which collectively won the 2006 Locus Award for Best Sex in the System, edited by Cecilia 8 First Novel. Her first short story collection, The Chains that You Tan; reviewed by Rose Fox Refuse, was released earlier this year as well as the first book in her Shuteye for the Timebroker, by Paul Di 10 sprawling Promethean Age fantasy series, Blood & Iron. A new Filippo; reviewed by Danny Adams science fiction novel, Carnival, will arrive in stores at the end of Monster Island, by David Wellington; 13 reviewed by Matthew Appleton November and the next Promethean Age novel, Whiskey & Water, A Shadow in Summer, by Daniel 15 is due out in 2007. -
A Bio-Political Reading of 20Th Century Latin American and Anglo-Saxon Science Fiction Juan David Cruz University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2018 Through the Spaceship’s Window: A Bio-political Reading of 20th Century Latin American and Anglo-Saxon Science Fiction Juan David Cruz University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Cruz, J. D.(2018). Through the Spaceship’s Window: A Bio-political Reading of 20th Century Latin American and Anglo-Saxon Science Fiction. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4735 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Through the Spaceship’s Window: A Bio-political Reading of 20th Century Latin American and Anglo-Saxon Science Fiction by Juan David Cruz Bachelor of Arts Univeridad de los Andes, 2009 Master of Arts University of South Carolina, 2012 Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2018 Accepted by: Jorge Camacho, Major Professor Héctor D. Fernández L’Hoeste, Committee Member Meili Steele, Committee Member Alexander J. Beecroft, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Juan David Cruz, 2018 All Rights Reserved. ii Dedication To my parents, Julio César Cruz and Claudia Patricia Duarte. And to Ruth, who has supported me at every step of this long process. I love you all. -
Power Structures in V for Vendetta
Master’s Degree programme in European, American and Postcolonial Language and Literature “D.M. 270/2004” Final Thesis Power Structures in V for Vendetta Supervisor Ch. Prof. Shaul Bassi Assistant supervisor Ch. Prof. David John Newbold Graduand Valentina Gaio Matriculation Number 858301 Academic Year 2016 / 2017 TABLE OF CONTENTS CHAPTER PAGE Introduction .....................................................................................................................................1 Graphic Novel as a Form ..............................................................................................................16 V ..........................................................................................................................................23 Adam Susan ...................................................................................................................................34 Evey Hammond ..............................................................................................................................46 Rosemary Almond ..........................................................................................................................56 Helen Heyer ...................................................................................................................................63 Eric Finch ......................................................................................................................................71 Valerie ......................................................................................................................................77 -
Deux Ans De Cinéma En 365 Critiques
CineRSS : deux ans de cinéma en 365 critiques CineRSS.com ontrairement à l’année dernière où j’avais écrit sur l’expression C cinématographique, j’ai choisi cette année de livrer l’ensemble de mes critiques écrites tout au long des deux dernières années. Au total cela représente trois cent soixante cinq critiques. Une tous les deux jours ! Cet ensemble n’est certainement pas cohérent mais reflète mes errements et découvertes cinématographiques. En fonction de l’humeur de mon degré d’attention, c’était ou bien un film d’action Hollywoodien ou un grand classique du cinéma d’auteur comme je l’ai déjà écrit. Le cinéma est aussi bien une industrie qu’un art. Dans les deux cas, il cherche à divertir. Je pense que l’on peut aussi bien se divertir avec des cascades tellement improbables qu’elles ont été réalisées uniquement derrière un écran bleu ou en faisant plus appel à son intellect. Mais j’ai quand même tendance à préférer où le spectateur est actif. Je pense qu’il est alors nettement plus enrichissant. Cette année a aussi été l’occasion de nouvelles découvertes grâce notamment à deux cinéastes : Robert Bresson et Théo Angelopoulos. Le premier m’a fait découvrir le « cinéma minimaliste ». C’est-à-dire un cinéma dont l’expression est réduite à son strict minimum. Il ne reste alors plus que l’art. D’un autre côté, Théo Angelopoulos a comblé ma « frustration Tarkoskienne ». Andreï Tarkovski n’a réalisé que sept films que j’ai vu au moins deux fois. J’ai aussi beaucoup lu sur ce cinéaste.