Original Literary Works Research Articles

Raskolnikov as a Transformed Character: Aki Kaurismäki's Adaptation of “Crime and Punishment” (1983)

How do motion pictures transpose the characters from a well-established literary work into a cinematic narrative, replete with their own narrative potential? Can the resulting film be regarded as an entirely new creation? To explore these questions, we have selected Aki Kaurismäki's 1983 cinematic adaptation of Fyodor Dostoevsky's Crime and Punishment. The primary objective of this study is to ascertain whether the characters from a literary work undergo a transformation into new personas, enriched by the narrative possibilities inherent to cinema. Kaurismäki's adaptation of Crime and Punishment transposed the narrative to a more contemporary era and streamlined the cast of characters, with the film director imparting his distinctive touch to their transformation. In Kaurismäki's rendition of Crime and Punishment, a metafictional dimension emerges, blurring the boundaries of narrative levels. The film's characters comport themselves as if intimately acquainted with the original novel's story and characters. While maintaining fidelity to the foundational narrative, a novel artistic creation takes shape, wherein the characters exhibit a profound awareness of their origins within the original literary work.

Hudební obraznost v Janáčkových fejetonech z Lidových novin

Leoš Janáček's feuilletons from Lidové noviny form a substantial part of his literary work. Inspired by music on several levels, they are both valuable musicological documents and original literary works. This article focuses mainly on their literary qualities, observing Janáček's music-related figurative language, particularly musical metaphors. It shows how the author combines the motifs of nature and music and how he treats the motif of a musical tone. It also demonstrates the ambiguity of musical images, which could be interpreted both literally and figuratively. Such ambiguity is presented as an efficient literary device, which connects diverse styles, themes, or locations, and thus contributes to the heterogeneity of Janáček's texts.

The Stepford Wives, Trajectories of Dystopia into Gender, Genre, Class and Race – From Novel to Film

The Stepford Wives, a novel by Ira Levin published in 1972, describes a micro-dystopian society, whichimposes a strict ‘traditional’ order, by transforming women into compliant wives programmed to serve their husbands. The book has been adapted to screen several times. The present paper will focus on a comparisonbetween the original literary work and thefirst adaptation of 1975 by British director Bryan Forbes, seen through the notions of genre, gender, class and race.

Interpretation of a Literary Text in the Cinema: V.S. Rozov's Play “Forever Alive” and M.K. Kalatozov's Film “Cranes Are Flying”

The article explores film screening as a special form of literary text. Within the framework of the study, the concept of cinema screening, its classification and features of types, “strengths” and “weaknesses” of this format are considered. The problems arising during the transfer of literary works of art to the cinema screen are also characterized, which are the subject of controversy at the present time. The study of these issues is carried out not only in theory, but also in practice, which is presented in the form of a comparison of V.S. Rozov's play "Forever Alive" (1943) and the movie M. K. Kalatozova “Cranes are Flying” (1957). In addition to identifying the differences between the original literary work and its transfer to the language of cinema, expressed in deviation from following the literary fiction text, added episodes and expansion and reduction of individual storylines of the original, the creative task is determined, and how exactly it was achieved. The main research methods: analysis of scientific literature on the subject of the study, used for a detailed examination of film screening as a special form of literary text, analysis of critical studies, biographical literature, archival documents, as well as comparative analysis (they were used when comparing the original literary text (V.S. Rozov's play “Forever Alive”) and its film adaptations (M.K. Kalatozov's film “Cranes are Flying”)). As a result of the conducted comparative analysis, a conclusion is drawn that contains answers to the questions: which type of film adaptations does this film belong to, what is it expressed in, and also the reasons that led to this result are revealed.

Художественные средства выразительности в литературе на простом языке (на материале рассказа Ю. Герман «Ловушка»)

The study aims to describe in a comprehensive manner the linguostylistic means of literary expression in the short story “The Trap” („Falle“) by the modern German writer Judith Hermann. A special, simplified version of the German language used by the author, i.e., plain language or ‘einfache Sprache’ in German, is a distinctive feature of the work. J. Hermann’s short story was included in Germany in the first collection of original literary texts in plain language available to a wide readership and became a part of the new literary project „LiES – Literatur in Einfacher Sprache“ (“Literature in plain language”). The scientific novelty of the study lies in the uniqueness of the analysed practical material – it is the first time that an attempt has been made to identify and characterise the stylistic potential of plain language based on the material of an original (untranslated) literary work by a modern German author. The results of the study clearly show that plain literary language is not inferior to standard literary language and has an extensive arsenal of stylistic means (epithets, comparisons, metaphors, personification, antitheses and gradation, parcellation and ellipses, repetitions, rhythm) and an ample potential for building new, fictional worlds and creating non-trivial artistic imagery, in particular due to the receptive intention of the title and the open ending.

Russian Literature in Japanese Film: Cross-cultural Adaptations in the Silent Era

Since the beginning of the film industry in Japan, many short films and movies based on Western literary works were made, especially during the 1910s and 1920s. Several of those films were based on fashionable Russian literary works that had been staged in Shingeki (new drama) theaters. This study examines the adaptations of Russian literature produced from the early 1910s until the end of the silent-film era in the 1930s, focusing specifically on films based on Tolstoy’s novel Resurrection, the drama The Living Corpse, and Gorky’s play The Lower Depths. It is shown that the early adaptations, filmed in the 1910s, aimed to closely adhere to the original literary works by maintaining key plot events and recreating the cultural milieu through sets, costumes, and staging. However, starting from the 1920s, adaptations followed intercultural and intertextual processes, freely modifying the works to suit the Japanese cultural context. This shift in the approach to adapting Western literary works was influenced by the social, political, and cultural changes experienced by the country during those decades.

PLAGIARISM IN CLASSIC ARABIC POETICS (COMPARATIVE STUDY OF AL-JUMAHI AND AL-QAIRAWANY’S THOUGHTS)

This research aims to present an interpretation of literary criticism on the occurrence of plagiarism in classical Arabic poetry. The topic of plagiarism, contrasted theoretically, has not been extensively discussed in previous studies. Al-Jumahi was the first to disclose the problematic aspects behind the outstanding reputation of Arab poetry. Conversely, Al-Qairawany presented related theories more systematically. This study employs a descriptive qualitative method using a contrastive approach towards the two major works of these figures, namely <em>Thabaqat Fuhul As-Syuara</em> and <em>Al-Umdah fi Al-Mahasin li As-Syuara wa Adabihi wa Naqdih</em>. The findings reveal that Al-Jumahi and Al-Qairawany start from the same premise, albeit from differing perspectives. Al-Jumahi contends that all forms of imitation are acts of plagiarism, entirely unacceptable in the literary world. On the other hand, Al-Qairawany asserts that if imitation does not compromise the principle of creation and innovation, it can still be accepted as original literary work. Consequently, there is a significant development from the criticism of the Al-Jumahi period to the Al-Qairawany period.

｢북경본(北京本) 게세르｣와｢융복사본(隆福寺本) 게세르｣의 몽골어 비교연구

The Mongolian ｢Geser｣ story is an original literary work of Mongolians and has a strong colloquial character, making it one of the most suitable materials for linguistic research. In addition to the Mongolian ｢Geser｣, we know well, there are many editions of the Mongolian ｢Geser｣ in addition to the ｢Peking Geser｣. Currently, only the editions of ｢Peking Geser｣ and ｢Buryat Geser｣ have been studied in Korea, and only recently have editions such as ｢Tod text Geser｣ and ｢Longfu Temple Geser｣ begun to be studied. In addition, many studies have already been conducted in fields such as literature and folklore, but linguistic research is somewhat insufficient. Recognizing these problems, this study developed linguistic research of Korean Mongolian ｢Geser｣ and conducted a comparative study of Mongolian ｢Peking Geser｣ and ｢Longfu Temple Geser｣ to conduct in-depth research on classical Mongolian. The linguistic study of this study first conducted Latin transcription of the two Mongolian versions of ｢Geser｣ and later divided into Morphological comparative study and phonological comparative study. As a result of this Linguistic comparative study, it was confirmed that the two Mongolian versions of ｢Geser｣ showed almost the same morphological and phonological patterns. However, in the Morphological comparative study, there were some endings whose forms were not identified in the ｢Longfu Temple Geser｣, which is probably the result of fossilization and degradation over time. In addition, in the phonological comparative study, both editions showed particularly prominent patterns in vowel replacement and consonant replacement, which I think is because both editions have strong colloquial characteristics.

Vittorio Alfieri e la lingua “classica” di Simeon Marcovici: alcune considerazioni metodologiche sulle traduzioni dell’Oreste e del Filippo

"The most representative Romanian translations of the 19th century can be the subject of an aesthetic-rhetorical study, which, usually, we would devote to an original literary work. Because of their experimental character, the translations are closely linked to the contemporary “language question”: thus, they offer a tool to observe the evolution of literary Romanian in those crucial decades. In other words, we can consider translations as a ground for the reception of Western models and the development of modern literary language. In this study, we propose overcoming the two most popular approaches to Romanian translations: the exclusively lexicographical one, which mainly focuses on the collection of data related to the neological lexicon: the exclusively historical-sociological one, which considers translations as historical-literary and socio-cultural documents without dwelling on the aesthetic-rhetorical values of the literary text. On the contrary, the value of such translations lies not only in their being (useful) witnesses to certain linguistic forms or certain sociological and historical contexts, but in the fact that they are autonomous literary texts. Composed exclusively of translations of literary works and technical texts, Marcovici’s output is a typical example of the extraordinary phenomenon of Romen translations in the first half of the nineteenth century. His prose translations of two of Alfieri’s tragedies, Oreste and Filippo, in a volume published in Bucharest in 1847, mark one of the high points of interest in Alfieri’s output in the Romanian nineteenth century. Such a late interest in an eighteenth-century author like Alfieri, who had played so much part in the Italian, Greek, and Romanian Enlightenment and Preromantic temperament, often cloaked in anti-Tyrannical nationalism, should not be surprising. Marcovici’s entire cultural activity shows a strong “anachronistic” inclination toward neoclassical themes, also motivated by his being professor of rhetoric at the College of St. Sava. For Marcovici, literature is not only to be considered in the same way as a “school of moralization”, but also a model for the correct use of literary language. It follows, therefore, that there should be a determined fidelity to the needs of popularization, to the “simple” style, to the naturalness of vocabulary and to the minimization of the needs of overdeveloped rhetorical language. The contribution will therefore go through some lexicographical, stylistic and rhetorical aspects of the two Alfierian translations, focusing on the “classicism” of Marcovici’s language."

Translating the Translated: An Intertextual Approach in Subtitling Ernest Hemingway’s Adaptation of To Have and Have Not to Nakhoda Khorshid

Literary texts have been regularly adapted into the motion picture since the invention of talkies. Accordingly, the relationship between the original literature, the adapted movie and its translation for international audiences, mainly in the form of subtitling, have become an attractive and growing source of study. This intertextuality is argued to influence the perception and evaluation of the vulnerable subtitle by the viewers. Therefore, adopting an intertextual approach to the subtitling of dialogue in the Iranian film Captain Khorshid, the present study aims at discussing the extent to which the subtitle corresponds to the audiences’ expectations. For this purpose, Ernest Hemingway’s To Have and Have Not and the adapted film Captain Khorshid, directed by Naser Taghva’i, are analysed. Farahzad’s (2009) model of intertextuality and Sanatifar and Kenevisi’s (2017) reformulated model of Grice are employed as the models for analysing, establishing and assessing the relationship between the texts. After discussing the relationship between the literary text and the adapted movie within the theory of intertextuality, the English subtitle of the Persian soundtrack is discussed by comparing it with the original English quote. This intertextual relationship is maintained to be mainly the source of comparison between the literature, i.e. protext, and the adaptation film, i.e. metatext, by the audience of the film as well. In other words, when the film is subtitled back into the language of the original literary work, the protext and the metatext meet, and a reunion occurs. Therefore, it is concluded that the more the subtitle corresponds to the original literary text, the more it is evaluated by the audience to be accurate.

Interpretation of a Literary Text in Cinema: V.O. Bogomolov's Novel “Ivan” and A.A. Tarkovsky's Film “Ivanovo Childhood”

The article explores film screening as a special form of literary text. Within the framework of the study, the concept of cinema screening, its classification and features of types, strengths and weaknesses of this format are considered. The problems arising during the transfer of literary works of art to the cinema screen are also characterized, around which discussions do not stop to this day. The study of these issues is carried out not only in theory, but also in practice, which is presented in the form of a comparison of V.O. Bogomolov's novel "Ivan" (1957) and the film A.A. Tarkovsky's Ivanovo Childhood (1962). In addition to identifying the differences between the original literary work and its transfer to the language of cinema, expressed in deviation from following the literary artistic text, changing individual scenes, added episodes and expanding some storylines of the original literary work, the creative task set by the director is determined, and how exactly it was achieved. The main research methods are the analysis of scientific literature on the research topic (used for a detailed examination of cinema screening as a special form of literary text) and comparative analysis (used when comparing the original literary text (V.O. Bogomolov's novel Ivan) and its film adaptation (A.A. Tarkovsky's film Ivanovo Childhood)). Because of the comparative analysis, a conclusion is drawn that contains answers to the questions: which of the types of film adaptations does this film belong to, as it is expressed in the film, and the reasons that led to this result are revealed.

Secondary text and its features in E. P. Rostopchina's "Chatsky's Return to Moscow...."

The purpose of the study: to consider the relationship between the secondary and the original literary work at the level of images of heroes, storylines, and text; to determine the features of dialogic in books, as well as to identify similar features of the original and secondary works, as well as to establish differences between them. The subject of the study is the artistic techniques of aging of continuation texts, identified on the basis of a dialogical text of the Russian writer of the XIX century E.P. Rastopchina. The method used was the analysis of the texts of the original and secondary works using the classification of intertextual interactions by Gerard Genette to identify connections based on excerpts from texts. This side of Evdokia Petrovna Rostopchina's creativity has been little studied not only in Russia and China but also around the world. Studying this sphere allows us to explore the phenomenon of dialogicity and thereby opens up new opportunities for studying the theoretical basis in this direction. The analysis of the play "Chatsky's Return to Moscow" shows that it is characterized by close intertextual ties with the primary work. In addition, the "Note from the author" in Rostopchina's play creates a paratextual connection between the two works. It is also possible to trace architexturally in the texts. At the same time, it is important to note that for these works it is the least obvious kind of intertextual relationship, and even the genre of the original and the continuation is defined differently by the authors. Nevertheless, both in the original and in the secondary work there are elements of a comedy of intrigue and a sitcom. This gives reason to talk about architextual intertextual connections. And finally, the conducted research of the works allows us to say about the presence of hypertextual connections, which are noticeable due to close paratextual and intertextual relations.

언어·문화 통합 교육을 위한 한국어 등급화 텍스트 활용 요구분석 연구

The purpose of this study is to examine the applicability of Korean Graded Readers (KGR) into Korean Language and Culture Integration Education in Vietnam. KGR has attracted great attention from foreign language education researchers, including Korean as a Foreign Language education, as it can reduce the literary language burden for learners. However, it still lacks research on how to use KGR in teaching in practice. In Korean as a Foreign Language education, reflection of learners’ needs plays a crucial role when introducing a new learning material. Therefore, this study discussed the direction of application and usability of KGR based on the survey results of learners' preference and receptivity for literature learning and reading materials. According to the analysis results, learners are interested in literary works, but many works have an impression that literary texts are difficult to understand, an while approaching literary works, students who are more fluent in Korean, tend to learn cultural/literary content rather than Korean Language skills. Moreover, Korean learners in Vietnam also face the problem of lack of diversity in reading materials. Therefore, the appearance of Korean Graded Readers is necessary and possible. Here, when introducing Korean Graded Readers to help learners access literature by stages, we should selectively implement the goals of learners’learning and their Korean skills rather than completely replacing literature works. In case of presenting the original literary work, attaching Korean Graded Readers as an appendix can help learners understand not only the core content of the work but also the social and cultural knowledge contained in the work more easily.

Dante e fumetti: Ricadute nella didattica, suggestioni divulgative

Dante’s Divina Commedia is one of the most influential literary works in Italy and not only. Reading, understanding and analysing it are a fundamental part of the skills every Italian student should reach, due to the national school programs, particularly in middle and high school. Many Italians and internationals comics’authors worked on Divina Commedia, feeding the collective imagination about Dante, giving new readings of popular suggestions – in this paper, we’ll partially analyse Marcello Toninelli’s and GōNagai’s works, as influences in didactics, but also as peculiar products, with a universal approach, inspired by Dante’s world. So comics can also be considered didactic media. In fact students can be involved in a process where they could build their own comics based on Divina Commedia. Considering both Divina Commedia and comics linguistic media, every student will be able to join a travel from literature to comics and back, creating a final original product, testifying comprehension and personalization of the original literary work.

Originality for Copyright Protection in Literary Works: After EBC v DB Modak

Originality, can be termed as the grund norm (the basic norm) for copyrightability. However, no one-size-fits-all formula is adopted by countries on this aspect, and this article first explores the position and benchmarks to determine original literary work (because even for different ‘works’ the criteria differs). Pursuant to this inquiry of identifying the ambit of the respective thresholds, the Indian perspective is analysed with special emphasis on the decision delivered by Indian Supreme Court in DB Modak. The judgement is critiqued to identify lacunae and absurdity in determining the law laid down and its application in the factual matrix. Finally, subsequent Indian decisions are looked upon by the author to find out the underlying approach by the courts wrt interpretation of DB Modak and what common threads emerge from them.

Своеобразие образов в романтической поэме А. Тубыли «О прославленном и знаменитом влюбленном Фархаде и его возлюбленной Ширин»

The paper aims to reveal the main characters’ images in A. Tubyli’s epic poem “The Story of Prominent Farhad and His Beloved Shirin”. Scientific originality of the study lies in the fact that for the first time in the domestic literary criticism, the researchers describe images of Farhad and Shirin in A. Tubyli’s epic poem, identify their unique features which are absent in “Khosrow and Shirin / Farhad and Shirin” poems by such authors as Nizami Ganjavi, A. Nava’i, Jami. The findings indicate that A. Tubyli’s lyro-epical poem is an original literary work that synthesizes literary and folkloric stories, images and motives.

World Literature and Literary Afterlife*

Literary works and their authors seldom belong solely to the historical age and part of the world in which they were written. But how do some begin life anew in other languages, other cultural contexts, and in other literary marketplaces, while many do not? Does a distinctive narrative, combined with authorial flair, render certain works susceptible to creative adaptation, imaginative retranslation, or extensive allusion by other writers? And when original literary works do undergo such metamorphoses, who is capable of recognizing them in their new guise? Does engaging with literary works in new linguistic incarnations or other socio-political contexts enrich our reading experience and aesthetic sensibilities – and, if so, then in what way?

Репрезентація іноземних літератур в англомовних перекладах та ідеологічна поляризація світу в ХХ ст.

The article discusses the representation of foreign literatures in English translations in the context of the ideological polarization of the world in the 1920-80s. There have been highlighted ideological factors that influenced the choice of original literary works to be translated and peculiarities of representation of literatures of the Eastern bloc countries in the UK and the USA.

Impossible Origins: Trauma Narrative and Cinematic Adaptation

In this essay, I explore the cinematic adaptation and the representation of trauma, while I further consider the role and significance of the notion of the origin in both trauma and in cinematic adaptation. Through an initial consideration of the relationship between the theory of the impossible origin, particularly as it is articulated by Walter Benjamin, the essay goes on to analyze the significance and role of an impossible origin in the elemental form of adaptation. To this end, the essay considers the movement of adaptation from an autobiographical trauma memoir to a feature film, considering the success or failure of adaptation in situations where the original literary work concerns an experience of extremity. As I consider the vicissitudes of trauma and its grounding in a repetitious structure that leaves the survivor suspended in a kind of missed experience (or missed origin), I further explore how this missing origin (or original text in the case of adaptation) can be represented at all.

Палестина ұлттық бірегейлігінің анықталуы (таңдаулы әдеби туындылардың негізінде)

This article examines the phenomenon of the division of Palestinian national identity in relation to Israel based on the literary works of Palestinian writers. To conduct the study, there were used a specific historical method of analysis and interpretation of original literary works to work with the sources. There were selected such works of fiction for the study as Sahar Khalifa’s Wild Thorns (1974), Gharib Haifaoui’s Snatcher of Sleep (2012) and Ibtisam Azim’s The Book of Disappearance (2014) and Said Kashua’s Dancing Arabs (2002). Based on these materials, it is concluded that the Palestinian nation is divided against Israel, from attempted assimilation to armed confrontation. It also concludes that there is short-term pragmatism and a willingness of mostPalestinians to maintain economic relations with Israel,with a consequent increase in thenumber ofArabs who speak Hebrew and are familiar with Jewish culture.