A novel and its adaptation: Stanley Kubrick: Lolita (1962)

GRIN Verlag
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Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 1,7, , language: English, abstract: If one looks at recent cinema charts, the literary eye will notice that film adaptations of literary products are quite common there. Novels, especially if they were successful on the market, seem to be an ideal source for film-makers. Vladimir Nabokov's successful novel Lolita is no exception. Though this novel for various reasons almost seems like it is not screenable, in 1962 Stanley Kubrick directed an adaptation. Of course he faced the usual critique: the adaptation cheapen the original artworks reputation, it abuse the author's thoughts and the artwork, content and use of language were only insufficiently borne in mind. This paper tries to examine whether or not this critique, on adaptation in general and on Kubrick's work in detail, is justified or not.
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Publisher
GRIN Verlag
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Published on
May 10, 2011
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Pages
6
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ISBN
9783640911820
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Language
English
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Genres
Language Arts & Disciplines / Linguistics / General
Literary Criticism / European / English, Irish, Scottish, Welsh
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Content Protection
This content is DRM protected.
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Available on Android devices
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Eligible for Family Library

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Kerstin Schulze
Seminar paper from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Münster, language: English, abstract: Post-colonial literature is still present nowadays. Native Americans are living in the modern America but also in their own culture. Sherman Alexie has made notable movies about Native Americans living in modern North America. As a Native American by himself these movies might offer a new perspective on colonized people. Obviously, the field of post-colonialism is closely connected to his movies as the Native Americans have to deal with their history. There is no doubt that Native Americans possess an own identity and an own culture which is mixed up on their native and the non-native identity – a hybrid identity. In the following I will firstly introduce an election of important theorists of post-colonial studies and explain the key concepts that are vital for the upcoming analysis of the movies Smoke Signals and The Business of Fancydancing. After this I will have a closer look to selected scenes of both movies in order to detect indications of hybridity. To what extend are Native Americans coined by the Americanization and to what extent are the Native Americans keeping their own and independent culture or is it indistinguishable from the culture of their colonizers? I will try to expose the different cultural characteristics of indigenous identity, how these cultural traits are presented and if they give indication for their cultural identity. Is the primeval culture of the constellation of generation declined? In this paper I will give an answer to the question in what way this hybridity is reflected. What effect has hybridity on the perception of history?
James Shapiro
For more than two hundred years after William Shakespeare's death, no one doubted that he had written his plays. Since then, however, dozens of candidates have been proposed for the authorship of what is generally agreed to be the finest body of work by a writer in the English language. In this remarkable book, Shakespeare scholar James Shapiro explains when and why so many people began to question whether Shakespeare wrote his plays. Among the doubters have been such writers and thinkers as Sigmund Freud, Henry James, Mark Twain, and Helen Keller. It is a fascinating story, replete with forgeries, deception, false claimants, ciphers and codes, conspiracy theories—and a stunning failure to grasp the power of the imagination.

As Contested Will makes clear, much more than proper attribution of Shakespeare’s plays is at stake in this authorship controversy. Underlying the arguments over whether Christopher Marlowe, Francis Bacon, or the Earl of Oxford wrote Shakespeare’s plays are fundamental questions about literary genius, specifically about the relationship of life and art. Are the plays (and poems) of Shakespeare a sort of hidden autobiography? Do Hamlet, Macbeth, and the other great plays somehow reveal who wrote them?

Shapiro is the first Shakespeare scholar to examine the authorship controversy and its history in this way, explaining what it means, why it matters, and how it has persisted despite abundant evidence that William Shakespeare of Stratford wrote the plays attributed to him. This is a brilliant historical investigation that will delight anyone interested in Shakespeare and the literary imagination.
Kerstin Schulze
Seminar paper from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Münster, language: English, abstract: Post-colonial literature is still present nowadays. Native Americans are living in the modern America but also in their own culture. Sherman Alexie has made notable movies about Native Americans living in modern North America. As a Native American by himself these movies might offer a new perspective on colonized people. Obviously, the field of post-colonialism is closely connected to his movies as the Native Americans have to deal with their history. There is no doubt that Native Americans possess an own identity and an own culture which is mixed up on their native and the non-native identity – a hybrid identity. In the following I will firstly introduce an election of important theorists of post-colonial studies and explain the key concepts that are vital for the upcoming analysis of the movies Smoke Signals and The Business of Fancydancing. After this I will have a closer look to selected scenes of both movies in order to detect indications of hybridity. To what extend are Native Americans coined by the Americanization and to what extent are the Native Americans keeping their own and independent culture or is it indistinguishable from the culture of their colonizers? I will try to expose the different cultural characteristics of indigenous identity, how these cultural traits are presented and if they give indication for their cultural identity. Is the primeval culture of the constellation of generation declined? In this paper I will give an answer to the question in what way this hybridity is reflected. What effect has hybridity on the perception of history?
Kerstin Schulze
Magisterarbeit aus dem Jahr 2011 im Fachbereich Germanistik - Sonstiges, Note: 2,3, Westfälische Wilhelms-Universität Münster, Sprache: Deutsch, Abstract: Der deutsch-türkische Film hat in den letzten Jahren immer mehr an Bedeutung gewonnen, dabei kommt der Darstellung der weiblichen Identität eine spezielle Rolle zu: Fatih Akıns Gegen die Wand, der, neben vielen weiteren nationalen und internationalen Preisen, mit dem Goldenen Bären auf der Berlinale 2004 ausgezeichnet wurde, und einer der aktuellsten Filme des deutsch-türkischen Films: Feo Aladağs Die Fremde, dem deutschen Beitrag für die Oscarverleihung 2011 in der Kategorie "Bester Nicht-englischsprachiger Film", stehen für die Wichtigkeit und Aktualität in der Darstellung und Thematisierung der Konflikte denen die Frauen ausgesetzt sind. Die Filmemacher nehmen durch ihre Inszenierungen dabei Einfluss auf das mediale Bild der deutsch-türkischen Frau und ihre Wahrnehmung durch die Gesellschaft. Diese Frauen stehen nicht nur einem innerfamiliären Generationskonflikt gegenüber, es wird auch der gesellschaftliche Konflikt thematisiert. Der Konflikt der Identität in dieser Form ist kontinuierlich, da sich die kulturellen Grenzen einer Gesellschaft immer mehr auflösen und sich daraus eine transkulturelle Gesellschaft entwickelt. Diese Arbeit beschäftigt sich mit der Frage, wie die Identitäten von Frauen vor dem Hintergrund der Transkulturalität im deutsch-türkischen Film konstruiert werden. Man sollte annehmen, es habe ein Wandel im Verständnis der Filmemacher stattgefunden: Die Identität der Frauen im deutsch-türkischen Film1 hat sich im Laufe der Zeit entwickelt. Die Filme 40 qm Deutschland (Tevfik Başer, 1985), Yasemin (Hark Bohm, 1988), Gegen die Wand (Fatih Akın, 2004) und Die Fremde (Feo Aladağ, 2010) thematisieren allesamt die Schicksale von Frauen mit Migrationshintergrund: Die Protagonistinnen leben als türkische Einwanderer oder Einwandererkinder der ersten oder der zweiten Generation in Deutschland. Ihre Der Begriff „Migrantenkino“ ist zumindest für die aktuelleren Filme der 1990er-Jahre bis heute nicht mehr treffend. Das Bewusstsein der Filmschaffenden und der Zuschauer hat sich geändert. Die Regisseure sind in Deutschland aufgewachsen und sehen Deutschland als ihre Heimat an. Deshalb wird im Folgenden der Terminus „deutsch-türkischer Film“ benutzt. Identität und ihr Kulturverständnis sind dadurch entscheidend geprägt. Wie sich ihre Identität vor dem Hintergrund der Transkulturalität entfaltet und wie der Prozess ihrer Identitätsfindung inszeniert wird, ist Gegenstand dieser Untersuchung.
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