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Dialogues Between Media Dialogues between Media The Many Languages of Comparative Literature / La littérature comparée: multiples langues, multiples langages / Die vielen Sprachen der Vergleichenden Literaturwissenschaft Collected Papers of the 21st Congress of the ICLA Edited by Achim Hölter Volume 5 Dialogues between Media Edited by Paul Ferstl ISBN 978-3-11-064153-0 e-ISBN (PDF) 978-3-11-064205-6 e-ISBN (EPUB) 978-3-11-064188-2 DOI https://doi.org/10.1515/9783110642056 This work is licensed under the Creative Commons Attribution-Non Commercial-No Derivatives 4.0 International Licence. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2020943602 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2021 Paul Ferstl, published by Walter de Gruyter GmbH, Berlin/Boston The book is published open access at www.degruyter.com Cover: Andreas Homann, www.andreashomann.de Typesetting: Dörlemann Satz, Lemförde Printing and binding: CPI books GmbH, Leck www.degruyter.com Table of Contents Paul Ferstl Introduction: Dialogues between Media 1 1 Unsettled Narratives: Graphic Novel and Comics Studies in the Twenty-first Century Stefan Buchenberger, Kai Mikkonen The ICLA Research Committee on Comics Studies and Graphic Narrative: Introduction 13 Angelo Piepoli, Lisa DeTora, Umberto Rossi Unsettled Narratives: Graphic Novel and Comics Studies in the Twenty-First Century – A Preface 19 Stefan Buchenberger Future Imperfect: Dystopia, Time Travel, Absolute Power, and the Incredible Hulk 25 Nicola Paladin The Participation of Will Eisner’s The Spirit in World War II 33 Francesco-Alessio Ursini Social Control and Closed Worlds in Manga and Anime 47 Umberto Rossi The Myth of the Great War: Hugo Pratt’s World War I Graphic Novel and Stories 59 Denise Ask Nunes The Toxic Heroine in Nausicaä of the Valley of the Wind 83 Barbara Grüning Educating to Remember: The Public Use of Comics in Germany and Italy 95 Angelo Piepoli Gender Gaps in the Clouds: Expressive Repression and Signs of Change in Italian Comics of the 1950s and 1960s 109 VI Table of Contents Alison Halsall Visualizing the Gothic in Neil Gaiman’s The Graveyard Book and Its Illustrated Adaptations 123 Lisa DeTora The Quantum Gaze as a Model for Simultaneous Mobilization in Graphic Narrative 143 Angelo Piepoli Wordless: Interpreting Visual Sequence as Storytelling: Towards a Semiotic-Textological Approach to Comics and Pictorial Narrative without Verbal Components 157 2 Hybridisierung literarischer Sprachen und Ausdrucks- formen als Innovationsmodus Franz Hintereder-Emde Das Innovative hybrider Literatur am Beispiel Robert Walser 179 Michel de Boissieu Goethes Faust in Oper, Film und Manga: Die Faust-Bearbeitungen bei Gounod, Murnau und Tezuka am Beispiel der Studierzimmer-Szene 193 Marie-Christine Gay „Gossen-Orpheus“ Jean Genet: Deutsche Übersetzungs- und Rezeptions- schwierigkeiten eines poetisch-derben Stils 203 Timon Jakli Grimm 2.0 – Die Brüder Grimm in der Postmoderne 217 Fuminari Niimoto ‚das junge jakobli läßt den alten jakob grüßen‘ – Poetik im Dazwischen der Sprachen und jenseits der Sprache in Friedrich Glausers Kriminalroman Die Fieberkurve 227 Monika Schmitz-Emans Dante-Comics zwischen Kanon- und Populärkultur: Spielformen der Hybridisierung und Strategien der Selbstreferenz 235 Table of Contents VII Friederike Schwabel Intermediale Formen der Sebald-Rezeption in der populären Musik 251 Arata Takeda Darstellung und Zeitlichkeit. Zu Gotthold Ephraim Lessings gattungstheoretischem Vermächtnis 263 Megumi Wakabayashi Schulromane von Robert Walser und Natsume Sōseki: Hybride Darstellungs- formen zwischen „hoch und niedrig“ 275 Martina Zerovnik Wie hältst duʼs mit der Liebe? Vampirische Emanzipation im Abendlicht von Elfriede Jelineks „Krankheit oder Moderne Frauen“ 287 3 Languages of the Imaginary Andia Abaï-Ringgenberg, Patrick Ringgenberg La lumière dans les romans arthuriens et le Livre des rois de Ferdowsi 303 Fabiana Corrêa Prando Temporality and Finitude: The Wolf in the Fiction of João Guimarães Rosa and of Marcus Aurelius Pimenta and José Roberto Torero 325 Giovanna Gobbi Alves Araújo The Paulo Afonso Falls by Castro Alves (1847–1871): Interweaving Poetry and Social Imaginaries 335 Sandra Trabucco Valenzuela, Maria Auxiliadora Fontana Baseio, Maria Zilda da Cunha Once Upon a Time and So Many Other Times: Hansel and Gretel 347 Sandra Trabucco Valenzuela, Luciane Ferreira Bonaldo Storytelling in Advertising: The Case of Os Últimos Desejos da Kombi 359 VIII Table of Contents 4 The State of Adaptation Studies Today Brigitte Le Juez Modern Film Adaptations of Fairy Tales: An Examination of Four 2012 Versions of Snow White 373 Adile Aslan Almond Adapting Hamlet to the Turkish Screen 387 Bernard Franco Three Adaptations of Dracula: Friedrich Murnau, Tod Browning, Francis Ford Coppola, and the Liminal Vampire 399 Jia Guo Adaptation as Creation: From Yu Hua’s to Zhang Yimou’s To Live 411 Margarida Esteves Pereira Transnational Adaptations: The Nineteenth-Century Novel Revisited through a Transcultural Lens 423 5 International Intermediality Carmen Concilio Marlene Creates: Land, Nature, and the Forest as Poetry/Museum 437 Eleonora Marzi Le texte liquide entre linéarité et causalité : les caractéristiques de l’hypertexte dans la littérature numérique 455 Michaela Bürger-Koftis, Ramona Pellegrino, Sandra Vlasta Polyphonie Mehrsprachigkeit_Kreativität_Schreiben Projekt, Portal, Community – Wie viel Web 2.0 braucht ein wissenschaftliches Webportal? 473 Beatrice Nickel Intertextualität als Intermedialität: Zum Mond fliegen mit Jules Verne, Georges Méliès, Brian Selznick und Martin Scorsese 491 Table of Contents IX Irina Rosenau Das Selbst zwischen Bild und Sprache: Marc Chagalls Autobiographie Mein Leben 505 Christian van der Steeg Pallenberg alias Schwejk: Ikonografie der Satire, 1918–1933 517 Blaž Zabel Archaic Greek Poetry and Hip-Hop: A Comparison 539 Ramona L. Ceciu Language and Intermedial Metamorphoses in Indian Literature and Arts 551 Dora Nunes Gago Intertextual Encounters between Jorge de Sena and Manuel Bandeira 563 Alexander Vladimirovich Kalashnikov References to Music in the Translations of Alice’s Adventures in Wonderland into Russian 575 Giovanna Lucci Emma/Juremma: An Intersemiotic Translation of Jane Austen’s Emma into Brazilian Culture 587 Ana Maria Machado Literature and Cinema: The Military vs. the People in the Hetero-Visiotypes and Hetero-Imagotypes of the 1974 Portuguese Revolution 605 Nilce M. Pereira Translational Functions of Book Illustrations, and What Dickens Has to Do with Them 621 Márcia Arbex, Izabela Baptista do Lago Images littéraires de l’atelier de l’artiste 639 Capucine Echiffre La conception française du lyrisme à l’épreuve du lied : l’exemple de Blaze de Bury 653 Paul Ferstl Introduction: Dialogues between Media I introduce this volume with distinct pleasure, since it marks the final step in a journey that started seven years ago, at the ICLA 2013 at the Sorbonne. The deci- sion to host the ICLA 2016 at the University of Vienna meant that, from 2013 to 2016, I had to face the biggest organizational challenge of my career, since I had the honour to support Achim Hölter, the chair of the organizing team, both as senior assistant and as ICLA 2016 program coordinator and editor. The realization of the congress, strenuous as it was, has since then filled me with a very satisfying sense of achievement, and not just a little pride. I would like to take this oppor- tunity to sincerely thank my senior assistant colleague, Constanze Prasek, whose contribution to the success of this event cannot be overstated. The same applies to our numerous student volunteers. As program coordinator, it was my responsibility to arrange slots and venues for 1,895 presentations and meetings. On Friday, July 22nd 2016, we started the general program at 9 A.M. in 44 parallel sessions. Another part of my job was com- municating the program of the congress via a database, online documents, and a printed program. Weighing a total of 1681 kilograms, the printed programs mer- cifully arrived in time to be distributed to the individual welcome bags our guests received on arrival. This print program, however diligently prepared, ceased to provide a 100 % correct outline of the envisaged event the moment it was sent out to the printers. Cancellations, due to illness or political unrest, were of course bound to keep the program in constant flux, and although the organizing team did its best to keep the online program up to date, and to communicate the changes to the congress participants via displays on various screens on the premises, it was impossible to keep track of all changes, comings and goings. During my prepara- tions for this introduction, I looked at the various artifacts that document the ICLA 2016. It is quite an astonishing array of media: minutiae of meetings, protocols, calls for papers, e-mail negotiations with authorities, caterers, printers, publish- ing houses, abstracts from scholars around the globe, peer review reports, the program database, the print file of the programs, the printed program, accounts of conference fees paid, photographs, video and sound recordings of round tables and other events, social media coverage, and so on. The vision of the congress and the building of its infrastructure are well documented, the accounting has been
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