The article is devoted to an essential and highly relevant topic - the amendment of the Criminal Code of Ukraine during the war. The authors emphasize that the state of Ukraine and its population ...faced a terrible challenge to state sovereignty, territorial integrity, and independence due to the Russian Federation’s attack. The introduction of martial law and the immediate opening of hostilities in large areas of Ukraine initiated new social relations, which urgently needed legal settlement and consolidation. The author’s position is that despite the vast range of tasks that required a quick solution, the Verkhovna Rada of Ukraine was able to respond quickly to new social realities and amended the Criminal Code of Ukraine, introducing criminal liability for collaboration and identifying circumstances that exclude illegal illegality of the act and provide combat immunity under martial law. The new provisions of the criminal law correspond to the principles of the rule of law, legality, and legal certainty. In addition, they still need some clarifications and acquisitions, particularly regarding the combat immunity of military medics. As for collaborative activities, according to the authors, this act is a specific manifestation of treason, which the legislator decided to allocate as a separate criminal offense in connection with the situation and time of its implementation.
This paper deals with the two novelizations written by Bordage, one adapted from an adventure video game (Atlantis. Les fils du rayon d’or, 1998), the other adapted from a computer-generated 3D movie ...(Kaena, la prophétie, 2003). Theses novels are published at a time when French novelizations are still very uncommon in popular and media culture in France (especially in science fiction), while translated imported American novelizations begin to be recognized in France as an autonomous cultural and editorial phenomenon in the middle of 1990s. In this context, due to his precedent literary success (Les Guerriers du silence, 1993-1995), Bordage offers a profitable investment to create crossmedia and transmedia projects and to associate the potential of the literary writing with the multimedia revolution of “new images” (digital 3D images, CD-ROM, video game), resulting in transmedial experimentations such as online editing, digital serial novels or script writing. Nevertheless, Bordage legitimates his own novelizations in an ambiguous way. He promotes the originality of these modern multimedia projects and, at the same time, rejects the usual criticisms directed at novelization by the French science fiction amateur scholars, on account of its links with commercial and industrial science fiction called sci-fi. Writing novelization is an intermedial way, for Bordage, to assert his narrative and xenoencyclopedial own literary signature by defending his skills as an excellent fiction storyteller and as a builder of imaginary worlds.
El género de la novelización cinematográfica está presente en la cultura popular española desde los años diez del siglo XX hasta hoy. Durante los años veinte, igual que en el entorno internacional, ...la novelización vivió en España un primer momento de esplendor. Vamos a acercarnos al mismo a través del caso de dos novelizaciones que se publicaron a partir de la adaptación al cine de El cura de aldea (Florián Rey) en 1926, primera de las filmadas a partir de la obra literaria que Enrique Pérez Escrich escribió en más de un formato a mediados del siglo XIX. El estudio de ambos textos nos permitirá avanzar en la caracterización del fenómeno de la novelización durante los veinte en relación con el panorama nacional e internacional, el denso entramado comercial que la rodeaba, y la forma en cómo se construía desde el punto de vista literario, con el cine al fondo.
Although her role is the fourth largest female part in the Shakespeare canon and the largest role in The Merchant of Venice, Portia has been consistently under-represented in the twenty-first century ...both creatively and critically. This article aims to understand the decline of Portia from Victorian icon to Post-Modern cypher and argues that her shifting fortunes are directly linked to the challenges and societal change brought about by feminism. While considering all genres, the article makes specific reference to novelizations of Merchant by Mary Cowden Clarke, Alan Isler, Erica Jong, Grace Tiffany, and Howard Jacobson for supporting evidence. Focusing on what is not being adapted and why, Portia's neglect is something that begs analysis whilst offering great scope for re-appraisal in the era of fourth-wave feminism.
This research compares the TV series of Neverwhere with its novelization by Neil Gaiman. The
Content analysis method was used with a central focus on the fidelity of the characters. Research
findings ...indicated that Gaiman has been loyal to preserving the nature of the characters; however,
he added love to the axis of story. On the other hand, Gaiman has kept the same personal and
complete world of each character and fulfilled the same cinematic techniques such as audio cut,
image change, and space change in his book as well.
En esta investigación se compara la serie de televisión Neverwhere con la novela que lleva su
mismo nombre de Neil Gaiman. Para ello, se utilizó el método de análisis de contenido con un
enfoque centrado en la fidelidad de los personajes de la serie. Se utilizaron criterios literales para
transformar una obra visual en una escrita, y finalmente intentar crear nuevos conceptos. Los
resultados indican que Gaiman ha sido leal a la preservación de la naturaleza de los personajes,
con solo una manipulación para agregar amor al contenido de la historia. Por otro lado, se observó
que Gaiman ha mantenido el mismo mundo personal y completo de cada personaje y ha cumplido
con las mismas técnicas cinematográficas como el corte de audio, el cambio de imagen y el cambio
de espacio en su libro.
Abstract
The article follows the journey of one text, Thirst (1948), a modernist short story cycle by Birgit Tengroth, into Ingmar Bergman’s 1949 film of the same title, and further into the ...novelization of the film’s shooting script (1949–50). It studies the texts as independent items directed to three separate audiences. This kind of close analysis has not, so far, been devoted to the process of textual travel, of which a Bergman film was part. The investigation goes from a text of five loosely linked stories, characterized by interiority, competing points of view, expressions of female desire, to two film scripts, produced in collaboration between Bergman and Herbert Grevenius, trying to harmonize the episodic cycle through the narrative strategies of selection, integration, and addition, to, finally, the anonymous novelization leading to even further cohesion and exteriority. The process of migration is characterized by a gradual movement away from a modernist, disunified structure towards a realist form of expression. It is also noticeable that the eroticism and focus on lesbianism in the adapted text are possible to repeat and make even more explicit in the novelization of the film script, while the film does not allow for such openness. The article also emphasizes the reception of these texts by both contemporaneous and later critics.
Donald Barthelme's Snow White (1967)-an adaptation that presents "a highly unusual case of a well-regarded novel arising from an animated film"- engages in the fray (Slethaug 221). Since this case is ...so unusual, it warrants much closer consideration than discussions about Snow White have given it to date. ...Deleuze and Guattari explain, "in a book, as in all things, there are... also lines of flight, movements of deterritorialization and destratification" (A Thousand 3). Since "a book itself is a little machine" or "an assemblage" it has "a side facing a body without organs" that remains free to express its middling state (4).\n The narrator instructs, "move soldiers.
In 2016, I adapted and directed a chamber theatre production of Antoine de Saint-Exupéry's The Little Prince at Augusta University. The experience was new for my students and our audience, who are ...accustomed to Augusta University theatre directors producing plays that largely draw on representational practices in a realistic mode. Inspired by Robert Breen's chamber theatre as reinvigorated by Michael Bowman, my adaptation and staging applied what Bertolt Brecht refers to as Minor Pedagogy to integrate presentational techniques into the theatre program at Augusta University. The discussion is relevant to many performance studies scholars and practitioners, particularly those navigating careers in conventional theatre and communication programs at small institutions.
Abstract
Currently, the most common critical paradigm in adaptation studies is to examine novels adapted into films or, occasionally, screenplays. By contrast, novels resulting from adapting ...screenplays have attracted little analysis as artefacts, and even less theorization of their creative processes. In this essay, I investigate the differences and similarities in writing screenplay and writing prose fiction by reflecting on my own experience as a screenwriter and of novelizing my own historical feature-length screenplay. I discuss the transfer of technique in working with structure, deliberations over points of view, the adjustments required to write novelistic description and to transfer the screenplay’s dialogue, as well as the challenges of working with biographical material and its effect on narrative content.
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