Abstract
The article deals with religious, materialistic, and mixed interpretations of the thing and the personality as generic entities in the story «Oh, whistle, and I'll come to you, my lad» by M. R. James and its screen versions. The differences found in the versions concern petty and significant deviations from the original story, which influence the initial message. The method used to achieve the results represented in the article combines the ideas of Philosophical Hermeneutics and those of the medieval exegetical method of allegorese applied to deal with obscure passages in sacred texts. The original story treated within the Protestant ideological paradigm gives way to materialistic views that are subject to refutation, reconsideration, and combination with philosophical issues in the screen versions – transponents. The thing as an inanimate object is endowed with personal qualities of a living being; on the contrary, an individual is viewed as a thing with no mind.
Highlights
The aim of the article is to show the ways of interpreting the thing and the personality as generic entities from religious, materialistic, or combined perspectives in M
James' story «Oh, whistle, and I'll come to you, my lad» (James, 2015: 76-94) and its screen versions entitled «Whistle and I'll Come to You» (1968, 2010)
The first task ensuing from the aim concerns dividing the original story and its screen versions into blocks of episodes that reveal the message of the story
Summary
The aim of the article is to show the ways of interpreting the thing and the personality as generic entities from religious, materialistic, or combined perspectives in M. R. James' story «Oh, whistle, and I'll come to you, my lad» (James, 2015: 76-94) and its screen versions entitled «Whistle and I'll Come to You» (1968, 2010). The first task ensuing from the aim concerns dividing the original story and its screen versions into blocks of episodes that reveal the message of the story. The second task presupposes finding possible symbolic interpretations of all episodes separately with the abovementioned generic entities included. The article explores ways of treating the same ideas in the original story dating back to 1904 and its later screen versions. The subject of the paper concerns separate symbols analyzed from different perspectives
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