Download Free Story Time And Discourse Time In The Novel And Film Beloved Book in PDF and EPUB Free Download. You can read online Story Time And Discourse Time In The Novel And Film Beloved and write the review.

Seminar paper from the year 2002 in the subject American Studies - Literature, grade: 1,5, Technical University of Braunschweig (Englisches Seminar), course: Film and Literature, language: English, abstract: It is always very interesting how literature is adapted into the medium film. Often the results are very surprising for the viewers as the personal images one develops when reading a book do not match with the ones used in the movie. For instance the appearance of the characters, the look of the setting, the performing of the actors etc.. Questions are raised like: “Did the hero in the novel not have blond hair?” or “I thought the princess was described as the prettiest girl on earth – well, she definitely wasn’t in the film!”. People just have different tastes and anything but the same ideas. That is what makes life so various and why there can exist many different films on the very same topic. Every film adaptation of literature is a personal interpretation of the filmmakers. They have to think about ways how to translate the novel into film language, as every medium has its own characteristics. This research paper summons up the peculiarities of film and fiction, especially under the aspect of time, and what changes the transformation requires. I want to point out the relation of story-time and discourse-time and with which problems the filmmakers have to deal in order to produce a film adaptation very close to the novel it is based on.. My source for the analysis will be the book “Beloved” written by Toni Morrison in 1987 and the film “Beloved” directed by Jonathan Demme in the year 1998, as in these story and discourse play an important role and are very complex. First of all, I want to give a short definition of the terminology of discourse and story to get a good basis for the analyses of book and movie, which will be provided in the appendix. After that I will point out some important facts on “Beloved” including a short summary of the plot and the main characters. Then I will show the differences and similarities in the plot of both mediums. That is, to have an overview of the structure of film and novel, and to collect information about the translation of story-time and discourse-time. These results will support my closer approach on the first chapter of the book and the very same sequences in the film in comparing them under the aspect of time.
Winner of the Pulitzer Prize, Toni Morrison’s Beloved is a spellbinding and dazzlingly innovative portrait of a woman haunted by the past. Sethe was born a slave and escaped to Ohio, but eighteen years later she is still not free. She has borne the unthinkable and not gone mad, yet she is still held captive by memories of Sweet Home, the beautiful farm where so many hideous things happened. Meanwhile Sethe’s house has long been troubled by the angry, destructive ghost of her baby, who died nameless and whose tombstone is engraved with a single word: Beloved. Sethe works at beating back the past, but it makes itself heard and felt incessantly in her memory and in the lives of those around her. When a mysterious teenage girl arrives, calling herself Beloved, Sethe’s terrible secret explodes into the present. Combining the visionary power of legend with the unassailable truth of history, Morrison’s unforgettable novel is one of the great and enduring works of American literature.
"For the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story—whatever the medium. Chatman, whose approach here is at once dualist and structuralist, divides his subject into the 'what' of the narrative (Story) and the 'way' (Discourse)... Chatman's command of his material is impressive."—Library Journal
In Six Walks in the Fictional Woods Umberto Eco shares with us his Secret Life as a reader—his love for MAD magazine, for Scarlett O'Hara, for the nineteenth-century French novelist Nerval's Sylvie, for Little Red Riding Hood, Agatha Christie, Agent 007 and all his ladies. We see, hear, and feel Umberto Eco, the passionate reader who has gotten lost over and over again in the woods, loved it, and come back to tell the tale, The Tale of Tales. Eco tells us how fiction works, and he also tells us why we love fiction so much. This is no deconstructionist ripping the veil off the Wizard of Oz to reveal his paltry tricks, but the Wizard of Art himself inviting us to join him up at his level, the Sorcerer inviting us to become his apprentice.
This insightful study places African American women's stardom in historical and industrial contexts by examining the star personae of five African American women: Dorothy Dandridge, Pam Grier, Whoopi Goldberg, Oprah Winfrey, and Halle Berry. Interpreting each woman's celebrity as predicated on a brand of charismatic authority, Mia Mask shows how these female stars have ultimately complicated the conventional discursive practices through which blackness and womanhood have been represented in commercial cinema, independent film, and network television. Mask examines the function of these stars in seminal yet underanalyzed films. She considers Dandridge's status as a sexual commodity in films such as Tamango, revealing the contradictory discourses regarding race and sexuality in segregation-era American culture. Grier's feminist-camp performances in sexploitation pictures Women in Cages and The Big Doll House and her subsequent blaxploitation vehicles Coffy and Foxy Brown highlight a similar tension between representing African American women as both objectified stereotypes and powerful, self-defining icons. Mask reads Goldberg's transforming habits in Sister Act and The Associate as representative of her unruly comedic routines, while Winfrey's daily television performance as self-made, self-help guru echoes Horatio Alger narratives of success. Finally, Mask analyzes Berry's meteoric success by acknowledging the ways in which Dandridge's career made Berry's possible.
BOOKER PRIZE WINNER • NATIONAL BESTSELLER • A novel that follows a middle-aged man as he contends with a past he never much thought about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. A novel so compelling that it begs to be read in a single setting, The Sense of an Ending has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning achievement in Julian Barnes's oeuvre. Tony Webster thought he left his past behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.
Folksy and fresh, endearing and affecting, Fried Green Tomatoes at the Whistle Stop Cafe is a now-classic novel about two women: Evelyn, who’s in the sad slump of middle age, and gray-headed Mrs. Threadgoode, who’s telling her life story. Her tale includes two more women—the irrepressibly daredevilish tomboy Idgie and her friend Ruth—who back in the thirties ran a little place in Whistle Stop, Alabama, offering good coffee, southern barbecue, and all kinds of love and laughter—even an occasional murder. And as the past unfolds, the present will never be quite the same again. Praise for Fried Green Tomatoes at the Whistle Stop Cafe “A real novel and a good one [from] the busy brain of a born storyteller.”—The New York Times “Happily for us, Fannie Flagg has preserved [the Threadgoodes] in a richly comic, poignant narrative that records the exuberance of their lives, the sadness of their departure.”—Harper Lee “This whole literary enterprise shines with honesty, gallantry, and love of perfect details that might otherwise be forgotten.”—Los Angeles Times “Funny and macabre.”—The Washington Post “Courageous and wise.”—Houston Chronicle
A volume in honour of Angela Locatelli The book explores the significance of literary translation and interpretation, in the widest sense of terms, as multiple processes of meaning and cultural transfer, by investigating how and why literature can be considered as a repository and a disseminator of knowledge and values. Featuring essays by a number of scholars focusing on a wide range of literary and critical texts of different nations and cultures and encompassing the last three centuries, this book intends to offer a contribution to the study of translation and interpretation as literary processes of cultural and epistemic dissemination of knowledge from both a theoretical and a practical perspective.
Focusing on the lineage of pivotal African American and Irish women writers, Jaqueline Fulmer argues that these authors often employ strategies of indirection, by way of expressions of folklore, when exploring unpopular topics, to attract readers who would otherwise reject the subject matter.