Abstract
Semiotic analysis of two films adapted from novels. KISS OF THE SPIDER WOMAN and THE NAME OF THE ROSE. Differences between novels and cinematic adaptations. Styles and methods of visualizing the written word. Mixing of film genres. Symbols of different genres. Plot. Charaters. Relationships. Theme of desire for escape.

From the Paper
"Intertextuality is defined as a by-produce of the semiotic approach to film, and it questions realism by emphasizing the coded and constructed nature of the film artifact. Art is thus seen as responding not to reality but to other discourses. Many films are overtly self-referential, associating their plots with the act of filmmaking itself. Often such associations have a wider significance and relate the work of art to the broader question of what constitutes art and how art is expressed. The film may also be associated with and in part explained by reference to other discourses, such as politics, law, social issues, and so on. Two such movies which reflect on art and politics and the juncture between the two are Kiss of the Spider Woman (Babenco, 1985) and The Name of the Rose (Annaud, 1986). Both films began as novels and so connect with other films..."

Abstract
The paper discusses how Iago is one of Shakespeare's most compelling creations because he is proud to be evil and he exhibits no concern for life or good intentions. The paper also discusses how the fact that he is incredibly smart allows him to use Othello's jealousy against him in a calculated way.

From the Paper
"Another characteristic that makes Iago different from most is his attitude toward life and living a good life. He does not believe there are any benefits to living a good life as states, "To be direct and honest is not safe. / I should be wise, for honesty is a fool / And looses that it works for. (III.iii. 376-9). From this we can assume that Iago has no respect for life, sees no reason to attempt living a decent life, and will not attempt to live a good life since there are no benefits in that particular lifestyle for him. This is important because these attitudes give Iago permission to feel the way he does. In addition, they allow him to become more evil with everything he considers an offense. This attitude also allows Iago to befriend Othello only to hurt him with no guilty conscious."

Tags:pride, ego, jealousy, Desdemona

Abstract
This paper relates that the plot of "The Odyssey" dealt with the question of the significance of a mortal life and the last half of the plot introduces the question of the significance of an anonymous human life. The author emphasizes that the scale and ambition of "The Odyssey" is astonishing because the absence of writing did not allow the Homeric poet any means of cross-checking his own references from other parts of the work; yet somehow, he constructed a work that ranges across all the known and unknown world. The paper stresses that Homer's use of narrative techniques, such as flashbacks, has never been seconded and his characters live and breathe to an extent rivaled only by those of Charles Dickens, Emily Bronte and Mark Twain.

Table of Contents
Introduction
The Plot Analysis
The Beauty of the Plot
Conclusion

From the Paper
"The Odyssey is not a "novel". Had it been one, it would not be the "first novel in history", since it was predated by the Iliad, which was also not a novel. The Odyssey is a work of primary epic, such as Beowulf, Chanson de Roland and the Norse sagas. It was composed in the 8th Century B.C. before the written alphabet had been introduced in Greece. As these facts are grasped, the way is clear for a true appreciation of exactly why this writing has gone on to become the most influential work of literature in all human history."

Tags:morality, narrative, charaters, plot, influence

Abstract
This paper analyzes the Jungian hero-leader archetype in "The Epic of Gilgamesh", "The Tempest" by William Shakespeare, and "Things Fall Apart" by Chinua Achebe. It explains how by understanding the collective unconscious within Prospero, Gilgamesh, and Okonkwo, the universal truth behind the tragic flaws that define their hero-leader personas is realized. The writer further discusses the basis of the unconscious excess of the hero archetype as part of major literary history of human behavior. In the conclusion, the writer suggests that, by evaluating how Jung's hero-leader archetype exists within the unconscious mind, one can realize the depth of the hero archetype that is found within the annals of literary tradition.

From the Paper
"These three heroic leaders often bring forth examples of Jungian archetype of heroism and valor in their leadership, but at crucial moments they misguided choices that doom them to failure. For the characters Prospero, Gilgamesh, and Okonkwo, the Jungian archetype of the industrious hero-leader often entails the tragic flaw of naivety and rash behavior that lead to their downfall. In essence, a Jungian archetypal analysis of these three characters will be brought forth in relation to the tragic leaders that reside within these classic literary tales of excess."

Tags:Carl, Jung, charater, flaws, leadership, drama

Abstract
This paper shows how the book and the movie vary on a variety of levels. It claims however that both still manage to convey the central message of the plot. This message is that if we judge others too harshly based on superficial elements, we may be depriving ourselves of a once in a lifetime opportunity to get to know a one of a kind human being that could deeply enrich our lives.

From the Paper
"Any time a book is converted into a movie, certain elements are bound to be ;lost in the translation;. This has undoubtedly been the case for Manuel Puig's Kiss of the Spider Woman, particularly in regards to the ending. While Hector Babenco's film version generally adheres to the plot, characters, setting and theme of Puig's novel, there are significant differences between the two versions as well."

Tags:movie, novel, charater, plot, superficial, judge, molina, valentin