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."
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 outlines the parallelisms in Lewis Carroll's "Through the Looking-Glass". Imagery and metaphor are both analyzed, as well as various characters and their roles and significance both textually and universally, mostly within a lossely-defined context of feminist ideals. The paper is structured the same as the novel, in the sense that it is a chronological analysis, with a dissertation on Alice ending the work, both with her role as a hereoine and as a girl in the Victorian era analyzed.
From the Paper "Victorian sensibilities are reflected through the eyes of youth in Through the Looking-Glass. Alice travels through a mirror to a reversed chessboard world in the novel by Lewis Carroll. Six months to the day after Alice's first dreamy adventure, Alice in Wonderland, she is once again thrust into an illogical world of misguided, yet endearing characters. This well-developed novel takes place on an over-inflated scale with most of the action revolving around a game of chess with living game pieces. Within this regimented and rule governed arena, overlying themes are carefully inserted under the cover of absurdity. Mirror images and dreams each play a significant part in defining the characters within the piece, especially the heroine, Alice. The personifications of secondary characters contrast Alice's Victorian sensibilities with their nonsensical or reversed ideology. These concepts are fused with the use of speech and riddles, parodies and poems to create a world that upon first glance is illogical and unreasoned, but the truth of the order and the genius of the looking-glass world is revealed as a logical inversion of the Victorian Age. As Alice progresses through the nonsensical and outlandish world, a secondary version of herself matures as Alice works her way to the other side of the board. This secondary self, known as "Queen Alice" takes over as the Alice in control in the looking-glass world, since she is the mirror image of the original Alice. The paralleling of Alice moving towards her crowning as Queen with the emotional maturing of her double makes this Alice story an extension of the initial Alice tale, but with a level of appeal built for an audience with a larger range in age."
This paper discusses Homer's epic poem "The Odyssey", translated by Robert Fitzgerald, one of the favorite adventure stories of all times, which tells the story of Odysseus, a clever, often arrogant old soldier, who fought in and won the Trojan War.
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."
