The Novel "Tsotsi" and its Adaptation on Film

GRIN Verlag
8
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Seminar paper from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Bayreuth (Anglophone Literaturen und Kulturen ), course: HS Africa on Film, language: English, abstract: 1. Introduction 2 2. Athol Fugard as a writer and the historical context 2 3. Tsotsi as a novel and Tsotsi as a film – a direct comparison 3 3.a. General differences 3 3.a.1. Narrators in novels and pictures in films 3 3.a.2. The atmosphere 4 3.a.3. The setting 4 3.a.4. The language 5 3.b. The differences in the plots of the two versions 5 3.b.1. Tsotsi’s gang and the murder of Gumboot Dhlamini (Chapter 1) 5 3.b.2. Tsotsi’s fight with Boston (Chapter 2) 6 3.b.3. Tsotsi’s encounter with the baby (Chapter 3) 7 3.b.4. Tsotsi hides the baby in the ruins (Chapter 4) 8 3.b.5. The funeral of Gumboot Dhlamini, Boston’s recovery and Tsotsi’s reunification with Butcher and Die Aap (Chapter 5) 9 3.b.6. Tsotsi’s encounter with Morris Tshabalala (Chapters 6 and 7) 9 3.b.7. Tsotsi finds a replacement mother in Miriam Ngidi (Chapter 8) 10 3.b.8. Tsotsi’s childhood (Chapter 9) 11 3.b.9. Tsotsi’s second encounter with Miriam Ngidi (Chapter 10) 12 3.b.10. The story of Boston’s life (Chapter 11) 13 3.b.11. Tsotsi’s death (Chapter 12) 15 4. Interpretations of the major differences 16 4.a. The replacement of the apartheid topic 16 4.b. The different atmospheres in the two works 17 4.c. The missing narrator and its effect on the plausibility and numerous details 18 4.d. Apparent commercial reasons for changes in the plot 18 5. Summary 19 6. Works cited 19 Unlike the novel’s plot, the plot of the film is not set in the 1950s to 60s but in the post-apartheid South Africa around the beginning of the new millennium. Not just because more than 40 years passed from the original idea until its publication as a film, the original novel and the film version are quite different in many aspects. Although both the novel and the film follow roughly the same structure, the differences offer many enlightening insights. This paper is going to compare the film version with the original version in the novel in order to analyze and interpret the differences. Some of the major differences revolve around the role of racism, apartheid, politics and social criticism in the two versions, and still others around the different impacts of the two works and the different reasons, purposes and circumstances under which the novel was written and why the film was made.
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Additional Information

Publisher
GRIN Verlag
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Published on
Feb 14, 2011
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Pages
19
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ISBN
9783640829163
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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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Seminar paper from the year 2010 in the subject American Studies - Literature, grade: 1,7, University of Bayreuth (Anglophone Literaturen und Kulturen /Amerikanistik), course: HS 9/11 and American Literature, language: English, abstract: I. Introduction In the aftermath of the terrorist attacks on the World Trade Center on September 11th 2001 (9/11 hereafter), much has been said and written about the spectacular, almost incredible crime, which could be witnessed by large parts of the world’s population live on television. In order to be able to cope with the events and understand what happened on that day in September 2001, many works of fiction and non-fiction, that deal with the events of the attacks, have been created. (...) Now that almost nine years have passed since the day when the planes hit the World Trade Center and the buildings collapsed, the incidents and the aftermath can be viewed from a certain distance and much of the work, that was written and created in order to be able to cope with the events, offers itself for an analysis. The novel Surveillance (2006) by Jonathan Raban is part of the literature that deals with the aftermath of 9/11. However, unlike most of the literature that is focused on this situation and this period of time, the actual attacks do not play much of a role and (apart from one exception on page 136) remain almost unmentioned throughout the novel. Surveillance rather focuses on the years after the attacks and the prevailing anxious atmosphere in the American society of that time. The novel depicts the life of a fictional character named Lucy Bengstrom and her daughter in Seattle in the years after 9/11. The society which Lucy lives in, is coined by an atmosphere of menace, uncertainty and surveillance, much of which is based on the political decisions that followed 9/11. In its first part, this seminar paper discusses the topic of surveillance itself. It will try to answer how surveillance became such a present topic in today’s media and briefly debate the controversy by which it is surrounded. Secondly, this seminar paper analyses the writing style of Jonathan Raban’s Surveillance and the conclusions that can be drawn from it concerning the topic of surveillance. The third part focuses on the content of Jonathan Raban’s novel Surveillance. It analyses Jonathan Raban’s more direct statements and conclusions concerning the topic of surveillance.
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.
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