DOCSLIB.ORG

Osamu Dazai No Longer Human Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Osamu Dazai No Longer Human Pdf Osamu dazai no longer human pdf Continue No more human cover of the first edition (Japan)AuthorOsamu DazaiOriginal title間失格TransulatorDonald KineCountryJapanGuageJapaneseGenreShort novelPublicanChikuma Shob'1948 (English translation 1958)Media typePrint (paperback)Pages271Predubly FollowedGoodby No Longer Human (z間失格, Ningen Shikkaku is a 1948 Japanese novel by Osamu Dazai. It is considered a masterpiece of Dazaya and is the second largest selling novel ever in Japan, after Kokoro Nazum Seseki. The literal translation of the title discussed by Donald Keane in the foreword to the English translation is Disqualified from Human Existence. The first-person novel contains several elements that depict an autobiographical basis, such as suicide, a recurring theme in the author's life. Many believe that the book was his will as Dazai took his own life shortly after the last part of the book (which appeared in serial form) was published. As of January 1, 2019, the book is in the public domain. The no Longer Human plot is told in the form of notebooks left by one of the Yazo zbas, a restless man庭葉蔵 unable to reveal his true identity to others, and who, instead, maintains a facade of hollow playfulness. The work consists of three chapters, or memorandum, which chronicle the life of the zba from early childhood to his late twenties. The first memorandum: Overcome a strong sense of alienation and otherwise and find it almost impossible to understand those around him, who live in selfishness and bad faith, the zba can not but resort to jestering in order to establish interpersonal relationships. As a child, he was abused by a male servant and a female employee, but decided that it would be useless to report it. Second memorandum: the sba is increasingly worried about the potential penetration of his cheerful facade by his classmate Takeichi, who sees through his false joke. He befriended him to prevent Takeichi from revealing his secret. When he shows Takeichi the ghost as the paintings of Amedeo Modigliani, he realizes that some artists express the inner truth of human cruelty through their own trauma. He paints a self- portrait inspired by these artists, which is so terrible that he dares not show it to anyone but Takeichi, who reveres the painting. He neglects his studies at university for fear of collective life. Influenced by fellow artists, Horiki, whom he meets in a painting class, both descend into a vicious pattern of drinking, smoking and harloting, culminating in a one-night stand with a married woman with whom he tries to commit double suicide through drowning. Although he survives, she dies, leaving him with nothing but a painful sense of guilt. Third memorandum, part one: the sba is excluded from the university, and is under the care of a friend He tries to have a normal relationship with a single mother serving as the surrogate father of his little girl, but refuses them in favor of living with the madame bar he patronizes. Since then, he has been trying to believe that the meaning of society for man is to break free from the fear of humanity. He drinks heavily, inspired by Omar Khayyam's Rubaiyat. Later, he falls into a relationship with Yoshiko, a young and naive woman who wants him to stop drinking. Third Memorandum, Part 2: By grounding Yoshiko's influence on his life, he stops drinking and finds a lucrative job as a cartoonist. Then Horiki appears, again turning the zba into self-destructive behavior. Worse, in the moment of recalling Dostoevsky's crime and punishment as he discusses the antonym of crimes with Horiki, the sba becomes estranged from his wife after an incident in which she was sexually abused by a random acquaintance. Over time, he becomes an alcoholic and a morphine addict, out of a fatal fear that he believes he has faced an attack by his wife. Eventually he finds himself in a psychiatric hospital and, after his release, moves to an isolated place, reading this story numbed by self-reflection after deep despair. The story is bookended with two other, shorter, chapters from the perspective of a neutral observer who sees three photos of the zba and eventually tracks one of the characters mentioned in the notebooks that knew him personally. The sba refers to itself throughout the book, using the reflexive pronoun Jibun (⾃分), while the personal pronoun Watashi (私) is used both in the foreword and in the afterword to the book of the writer, whose name is unclear. The name Sba is actually taken from one of Dazaya's early works, The Petals of Buffonery (道化華). The adaptation film by Ningen Shikkaku was adapted for the film in 2009, the 100th anniversary of Dazaya's birth. The film is directed by Genjiro Arato, the producer responsible for the award-winning Siegeunerweisen in 1980. Filming began in July and was released on February 20, 2010. In the film, Tom Ikut, 24, plays Yaz Yazo, a young man who has difficulty treating the world around him, but he masks that sense of alienation with cheerful behavior. However, his life spiraled towards self-destruction. Actress Satomi Ishihara (22) plays one of several women in his life, and the only one he marries. The film was on the market outside Japan under the name Fallen Angel. A new film called Ningen Shikkaku was released on September 13, 2019, starring Shun Ogouri as writer Osamu Dazai, following Dazaya's life story. The film is directed by photographer and film director Mika Ninagawa. The film opened in 320 cinemas, ranking 4th on its first weekend. The anime series Another Adaptation of the Story was narrated in the first four 2009 anime series Aoi Bungaku. He received the Platinum Grand Grand at the Future Film Festival in Italy. Another anime, Bungou Stray Dogs, has a character named after Dazai, as well as various influences from No Longer Human. Anime feature film Main Article: The Lost Man Lost, the sci-fi 3D anime Polygon Pictures feature was directed by Fujimori Kizaki. Katsuyuki Motohiro was the film's supervisor. Towing Ubukat and screenwriter. Yasuke Kozaki was a character designer. It originally aired in U.S. theaters on October 22, 2019, Being the First Polygon Pictures Film, which will not air worldwide on Netflix, in which the film is 2036. Breakthroughs in medical technology have led to a system of nanomachines internally implanted in all people that can reverse disease, injury and even death. But if a person separates their nanomachines from the system, they mutate into monstrous creatures known as the Lost. Both Horiki and Hiirathi are now applicants with special powers over the Lost. The film stars Mamoru Miyano, Kana Hanazawa, Takahiro Sakurai, June Fukuyama and Miyuki Savashiro. Manga Osamaruu Furuya created a three-volume manga version of No Longer Human, which was published in Shinchosha Comic Bunch magazine, starting on the 10th of 2009. The English edition was published by Vertical, Inc. in 2011-2012. Yasunori Ninose created another manga called Ningen Shikkaku Kai (壊 kai, destruction), which was published in Champion Red from April to July 2010. Unlike Furuya's version, this manga depicts a person's negative emotions and sexual intercourse as tentacles that have enthralled Ninose since he was five years old. The third version (ISBN 978-4872578102), a direct retelling of the story set in its original setting before World War II, was commissioned for the Manga de Dokuha series (a comic adaptation of classical literature) published by Gakken. The English edition was published in JManga online in 2011. In 2017, Junji Ito created another manga adaptation of No Longer Human, which retained its original name. In this version, Yozo meets Osamu Dazai himself during the recovery of the asylum, thereby giving him permission to tell his story in his next book. The manga includes a retelling of Dazai's suicide from both perspectives. An anime mini-series mini-series that tells the story of a man's Lost movie in episodic form will be broadcast on BS-TBS in Japan and the BBC in the UK with 4 Episodes. Reception william Bradbury of The Japan Times called it an eternal novel, saying that the struggle of the individual to fit into a normalized society remains as relevant today as it was at the time of writing. Serdar Egululp of Genji Press noted Dazaya's power in portraying the main character's position, describing the novel as gloomy in a way that is extreme, but at the same time strangely unforced. Both critics are critics Autobiographical qualities of the novel, but argue that Dazay's style forces readers to connect to the zba, rather than focus on the author. Speculation One modern analyst suggested Dazai was suffering from complex post-traumatic stress disorder when he wrote the book. See also the Novels portal Antihero Existential Crisis Meaning of Life Links Takeshi Obata illustrates the cover for the bestselling Japanese novel . ComeyPress. August 22, 2007. Received 2009-07-27. ^ ⼩栗旬、太宰治役で減量 蜷川実花監督と「⼈間失格」誕⽣秘話映画化. cinematoday.jp (japanese). December 3, 2018. Archive from the original dated December 2, 2018. Received on December 2, 2018. Ningen Sikkaku Official website. ningenshikkaku-movie.com (in Japanese). December 3, 2018. Archive from the original dated December 2, 2018. Received on December 2, 2018. ^ 映画『⼈間失格』製作開始!!. nsmovie2019.tumblr.com (in Japanese). December 3, 2018. Archive from the original dated December 2, 2018. Received on December 2, 2018. ^ 映画 『⼈間失格』. Tokyo is now (in Japanese). 2018. Archive from the original dated December 19, 2018. Received on December 19, 2018. Japan Box Office Report - 9/14-9/15 2019. tokyohive.com.
Load more

Recommended publications
  • 1. Introdução E Objetivos
    Departamento de Letras ADAPTAÇÕES DE PEÇAS DE SHAKESPEARE PARA O PÚBLICO JOVEM Aluna: Lorena Moraes de Vasconcellos Orientadora: Marcia Amaral Peixoto Martins 1. Introdução e objetivos Esta pesquisa, que dá continuidade ao trabalho desenvolvido no período 2013.2- 2014.1, busca mapear e analisar adaptações das peças de William Shakespeare para jovens e neoleitores sob forma de quadrinhos e romances em prosa. Para fins deste estudo, o conceito de adaptação empregado é o de Julie Sanders (2006, p. 18-19), que assim resume suas definições: (i) transposição de um gênero para outro (como da literatura para o cinema, ou do teatro para a ficção em prosa); (ii) intervenção nos textos por meio de cortes e omissões (similar à editoração), acréscimos, expansões ou interpolações (que podem, inclusive, ser sob a forma de comentário, dando voz aos silenciados no texto de origem ou explicitando razões hipotéticas para as ações dos personagens); (iii) tentativa de tornar os textos “relevantes” ou facilmente compreensíveis para novos leitores e espectadores por meio de aproximações e atualizações (motivação de inúmeras adaptações dos chamados “clássicos” para a televisão e o cinema). A definição de público jovem é a da editora Galera Record, que estipula duas faixas dentro do segmento: (i) público juvenil: leitores entre 10 e 14 anos; (ii) público jovem adulto: leitores com mais de 14 anos. As adaptações em mangá são voltadas para a segunda faixa. Além disso, trabalhamos com o conceito de neoleitores de Tiepolo (2009, p.126), público alvo de algumas adaptações de Shakespeare sob forma de romances em prosa: jovens – além de adultos e idosos também –, com variados níveis de escolarização, iniciando-se na prática de leitura.
    [Show full text]
  • Manga Vision: Cultural and Communicative Perspectives / Editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, Manga Artist
    VISION CULTURAL AND COMMUNICATIVE PERSPECTIVES WITH MANGA ARTIST QUEENIE CHAN EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL MANGA VISION MANGA VISION Cultural and Communicative Perspectives EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL WITH MANGA ARTIST QUEENIE CHAN © Copyright 2016 Copyright of this collection in its entirety is held by Sarah Pasfield-Neofitou and Cathy Sell. Copyright of manga artwork is held by Queenie Chan, unless another artist is explicitly stated as its creator in which case it is held by that artist. Copyright of the individual chapters is held by the respective author(s). All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/mv-9781925377064.html Series: Cultural Studies Design: Les Thomas Cover image: Queenie Chan National Library of Australia Cataloguing-in-Publication entry: Title: Manga vision: cultural and communicative perspectives / editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, manga artist. ISBN: 9781925377064 (paperback) 9781925377071 (epdf) 9781925377361 (epub) Subjects: Comic books, strips, etc.--Social aspects--Japan. Comic books, strips, etc.--Social aspects. Comic books, strips, etc., in art. Comic books, strips, etc., in education.
    [Show full text]
  • “Shakespearean Texts” in Japanese Manga: Versions of King Lear, the Merchant of Venice, Macbeth, and Hamlet in Manga De Dokuha Series
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waseda University Repository “Shakespearean Texts” in Japanese Manga: Versions of King Lear, The Merchant of Venice, Macbeth, and Hamlet in Manga de Dokuha Series Yujing Ma I. Introduction Launched in 2007 by East Press, Manga de Dokuha（ “reading through with manga”） series involves a variety of world literary classics, political works and religious books, in which Shakespeare’s works, King Lear（ 2008）, The Merchant of Venice（ 2009）, Macbeth（ 2009）, and Hamlet（ 2011） are included. Since the series covers a wide-range of controversial political issues, its publication aroused much attention from the media. Typically, the comic version of Karl Marx’s Das Kapital became a subject of great topical interest in the media even before its publication. The Independent forecast that the comic version was“ expected to be a bestseller” while The Japan Times claimed that“ Karl Marx is finding a new audience among Japanese comic book fans.¹” Moreover, The Independent also mentioned other titles included in the series, such as Leo Tolstoy’s War and Peace, 2 Dante’s Divine Comedy, Adolf Hitler’s Mein Kampf, and Shakespeare’s King Lear . Obviously, this series has attracted international attention due to the global impact of manga“ from being a quick style of comics to being the new comic-book art format” （Johnson-Woods 1）. In an article titled“ Novels under Manga Cover: Convenience Stores Go Literary,” the report of Yomiuri Shinbun mentioned that the 17 titles of Manga 3 de Dokuha had sold 900,000 copies in the year after publication .
    [Show full text]
  • Karl-Marx-El-Capital-Manga-Volumen
    Diseño de la cubierta: Michel Tofahrn Traducción: Maite Madinabeitia, DARUMA Serveis Lingüístics, S.L. Rotulación: Acrobat Estudio Título original: Manga de dokuha, Das Kapital/Sequel to Das Kapital Realización ePub: produccioneditorial.com Edición original japonesa publicada por East Press Co., Ltd. Edición española publicada gracias al acuerdo con East Press Co., Ltd. a través de The English Agency (Japan), Ltd. © 2008, 2009 Variety Art Works, East Press Co., Ltd. © 2013, Herder Editorial, S.L., Barcelona ISBN: 978-84-254-3259-0 La reproducción total o parcial de esta obra sin el consentimiento expreso de los titulares del Copyright está prohibida al amparo de la legislación vigente. www.herdereditorial.com Índice Portada Portada interior Créditos Personajes Segunda parte Mercancía, dinero y plusvalía La búsqueda del beneficio Las contradicciones de la sociedad capitalista Los bancos y la confianza La crisis económica Este manga... En 1867... Información adicional Esta es la continuación de la adaptación al manga de El capital. La primera parte se centraba en conceptos como la “teoría de la plusvalía” o “mercancía” y esta segunda parte adapta el contenido de los volúmenes 2 y 3 de El capital que editó Engels. El capital no solo analiza los principios del capitalismo, sino que también es una obra llena de pensamientos filosóficos y revolucionarios. Confiamos que esta introducción sirva como puente para acercarse a la obra original. Ver El capital. el manga Vol. 1 En 1867, tras quince años de estudio en la sala de lectura del British Museum
    [Show full text]
  • Exposé Für Die Master Thesis / Masterarbeit Im Rahmen
    Master Thesis im Rahmen des Universitätslehrganges Library and Information Studies MSc an der Universität Wien in Kooperation mit der Österreichischen Nationalbibliothek Comics und die Bibliothek: Zum Beginn einer späten Freundschaft? Das Comic als Forschungsgegenstand und seine Stellung innerhalb des wissenschaftlichen Bibliotheksbetriebs zur Erlangung des Grades Master of Science eingereicht von Beate Lang bei Dr. Wolfram Seidler Wien, 2013 © Pierre Maurel: Blackbird 2011 Zusammenfassung Aufgrund eines Mangels an institutioneller Akzeptanz werden Comics in wissenschaftlichen Bibliotheken so gut wie nicht gesammelt. Die Rezeption von Comics wurde jahrelang mit einem geringen Maß an Bildung und mit einem Verlust von Lesekompetenz in Verbindung gebracht. Obwohl visuelle Medien immer wichtiger werden, begann eine Akademisierung des Comics-Diskurses nur schleppend. In den letzten Jahren wurden Comics vom kulturellen wie wissenschaftlichen Betrieb verstärkt als ernstzunehmender Gegenstand wahrgenommen. Zum einen gewann das Lesen von Comics an Zustimmung, zum anderen begann die Wissenschaft – vorerst im angloamerikanischen Raum, später auch in Europa – sich in zahlreichen Disziplinen mit Comics zu beschäftigen. Comics gewinnen an Bedeutung als Quelle und als literarische Form. Nun liegt es an den Bibliotheken, diesem Wissenschaftstrend entgegenzukommen und hinreichend Sekundär- und vor allem auch Primärliteratur zur Verfügung zu stellen. Eine Recherche nach Comics in entsprechenden Katalogen deckt allerdings die defizitäre Handhabung in wissenschaftlichen
    [Show full text]
  • Assim Falou Zaratustra Manga Trecho.Pdf
    CLÁSSICOS ADAPTADOS EM MANGÁ Alexandre Boide* Com seus mais de cem títulos publicados, a cole- ção Manga de Dokuha (algo como “Aprendendo em mangá”) é uma espécie de ponto fora da curva entre as coleções de clássicos universais em quadrinhos que vêm sendo produzidas em profusão no mundo inteiro nos últimos anos. A primeira distinção que salta aos olhos é o fato de os títulos adaptados não se limitarem a obras de ficção – apesar de todas as dificuldades inerentes a esse tipo de transposição de linguagem, não ficaram de fora os tratados po- líticos (como O contrato social, de Jean-Jacques Rousseau), filosóficos (como O anticristo, de Frie- drich Nietzsche), científicos (como A interpretação dos sonhos, de Sigmund Freud), militares (como A arte da guerra, de Sun Tzu) e até mesmo religiosos (como a Bíblia cristã e o Livro dos mortos do Egito Antigo). Outra característica que chama a atenção é o fato de a coleção não ser uma empreitada com marca autoral, e sim um trabalho de colaboração coletiva, quase uma produção industrial, centrada na figura de seu editor, Kasuke Maruo. É ele quem supervisiona um a um os roteiros, que mais tarde são encaminhados * Alexandre Boide é editor de quadrinhos e tradutor. 5 para um estúdio terceirizado (Variety Artworks), res- ponsável por todo o trabalho de arte. É por isso que os títulos não trazem créditos de roteirista e dese- nhista responsáveis pela adaptação, apenas o nome do autor do original – a propriedade intelectual de todos os mangás é da East Press. No entanto, isso não significa de maneira ne- nhuma menos liberdade artística.
    [Show full text]
  • Tetsugaku Manga: Filosofia a Fumetti
    Paolo La Marca “Tetsugaku manga” La filosofia occidentale nei fumetti giapponesi citare come: Paolo La Marca, “Tetsugaku manga”. La filosofia occidentale nei fumetti giappo- nesi, in «Laboratorio dell’ISPF», VII, 2010, 1/2, pp. 191-202. http://www.ispf.cnr.it/file.php?file=/ispf_lab/documenti/strumenti_2010_07.pdf Laboratorio dell’ISPF ISSN 1824-9817 © VII – 2010, 1/2 Che il fumetto giapponese non fosse soltanto entertainment, lo si era capito da tempo1. Il manga, nato originariamente in forma di vignette satiriche che inda- gavano i costumi sociali del primo Novecento2, è diventato espressione cultu- rale che fonde simultaneamente arte grafica e concettualità. Ponendosi come medium “immediato” e, proprio per questo motivo, “popolare”, il manga ha assunto spesso anche una funzione didattica nel proporre a un pubblico non necessariamente adolescente rivisitazioni di grandi classici della letteratura e del pensiero, ma anche manuali di storia e di economia3. Il significato del termine Tetsugaku (哲学) è “filosofia”, quindi, la denomina- zione Tetsugaku manga potrebbe idealmente identificare una categoria astratta di fumetti legata a temi o testi di matrice essenzialmente filosofica. La nostra in- dagine, pertanto, potrebbe essere orientata su due complementari tipologie di approccio alla materia: una diretta (trasposizioni manga di importanti testi filo- sofici) e l’altra deduttiva (manga che trattano temi molto cari alla filosofia). Seb- bene non si possa nascondere un certo interesse per la tipologia “deduttiva”, peraltro oggetto di studio in un volume dal titolo Manga wa tetsugakusuru (マン ガは哲学する, Filosofeggiare col manga, Tōkyō, Iwanami Shoten, 2009) di Nagai Hitoshi (永井均, 1951), per esigenze di analisi, si è preferito dare priori- tà in questa sede alla prima tipologia, nel tentativo di elaborare quali dinamiche entrano in gioco nel momento del passaggio dal testo filosofico al fumetto.
    [Show full text]
  • Don Quijote En El Manga: Traducción, Transformación Y Adaptación En La
    Desde las primeras traducciones al japonés del Quijote a lo TRANS · núm. 21 · 2017 DOSIER · 35-47 largo del siglo XIX, la obra cervantina ha pasado a formar parte de la cultura de masas nipona. Como manifestación de este fenómeno, el manga ha absorbido la imagen del caballero andante adaptándola a los condicionantes estéticos del género historietístico y entreverándola con su historia y su folklore. A su vez, el manga ha sido exportado a Occidente, donde lectores y artistas manejan su particular estilo con comodidad. Así, Don Quijote funciona, unido al manga, como puente bidireccional entre Japón y España. Fuera de la novela, la universalidad del clásico se abrirá paso hacia la viñeta y hallará su impulso, frente a lo académico, en el ámbito popular. PALABRAS CLAVE: Don Quijote; Cervantes; manga; Japón; cultura de masas. Don Quijote en el manga: traducción, transformación y adaptación en la cultura de masas japonesa Don Quixote in Manga: Translation, Transformation and Adaptation in the Japanese CLARA MONZÓ Mass Culture Universitat de València During the 19th Century and with the first translations of Don Quixote to japanese, Cervantes’ work started to be part of the country’s mass culture. As a manifestation of this phenomenon, the manga absorbed the image of the knight-errant. This comic genre adapted it to its aesthetic criteria and merged it with its history and folklore. At the same time, the manga has been exported to Western world, where readers and artists are famil- iarized with its characteristical style. Hence, Don Quixote works together with the manga as a bidireccional bridge between Japan and Spain.
    [Show full text]
  • O Grande Gatsby 27 09 2013.Indd
    CLÁSSICOS ADAPTADOS EM MANGÁ Alexandre Boide* Com seus mais de cem títulos publicados, a cole- ção Manga de Dokuha (algo como “Aprendendo em mangá”) é uma espécie de ponto fora da curva entre as coleções de clássicos universais em quadrinhos que vêm sendo produzidas em profusão no mundo inteiro nos últimos anos. A primeira distinção que salta aos olhos é o fato de os títulos adaptados não se limitarem a obras de ficção – apesar de todas as dificuldades inerentes a esse tipo de transposição de linguagem, não ficaram de fora os tratados po- líticos (como O contrato social, de Jean-Jacques Rousseau), filosóficos (como O anticristo, de Frie- drich nietzsche), científicos (como A interpretação dos sonhos, de Sigmund Freud), militares (como A arte da guerra, de Sun Tzu) e até mesmo religiosos (como a Bíblia cristã e o Livro dos mortos do Egito Antigo). Outra característica que chama a atenção é o fato de a coleção não ser uma empreitada com marca autoral, e sim um trabalho de colaboração coletiva, quase uma produção industrial, centrada na figura de seu editor, Kasuke Maruo. É ele quem supervisiona um a um os roteiros, que mais tarde são encaminha- * Alexandre Boide é editor de quadrinhos e tradutor. 5 dos para um estúdio terceirizado (Variety Artworks), responsável por todo o trabalho de arte. É por isso que os títulos não trazem créditos de roteirista e desenhista responsáveis pela adaptação, apenas o nome do autor do original – a propriedade intelec- tual de todos os mangás é da East Press. no entanto, isso não significa de maneira ne- nhuma menos liberdade artística.
    [Show full text]
  • La Disolución Del Sujeto Moderno
    LA DISOLUCIÓN DEL SUJETO MODERNO De la construcción narrativa de la Modernidad al sujeto postmoderno Fidel Fernández Quinteiro ADVERTIMENT. La consulta d'aquesta tesi queda condicionada a l'acceptació de les següents condicions d'ús: La difusió d'aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (dipòsit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d'investigació i docència. No s'autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d'un lloc aliè al servei TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de la presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR o Repositorio Digital de la UB (framing).
    [Show full text]
  • Shakespeare and Manga: a Study of Transcultural and Transmedial Adaptation of Shakespearean Drama
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 6, Issue 01, Jan 2018, 143-156 © Impact Journals SHAKESPEARE AND MANGA: A STUDY OF TRANSCULTURAL AND TRANSMEDIAL ADAPTATION OF SHAKESPEAREAN DRAMA Deep Naskar Research Scholar, University of Calcutta, Baruipur, West Bengal, India Received: 21 Dec 2017 Accepted: 03 Jan 2018 Published: 20 Jan 2018 ABSTRACT The practice of adapting a play into comic book widely differs from other forms of adaptations. Like for the mostly adapting platform, a film for those adapting a Shakespeare drama usually require an abbreviation of the original and transforming the dialogues and other texts into words. The post modernistic notion of comic books is high lyre flected through the multi-configurationally, flexible, fluid andre-modification of the source. One of the modern era’s remarkable mutations is the Shakespeare manga. The manga emancipates from the original context. Manga Shakespeare is a series which takes inspiration from Shakespearean dramas. Manga as being the unique art-style originated in Japan. The series rather focuses on the models of the plays, than the original context. This instance proves the fact that Shakespearean works exists as audio-visual framework which can be acclimatized into modern modes. Especially, when manga is an art form developed in the contemporary ages, and whose nature and cultural context is very vibrant to Trans figure Shakespearean drama into something entirely different. However, the advantage of the fluidity of manga allows itself to reconfigure four hundred years western theatrical plays into a bridge between post-modern and early modern modes.
    [Show full text]
  • 5TH IATIS Conference
    5TH IATIS Conference Individual communications Contemporaneous Translation and Minamata disease as unfinished cultural business Beverley Curran Translation involves the complex interaction of word, image, and different forms of media and the ways knowledge is constructed, accessed, and circulated. The focus of this presentation is on how translation can increase the visibility of sites of unfinished cultural business so that they continue to be seen as part of the present, by attention to process. Using the Minamata disease ‘incident’ as a departure point, it considers how volunteer translators, engaged in the English translation of the Japanese oral narratives of four different storytellers -- Minamata disease patients and activists – in an effort to circulate these stories in booklets in Japanese and English distributed at the international Conference of Plenipotentiaries on the Minamata Convention on Mercury, held in Kumamoto, Japan in October 2013. The ‘goal’ of the volunteer translation activity translation was to alert readers to Minamata disease as unfinished business, not a sad chapter of environmental pollution which had been critiqued, addressed, and closed. However, the translators found that their work was unfinished, as well: they all went to Minamata to meet the storytellers and see the place they were writing about. A further bilingual report of their own experiences followed, as the translators found themselves inside the story. This presentation continues this process in telling this story in Brazil, where mercury poisoning in the Amazon makes clear that MInamata disease is not only “unfinished business” but that its narratives are found and travel in linguistic, regional, and media translation. This presentation looks at this generative process and how student translator involvement in this process continued beyond the initial project ‘goal’ and led to a recognition translation as a site of contact where learning in situ takes place as well as a site of intervention where knots of social unease continue to be scrutinized and reconsidered.
    [Show full text]