Reflections on Video Games Translation as a Literary Representation in the New Media
Large-scale development of video games can be considered as a somewhat new phenomena, even though video games have ...been gaining more and more adepts during the last few decades. Since the very beginning, videogames have sought for inspiration in literature, with games such as “The Hobbit” released in 1986 on Amstrad CPC. Back then, it was a raw media that didn’t offer much possibilities to the players as well as to the developers. Today, millions of people – not to say billions – play videogames in the entire world. Technologies related to videogames development are more and more complex. Now, the player doesn’t only have to complete simple objectives like with arcade cabinets back in the 1970’s. He can control complex characters and have them evolve in rich environments. Videogame universes are often based on literature, and thus become a representation of literature that has to consider every aspect of the works it interprets: graphisms (sets and characters), music, gameplay, but also language, the main area of interest for translators. We look into the games ABC Murders and The Witcher III in order to examine different aspects of books transcribed in videogames and their inter-semiotic and interlingual translation.
Michael Crichton is primarily known for being an outstanding writer of techno-thrillers and co-creator of the genre. In this paper I suggest that his fictional works can and should be considered ...under the deeper and wider perspective of his concern for societal issues regarding science and technology with a profound consideration of their effects and on the life of people and the development of society. In fact this defining feature of his work is inclusive of numerous works by Michael Crichton that would not fit into the techno-thriller genre. It therefore seems a more appropriate way to characterize his work. This idea is further supported by the fact that most of the few works of his that do not fit into this perspective were written during a brief period of time in which Michael Crichton explored other genres, only to return to his humanistic approach to science and technology for the rest of his fiction-writing career.
Poder absoluto (Abolute Power, 1997), de Clint Eastwood, e Olhos de serpente (Snake Eyes, 1998), de Brian De Palma, possuem elementos em comum e pertencem ao mesmo período histórico, mas desenvolvem ...perspectivas distintas sobre o tema da conspiração política, de acordo com as visões de mundo e as preferências estilísticas de seus realizadores. O artigo analisa ambos os filmes a partir das estratégias adotadas por eles para compor dispositivos de reflexão sobre o olhar, o ponto de vista e a dimensão política dos atos de observar e vigiar.
The topic of this study is Anxiety and Defense Mechanism as A Means of Constructing Psychological Thriller in Hawkins’ The Girl on the Train. The objectives of this study are to describe how anxiety ...and defense mechanism are described in Hawkins’ The Girl on the Train and to explain how anxiety and defense mechanism construct psychological thriller as represented in Hawkins’ The Girl on the Train. The object of the study is a novel entitled The Girl on the Train written by Paula Hawkins. This study is descriptive qualitative study by applying Freudian psychoanalytic theory. The data of the study were collected by reading, identifying, interpreting, and inventorying citations from the novel. Further, the data were analyzed based on Freudian psychoanalytic theory by describing anxiety and defense mechanism described in the novel. The data were also analysed by explaining how anxiety and defense mechanism construct psychological thriller. The results show there are three kinds of anxiety and six kinds of defense mechanism. Moreover, the results prove that those anxieties and defense mechanisms become a means of constructing psychological thriller since they make the characters suffer from psychological problem and become unreliable narrator, create plot twist, and make the novel become thrilling.
Keywords: Psychological thriller; Freudian psychoanalysis; Anxiety; Defense Mechanism.
The abundance of contemporary Irish fiction dealing with crime seems hard to refute. While most works have been produced in the literary field, cinema has also explored Ireland’s contemporary ...situation through the lens of crime fiction. The aim of this article is to analyse the relationship between crime, crisis, and capital in a contemporary Irish thriller: Peter Murphy and Rachael Moriarty’s Traders (2015). The film creates a bleak and acidic depiction of Ireland’s financial world and how in times of crisis, crime and capital are negotiated and articulated. A brief introduction of what the Celtic Tiger era and its subsequent crisis meant for Ireland will be followed by an exploration of its relation to the crime thriller. By studying crime and its intersections with class structures, economic conditions, and the shaping of its space in the film, I will attempt to undertake an economic and aesthetic reading. Moreover, I will consider how the film delineates a portrait of Ireland’s post-Celtic Tiger society and all its consequences.
A continent-spanning adventure featuring one of literature's greatest rogues Redmond Barry has almost all the qualities of a gentleman: he speaks well, has learned courtly etiquette, and can hold his ...own with a sword in hand. But passion is his downfall—passion for life, for excitement, and unfortunately, for his cousin Nora. When he almost kills Nora's suitor in a duel, Barry flees to Dublin, and the adventure of his life begins. A consummate rake and con man, Barry finds himself on the battlefield against the Prussians in the Seven Years' War after losing everything. But war—and life, for that matter—is not exactly what Barry wished or expected it to be. A braggart's tale through and through, with an antihero of epic proporations, The Luck of Barry Lyndon is a brisk romp through one of literature's most unusual lives. This ebook has been professionally proofread to ensure accuracy and readability on all devices.
AbstractA wall is often viewed simply as a structure that divides and isolates different worlds, spaces, or places. However, an alternative perspective, known as the heterotopic point of view, ...suggests that a wall can be seen as a place. Such a place possesses panoptical characteristics and spatial experiences that might be felt as a panoptic power and a labyrinth, rendering it suitable for the setting of many psychological thriller films. To illustrate this phenomenon, this article examines two examples from psychological thrillers and compares them with Foucault’s concept of Heterotopia. This is accomplished by breaking down his six principles of space parameters. By doing so, the article reveals the intricate and multifaceted nature of walls, as well as their potential to be portrayed in a myriad of ways in the cinematic arts.
The 21st century resurgence of the political thriller genre was informed by two factors: the post 9/11 geo-politics and the new global landscape of film and television. Tehran (Kan, 2021-), the ...recent political thriller series from Israel on Apple TV+, offers an illuminating example of the transnationalisation of the genre. By analysing the series along with discussions on its production context and reception in Israel, Iran and internationally, we demonstrate the complex and shifting relationship between the entertainment and the political elements, which typify the genre and its global travel. Revolving around the topical geo-political issues, the series' action-based plot delineates an Israeli military operation to neutralise the Iranian nuclear reactor, while deeper layers of the narrative point to its political aim: countering negative representations of Iran and provoking a critique of Israel's own forms of oppression and its internal identity crisis. Placing at its centre a young Israeli female agent, whose complexity is rooted in her hybrid identity as a migrant Iranian-Jew, the series renders visible suppressed histories of Iranian-Jewry's fractured relationship with Zionism. This, we claim, is the core of the series' political critique, which despite its potential subversion was largely lost in the reception space.
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