5be6bc76-4c85-46a7-a95a-900f737458ee20260405111534Ubiquity Presstech@ubiquitypress.comRUA Metadata ExporterPaulFerstlComparative Literature is changing fast with methodologies, topics, and research interests emerging and remerging. The fifth volume of ICLA 2016 proceedings, Dialogues between Media, focuses on the current interest in inter-arts studies, as well as papers on comics studies, further testimony to the fact that comics have truly arrived in mainstream academic discourse. “Adaptation” is a key term for the studies presented in this volume; various articles discuss the adaptation of literary source texts in different target media – cinematic versions, comics adaptations, TV series, theatre, and opera. Essays on the interplay of media beyond adaptation further show many of the strands that are woven into dialogues between media, and thus the expanding range of comparative literature.Comparative Literature is changing fast with methodologies, topics, and research interests emerging and remerging. The fifth volume of ICLA 2016 proceedings, Dialogues between Media, focuses on the current interest in inter-arts studies, as well as papers on comics studies, further testimony to the fact that comics have truly arrived in mainstream academic discourse. “Adaptation” is a key term for the studies presented in this volume; various articles discuss the adaptation of literary source texts in different target media – cinematic versions, comics adaptations, TV series, theatre, and opera. Essays on the interplay of media beyond adaptation further show many of the strands that are woven into dialogues between media, and thus the expanding range of comparative literature.0118202197831106415309783110642056De GruyterBerlinhttp://creativecommons.org/licenses/by-nc-nd/4.0/10.1515/9783110642056https://uplopen.com/books/e/10.1515/9783110642056https://uplopen.com/books/5115/files/b104c1d5-34a4-4991-8788-53cfa19c1cc2.pdfhttps://uplopen.com/books/5115/files/b104c1d5-34a4-4991-8788-53cfa19c1cc2.pdf0118202110.1515/9783110642056-fmhttps://uplopen.com/chapters/e/10.1515/9783110642056-fmhttps://uplopen.com/books/5115/files/f3a18d96-1a84-4ea4-b15f-a0fdef5a5630.pdf0118202110.1515/9783110642056-tochttps://uplopen.com/chapters/e/10.1515/9783110642056-tochttps://uplopen.com/books/5115/files/813ceaaf-c533-4b2d-8c15-2f8793ffe051.pdfPaulFerstl0118202110.1515/9783110642056-001https://uplopen.com/chapters/e/10.1515/9783110642056-001https://uplopen.com/books/5115/files/a10a1e7b-4807-40f7-923f-78308c01b566.pdfStefanBuchenbergerKaiMikkonenThe community of scholars and students working on comics studies in the International Comparative Literature Association (ICLA) was born during informal conference-room conversations at the Hong Kong World Congress in 2004. What started out as a chance meeting of a few scholars interested in comic books has become, through the following iterations of the ICLA world conference and, in very recent years, other major events organized by fellow academic organizations, a constantly growing and truly international group of researchers of comics and graphic fiction in all their different forms. The founding of this group, which was officially recognized as the ICLA Research Committee on Comics Studies and Graphic Narrative in 2015, mirrors in many ways the general international transformation of comics studies, over the last two decades or so, into a respectable research field with all the hallmarks of an academic institution. Comics studies continues to hold much interdisciplinary promise, but it has gained a much stronger disciplinary identity than in the recent past. It is similar to literary studies and film studies in that all these fields are defined by their object of study, rather than by the disciplinary approaches used to study their objects, histories, and respective institutions. Like its neighbouring research fields, comics studies also invites debate about the meanings of its core concept: comics.0118202110.1515/9783110642056-002https://uplopen.com/chapters/e/10.1515/9783110642056-002https://uplopen.com/books/5115/files/66eb6400-0b58-4a5b-808a-09fec0459215.pdfAngeloPiepoliLisaDeToraUmbertoRossiComic art and graphic narrative constitute a varied and multifaceted chapter in the cultural history of the contemporary age. When comics gained a foothold on the mass-media scene, they appeared as an object that was new, and indefinable. As is often the case when facing a novelty, there was a reactionary response. In fact, the slippery nature of the emerging medium resulted in widespread rejection by the establishment and a variety of negative connotations. Labelled for much of the twentieth century as a genre intended for children, or as second-rate cultural products, or even as morally harmful, in recent times, comics have begun to be re-evaluated by academics, particularly in the West. Even though today there remains a tendency to emphasize the literary value of individual works rather than their nature as sequential art, many negative connotations of the past have given way to an increasing need to understand how the comics medium works and what makes graphic narration so peculiar.0118202110.1515/9783110642056-003https://uplopen.com/chapters/e/10.1515/9783110642056-003https://uplopen.com/books/5115/files/5b503cba-79bd-48af-88c2-0f231c135320.pdfStefanBuchenbergerThis article considers a recent graphic novel and its ability to create new challenges for an invincible superhero. One of the greatest difficulties in writing the Incredible Hulk was always to create challenges for him: his most dangerous adversaries, like the Leader and the Abomination, also created by gamma radiation, are just different versions of himself. However, in 1992, Peter David, together with the artist George Perez, created one of the most memorable stories of the green giant with the two-part prestige-format series Future Imperfect. In this text, the Hulk came face-to-face with a monstrous future version of himself, the Maestro, the absolute ruler of a post-apocalyptic world where all the other superheroes had long since perished. Compared to the two Hulk foes mentioned above, the Maestro takes the idea of the mirror-image villain a step further, as he is the monster hiding inside the original monster: all the madness of the Hulk, of which we have only seen glimpses so far, comes to life. Future Imperfect uses traditional science-fiction plot elements like a dystopian future and time travel to give a new twist to the eternal struggle between the Incredible Hulk and his alter ego, Bruce Banner. As destructive as the Incredible Hulk can sometimes be, his monstrous future self reaches new heights when it comes to madness, which in return makes him even more powerful, since the Hulk gets stronger the madder he gets.0118202110.1515/9783110642056-004https://uplopen.com/chapters/e/10.1515/9783110642056-004https://uplopen.com/books/5115/files/00331dc0-6592-45a3-ab49-146d5f33d8df.pdfNicolaPaladinThis article considers one of the first models for the superhero tradition in American comics. Among his most distinctive traits, the Spirit’s patriotic aura tends to move against the background of his persona. However, openly or not, from the first few publications of The Spirit, Will Eisner often alludes to the historical context of the time, in particular the possibility that the US might intervene in World War II. As the article discusses, although the Japanese attack on Pearl Harbor can be identified as the turning point in Will Eisner’s attitude to World War II, it is arguable that a strong anti-Nazi feeling, as well as pro-American intervention propaganda, constitutes a recurrent subtext throughout the adventures of the Spirit. The article highlights the significant metaphorical and factual references, characters, and settings related to World War II in the adventures of the Spirit. Thus, the Spirit can be considered as the connecting element between the imaginary Central City and the battlegrounds of World War II: a concrete enemy and an evil personification of Nazism were transposed into comics in order to better shape the fictional enemies of the vigilante hero.0118202110.1515/9783110642056-005https://uplopen.com/chapters/e/10.1515/9783110642056-005https://uplopen.com/books/5115/files/ee941346-4d69-4e56-b05d-739b56731b74.pdfFrancesco-AlessioUrsiniThis article considers social control and closed worlds in various manga, providing an answer to two theoretical questions: to what extent do closed worlds and immersive narratives dovetail within science-fiction manga (and anime), and can a general “range” of possible interpretations be outlined? The article answers these questions by using Shingeki no Kyojin as a point of reference, given its near-prototypical closed-world setting, for discussing four other manga (Blame!, Nijūseiki Shōnen, Btooom!, and Yakusoku no Neverland) and three anime (Shōjo Kakumei Utena, Ergo Proxy, and Texhnolyze). Like the point of reference, these works also blend themes and aspects from other seemingly distinct genres. In these works, closed and controlled worlds double as settings and themes that permit authors to develop immersive narratives.0118202110.1515/9783110642056-006https://uplopen.com/chapters/e/10.1515/9783110642056-006https://uplopen.com/books/5115/files/c5ecf628-cc66-4459-93d4-451447ea71a5.pdfUmbertoRossiThis article examines seven graphic narratives by the Italian graphic artist and writer Hugo Pratt. The article reads these narratives in connection with the myth of the Great War as it was defined by the Italian historian and literary critic Isnenghi in 1970 in his groundbreaking monograph Il mito della grande guerra. However, these graphic narratives present readers with a bewildering mix of historical/quasi-historical characters, real and imaginary places, often establishing surprising and complex intertextual short-circuits that connect Pratt’s World War I narratives, history, and the historical imagination. This reading can help us to understand why a comparative approach is unavoidable when dealing with graphic narratives, especially those dealing with historical events - like World War I - which impacted several countries across more than one continent.0118202110.1515/9783110642056-007https://uplopen.com/chapters/e/10.1515/9783110642056-007https://uplopen.com/books/5115/files/91520607-0a91-4062-a642-ab619490fc42.pdfDeniseAsk NunesThis article considers ecology and heroism. Hayao Miyazaki’s Nausicaä of the Valley of the Wind depicts Nausicaa, the ecological heroine of the Anthropocene. Through concepts developed in new materialism, such as vital materialism and trans-corporeality, it is possible to investigate the agency of the non-human and how it can redefine our ideas of morality and consequently heroism. Nausicaa’s material self, her body and its direct interaction with matter, the forest, and insects, redefines her moral code. The material and the moral are merged, and it is by acknowledging this material agency that she acts, or lets the Earth act through her. By valuing the purity of the insects and the forest over her own human impurity, she surrenders to whatever fate the planet has for them. Nausicaa suggests that the role of the heroine is renegotiated in Anthropocene fiction because her own free will is replaced by the will of the planet. She becomes the vessel of planetary agency and condemns humanity to extinction in favour of planetary flourishing.0118202110.1515/9783110642056-008https://uplopen.com/chapters/e/10.1515/9783110642056-008https://uplopen.com/books/5115/files/82156ada-af4c-4a19-b56e-294a30424bdf.pdfBarbaraGrüningThis article presents different public uses of comics to represent difficult pasts on the basis of four case studies: the National Socialist and GDR pasts in the German memory field, and the Fascist past and terrorist/Mafia massacres in the Italian memory field. The comparative analysis focuses on three factors of influence: the narratives and aesthetic forms culturally legitimized in the two national public memory spaces, the cultural frames which define a specific past, and the cultural paradigms of transnational comics. In the final analysis, the article contemplates not only the graphic representations of the past, but also the social actors (artists, publishers, political institutions, public intellectuals) involved in this process of collectively working memory, their symbolic and cultural resources, and their power relationships.0118202110.1515/9783110642056-009https://uplopen.com/chapters/e/10.1515/9783110642056-009https://uplopen.com/books/5115/files/b68f325a-2731-4be2-a784-34ae74134edb.pdfAngeloPiepoliThis article focuses on the change to the gender gap in the history of Italian comics as a sign of social change in Italy. The article makes a brief reference to the US, which serves as an important basis for comparison with the impositions from above that comics production had to suffer in Italy; then focuses on the first clear signs of gender-role changes in the comics scene nationwide, starting in the early 1960s; and ends by noting the sexual liberation expressed in comics in the second half of the 1960s.0118202110.1515/9783110642056-010https://uplopen.com/chapters/e/10.1515/9783110642056-010https://uplopen.com/books/5115/files/2c398070-374b-4854-af47-20928c3aa1f4.pdfAlisonHalsallThis article argues that Neil Gaiman’s appropriation of the Gothic topos in The Graveyard Book (2008) deliberately unsettles its genre. No stranger to the interaction of word and image on the page, Gaiman’s fascination with the visual can be seen on the first page of his novel, a page that communicates in word and image. Interestingly, P. Craig Russell’s graphic novel version (2014) develops the hybridity of Gaiman’s source text in more depth. Not only are these volumes a further testament to the visual potential of Gaiman’s Graveyard Book; they also visually mirror Gaiman’s approach to the Gothic: it unsettles and transforms the once-frightening world of ghosts and goblins into a world in which the child-protagonist and reader would feel at home.0118202110.1515/9783110642056-011https://uplopen.com/chapters/e/10.1515/9783110642056-011https://uplopen.com/books/5115/files/f5cd8c4c-a001-4e86-9b33-7c635671620c.pdfLisaDeToraThis article posits the operation of a “quantum gaze” in twenty-first century graphic novels. This quantum gaze refers to looking relations that change the object of the gaze, drawing on what physicists refer to as the observer effect - the verified fact that systems under continuous observation behave differently than those not under continuous observation. Building on earlier work in feminist film theory, the article suggests that graphic narratives require different modes of looking relations when compared with the fixed, linear, and sequential and time-constrained visual system of film. The graphic novel invites (if not requires) a discontinuous gaze and the management of pages, frames, and interstitial spaces as well as the diegetic space of the narrative. The article considers the possibility for a quantum gaze in graphic narrative.0118202110.1515/9783110642056-012https://uplopen.com/chapters/e/10.1515/9783110642056-012https://uplopen.com/books/5115/files/69e2ffdf-04de-4e76-95af-ef5a18fa0aab.pdfAngeloPiepoliThis article describes how visual sequences become storytelling. The most recent research on comics language has insisted that sequentiality, rather than the juxtaposition of words and images, is the main feature of comics. Comics made up only of drawings, for example, owe to sequentiality the possibility of conferring a narrative sense on the juxtaposition of those drawings. Turning to Janos Sandor Petőfi’s semiotic textology, this paper argues that, within the sequence, the satisfaction of textuality requirements - proper to verbal-text linguistics - such as connexity, cohesion, constringency, and coherence is what facilitates the interpretation of comic books, or parts of them, that do not include a verbal component, and make it possible to accept them as multimedia texts in a broad sense. The paper also attempts to highlight the active role of the reader/interpreter/producer in conferring narrative sense on a sequence of pictorial elements.0118202110.1515/9783110642056-013https://uplopen.com/chapters/e/10.1515/9783110642056-013https://uplopen.com/books/5115/files/bd54e10f-9125-4953-a7cd-2451c8399429.pdfFranzHintereder-EmdeThis paper is meant to give a short introduction to the topic of the workshop „Hybridization as a Mode of Innovation“. A brief look at the notion of hybridity, which takes a prominent position in postcolonial discourse, will clarify the understanding of hybridization as it was used in our discussion. The main part is dedicated to the works of Swiss author Robert Walser. By seeking alternatives to realistic narrative, he made the combination of literary genres, association and arabesque description a key technique of his writing. Quite aware of the literary and cultural authorities of his time, his way of hybridization aimed at a playful dissolution of rigid genre limits. It also shows a tendency to subtly undermine the power structures in the society and cultural world of imperial Germany on the threshold of the twentieth century. Finally, his huge oeuvre of short prose pieces shows a sense of ‘translation’ of language in layers, which are veiled in the everyday speech of common-sense causality.0118202110.1515/9783110642056-014https://uplopen.com/chapters/e/10.1515/9783110642056-014https://uplopen.com/books/5115/files/307deeb2-eac2-497c-b433-d1dc25043fe7.pdfMichel deBoissieuWhat happens to Goethe’s Faust when it is adapted for another medium? By analyzing the transformations which Faust’s study scene undergoes in Gounod’s opera Faust, Murnau’s film Faust and Tezuka’s manga Neo Faust, we try to establish if these changes depend on the medium chosen for the adaptation. In Gounod’s opera, the study scene is deprived of all philosophical and comical elements which Goethe had introduced into it. The libretto stresses instead a new element, absent from the original scene: the old man’s longing for love. In doing so, the libretto’s author, although unfaithful to Goethe, remains true to the nature of French lyrical opera. This genre requires a drama centered on a passionate and doomed love story. In Murnau’s film, the comical elements of the play vanish into a frightful and dark atmosphere, Goethe’s often farcical Mephistopheles gives way to a terrifying fiend, and Faust is no longer carried away by his own hubris, but seems crushed by a tragic fate. This film exemplifies the “haunted screen” of the silent movie era in Germany. In Neo Faust, by introducing anachronisms and elements of sociopolitical satire, the author stresses the farcical aspects of Goethe’s play. This manga is a true comic strip, in the original sense of the word, which means an amusing story. Tezuka, just like Gounod and Murnau, remains true to the requisites of the medium for which he adapts Goethe’s play.0118202110.1515/9783110642056-015https://uplopen.com/chapters/e/10.1515/9783110642056-015https://uplopen.com/books/5115/files/457356e4-7d82-48f2-b706-d10f65824298.pdfMarie-ChristineGayJean Genet’s (1910-1986) unusual lifestyle and work bear witness to multiple literary, linguistic and sociological influences. What is seen today as a unique feature caused turmoil in 1960s’ France. In West Germany however, the scandalous author enjoyed first a tentative and later an established success. His hybrid, often provocative style led to considerable difficulties in translation as well as fierce debates about the reception of this “Gutter-Orpheus”. Genet’s work always oscillates between astheticism and profanity, as literary sentences are interrupted by obscenities or complemented by slang (the ‚argot‘ of military servants and prostitutes) in a highly productive literary process. The author also spices up the blend with the highly specialized colonial vocabulary of former French Africa. His contribution resides both in the defiance of decency and in the blending of poetic and vulgar language on the stage. These peculiarities call for an examination of the stylistic transfer from diverse cultural influences into a different normative and discursive context. The transfer from one theatrical landscape to another is a tedious process that begins with the translation, continues throughout staging, including adaptation, and ends with the reaction of target audience and reviewers. Translation and staging in a foreign culture implies a series of dramaturgical interferences such as simplification or even falsification of the original work. These processes are exemplified and analysed through Genet’s Algerian drama Les Paravents (The Screens, 1960), a play that was first published in West Germany at a time when it was censored in a France at war. It premiered on May 19th 1961 at the Schlosspark Theater in West Berlin while French staging was postponed by several years. Interestingly, the German publishing and dramaturgical personnel felt obliged to attenuate Genet’s language and present a mild, revised version of the text. The critical comparison of the original and German versions sheds a new light on the difficulty of transposition and ultimately inter-cultural communication. The need for adaptation, the interventions during the production process as well as the reception by the German public are highly relevant to understanding the power and limits of hybridisation as an innovative process.0118202110.1515/9783110642056-016https://uplopen.com/chapters/e/10.1515/9783110642056-016https://uplopen.com/books/5115/files/d3828750-228d-4dfb-a7f5-6ccb9858ec67.pdfTimonJakliThis article examines the transfer of the Brothers Grimm’s narrative world into a postmodern setting. It focuses on two examples of modern mass cultural production, namely the ABC television series Once Upon a Time by Kitsis/ Horowitz and the comic book franchise „Fables“ by Bill Willingham et al. Both modern works follow a similar basic idea: characters of fables and folk tales are forced to live among humans. Still possessing their magic abilities, they interact with their environment and are driven by the struggle to get back to their home world. The transformation of the well-known and canonized narrative material works on different levels. Both adaptions make use of the serialized storytelling to weave a net of smaller and bigger, interconnected narratives from different sources (Grimm, eastern fables, modern day pop culture). By doing that they combine connotations and backgrounds of tales and figures to create new meaning. Both adaptions use irony and play with citations in order to mark the act of creating a multi layered narrative universe with almost indefinite cultural and literary references. Their personnel is an eclectic pastiche of many different narrative worlds, playing a carnevalesque game with identities and allusions. With their ironic perspective on handed down narration, both works offer their viewers/readers a fascinating game of decoding, while still being a reflection of the Grimm’s traditional narrative world that is driven by the desire for living “happily ever after”.0118202110.1515/9783110642056-017https://uplopen.com/chapters/e/10.1515/9783110642056-017https://uplopen.com/books/5115/files/678295cd-8400-4e38-af72-57e2b99c2543.pdfFuminariNiimotoWith the publication of his Sergeant Studer detective novels, Friedrich Glauser (1896-1938) became known as the first crime novelist in German-speaking countries. Glauser’s detective novels are, however, not simply traditional crimesolving stories. Glauser himself insisted in his theoretical essay on this popular genre of literature, Open Letter about the „Ten Commandments of the Crime Novel“ (1937), that the plot, which needs only one and a half pages, is less important for him than the other 198 pages, which are devoted to portraits of characters and the atmosphere around them. We should therefore focus on the elaborate descriptions in „the other 198 pages“ if we really want to investigate the prime concerns of the writer. In this paper, we compare Glauser’s detective novel Fever (1938) with its radio drama version (1990) and find that Glauser’s main interests in the novel lie in depicting the foreign and dialectal accents of speakers and in unveiling their multilingual identities. These points of focus are totally omitted from the radio play version, which has been simplified and turned into a mere detective story. Glauser’s primary purpose is not to solve the puzzle of a crime and identify the culprit, and thus to establish the Swiss-German mystery genre, but to reveal multiple identities and moreover to unveil and cherish the differences in every single individual.0118202110.1515/9783110642056-018https://uplopen.com/chapters/e/10.1515/9783110642056-018https://uplopen.com/books/5115/files/3b6251be-a716-4dd9-a1b8-477c8186a8c7.pdfMonikaSchmitz-EmansComics used to be the standard example of pulp and popular culture. At the same time there was always a tendency to wrap classics in cheap and easily readable comic paper aimed at the younger or less-educated market. Meanwhile comics take in different forms of literary genres, like comic and graphic novels, which join high and low elements and question simplistic classification. Comics based on Dante and his Commedia show two main tendencies. One would be the simplification of the complex work for literary beginners. The other would be a subtle reflection of and challenging response to that complexity through specific features of graphic and pictorial media. The latter tendency demonstrates the potential of pictorial and figurative expression at an appropriate level of literary verbalization. A close look at some Dante-comics will demonstrate the vital prospects of visual and figurative narration between literary tradition and new approaches.0118202110.1515/9783110642056-019https://uplopen.com/chapters/e/10.1515/9783110642056-019https://uplopen.com/books/5115/files/bc23eefc-06f5-4214-ae87-fd7f500753f5.pdfFriederikeSchwabelThe following article deals with the reception of literary texts by W. G. Sebald in popular music. Analyzing three different kinds of musical approaches to his works in English translation - a poetry reading by Patti Smith, a soundtrack by The Caretaker and a song by the Sleeping States - varied forms of intermediality as well as their inter- and extracompositional functions can be made visible and discussed based on typologies by Werner Wolf. Additionally, a closer look into reviews discussing these works in music journals and feature sections shows that they are also reflected on as meetings with “high literature” in popular music, conveying the image of a “border crossing” between high- and lowbrow culture.0118202110.1515/9783110642056-020https://uplopen.com/chapters/e/10.1515/9783110642056-020https://uplopen.com/books/5115/files/f81868eb-77c0-4555-89f8-94b1e4ef8ec4.pdfArataTakedaGoethe and Schiller announce in their programmatic essay “On Epic and Dramatic Poetry” (1797/1827) that the essential difference between epic and dramatic poetry consists in that the epic poet presents the event as ‘perfectly past’, and the dramatic poet represents it as ‘perfectly present’. The idea appears, at first sight, conspicuously ‘new’. Traditional poetics know of no such distinction of poetic genres by their representation of time. So far as the distinction between epic and drama is concerned, from Greek antiquity through the European Renaissance up until the time of Goethe and Schiller, the criterion used was generally to ask whether the poet spoke himself or let other persons speak. How did the ‘invention’ of the time criterion in the poetics of genre occur? The article delves into the yet largely unexplored origin of the Goethe-Schillerian distinction.0118202110.1515/9783110642056-021https://uplopen.com/chapters/e/10.1515/9783110642056-021https://uplopen.com/books/5115/files/b3f95a2a-99ee-4f79-b011-879ed6d982ec.pdfMegumiWakabayashiRobert Walser, a German-speaking Swiss author, wrote in Berlin a school novel Jakob von Gunten (1909), which is recognized to be a parody of a Bildungsroman. In this novel, Walser undermines the ideals of traditional education and dissolves the dualism between “domination and submission” through his narrative techniques. Around the same time, in Japan, Natsume Sōseki composed a school novel Botchan [The Fool from Tokyo] (1906), written in the style of entertainment literature. Behind the humorous style, Sōseki conceals his critical view of the radical modernization of Japan around the turn of the century. At a time of militaristic nationalism, both Walser in Europe and Sōseki in Japan criticized educational institutions as instruments for manipulation of public opinion in their novels, and succeeded in subverting the binary opposition between “high and low” literature.0118202110.1515/9783110642056-022https://uplopen.com/chapters/e/10.1515/9783110642056-022https://uplopen.com/books/5115/files/1002935f-f2b7-44b4-b8cb-dfd18717be36.pdfMartinaZerovnikElfriede Jelinek’s texts are well known for being the hybrid result of a vampiric writing process, during which the author is working up phrases, shibboleths, stereotypes, and myths, especially those of gender. The play Illness or Modern Women, premiered in the year 1987, centers around love as one of the great myths that are directly linked to gender issues. In the following article I read the play along with one of the text’s main references, the novella Carmilla. Love is not only the leading theme in this text, but also in contemporary vampire literature. The latter is often seen as manifestation of a postfeminist backlash. With this in mind, the following article reflects on how love affects the personality and sphere of action of the characters within a patriarchal system. Questions of power and (self-)empowerment, of subjection and dependence, of the self and the other in the context of loving someone and being loved will be considered. I finally ask, if the success or failure of women’s love can be seen as crucial to mark the passage from feminist to postfeminist approaches.0118202110.1515/9783110642056-023https://uplopen.com/chapters/e/10.1515/9783110642056-023https://uplopen.com/books/5115/files/218998f4-9690-450b-952f-aae6df9349cc.pdfAndiaAbaï-RinggenbergPatrickRinggenbergL’etude comparee des textes epiques de l’Occident et de l’Iran medievaux demeure embryonnaire, alors meme qu’une communaute de themes et de procedes, souvent d’origine indo-europeenne, offre matiere a d’interessants rapprochements et d’utiles confrontations. Cette etude propose une approche croisee de l’emploi litteraire, esthetique et symbolique de la lumiere dans les romans chevaleresques du Moyen Age occidental (romans arthuriens du XIIe-XIIIe siecle) et dans l’epopee iranienne du Livre des rois de Ferdowsi (debut du XIe siecle). Lumiere clarte, brillance, rayonnement : cette etude aimerait evoquer la maniere dont ces motifs se declinent dans des registres sacres, royaux et chevaleresques, et comment le recours a des metaphores de lumiere, dans le discours de textes situes dans des espaces culturels eloignes (Occident chretien et Iran islamique), debouche sur des fonctions narratives et symboliques somme toute analogue, mettant en evidence une universalite de la lumiere comme motif et la parente culturelle des textes epiques.0118202110.1515/9783110642056-024https://uplopen.com/chapters/e/10.1515/9783110642056-024https://uplopen.com/books/5115/files/8033eecd-58d4-4052-aa41-ecfbccc10ad1.pdfFabianaCorrêa PrandoThe wolf, as a symbol, is a highly complex image because of its positive and negative polarities. Symbols are essentially multidimensional, and express relationships and not a conceptual logic. A symbol permits a relationship of complementarity, and it is susceptible to infinite dimensions. To the Western imagination, the wolf is the wildest animal of all. According to Durand, the Big Bad Wolf, in more advanced thought, is close to the gods of death and to the forces of the underworld. In the Egyptian pantheon, Anubis, the great psicopomp god, is the one that has the shape of a wild dog, and is worshipped as the god of hell. Dogs equally symbolize Hecate, the dark moon, and the waning moon - sometimes represented by Cerberus as a three-headed dog. Time disguised in a wolf’s clothing, the terrible devourer that reveals anguish before the becoming future, is the main thread of this investigation about the relationship between the books Fita verde no cabelo [Green Ribbon in the Hair] by Joao Guimaraes Rosa and Chapeuzinho Preto [Little Black Riding Hood] by Jose Roberto Torero and Marcus Aurelius Pimenta. We will observe how the anguished attitude of human beings facing death and time is revealed through their fiction. Fita Verde faces death while visiting her grandmother and becomes aware of the wolf that prowls around us all. Little Black Riding Hood sees in the mirror a woman instead of a girl. She realizes that time has passed and death will come some day. Awareness of our own finitude is the blessing of the encounter with the wolf. Ricoeur, Heidegger, and Durand offer the theoretical background for the research.0118202110.1515/9783110642056-025https://uplopen.com/chapters/e/10.1515/9783110642056-025https://uplopen.com/books/5115/files/4f74a901-1f57-4adc-9613-12a2652e19a1.pdfGiovannaGobbi Alves AraújoThis article explores the aspect of visuality in the poetic work A Cachoeira de Paulo Afonso [The Paulo Afonso Falls] by Castro Alves (1876) from the perspective of its dialogue with the pictorial and political construct of the Paulo Afonso Falls in the Brazilian social imaginaries of the nineteenth century. Through the analysis of the photographic representation of Cachoeira de Paulo Afonso [Paulo Afonso Falls] by August Stahl (1860) and an excerpt from Alves’s dramatic poem, I present a comparative reading centred on the mechanisms of visuality and persuasion employed in both media, taking into account their relationship to the social problem of slavery and the issue of the human right to freedom.0118202110.1515/9783110642056-026https://uplopen.com/chapters/e/10.1515/9783110642056-026https://uplopen.com/books/5115/files/eb40a8b1-a05b-469e-bf67-265c81258d50.pdfSandraTrabucco ValenzuelaMaria AuxiliadoraFontana BaseioMaria ZildaCunhaFairy tales constitute a huge imaginary heritage that preserves stories whose origins bring us to the time when time could not be counted. These anonymous narratives which circulated orally, from generation to generation, have changed over time in different cultures and societies. This process of what Zumthor has called mouvance, articulated in mnemonic networks, enables the creation of intervocalization and intertextual connections, an achievement that is rendered in different semiotic systems, in a circular movement that allows exchanges, transformations, and disruption. Reinvented in different codes and languages, and on different technological platforms, these texts create new elements. From the perspective of semiotic studies and literary comparativism, we will compare the Grimms’ version of the Hansel and Gretel tale, collected from oral tradition, with the audio-visual version developed by the TV series Once Upon a Time (season 1, episode 9), observing codes and adaptations in order to reflect on the rereading in the contemporary era.0118202110.1515/9783110642056-027https://uplopen.com/chapters/e/10.1515/9783110642056-027https://uplopen.com/books/5115/files/d1f8dd95-0971-46e1-8caf-228bb99debb9.pdfSandraTrabucco ValenzuelaLucianeFerreira BonaldoThe aim of this study is to analyse an advertising video produced in 2014 and entitled Os Últimos Desejos da Kombi [Kombi: Last Wishes], a creation of AlmapBBDO for Volkswagen do Brazil, which closed its vehicle assembly line in January 2014 (video available at https://vimeo.com/90870501). The film presents a contemporary trend in advertising creation: storytelling, which means narratives based on real experiences, allied to a communicative strategy and fiction-writing techniques, and results in stories that are both involving and memorable. This tendency seeks to create affective ties with consumers so that the stories are remembered and narrated positively several times, thus being propagated by the recipient that was impacted by them.0118202110.1515/9783110642056-028https://uplopen.com/chapters/e/10.1515/9783110642056-028https://uplopen.com/books/5115/files/31d7d9e8-7f15-4d6c-851d-9cbcfb6898a6.pdfBrigitteLe JuezIn order to broaden the understanding of adaptation, one must examine the ways that texts are read, rewritten, and retold. The fluidity of the term allows us to discuss adaptations of fairy tales that transform the source text into something new that functions independently, even when, as is the case here, several adaptations of the same source text appear within a very short space of time. Modern retellings of fairy tales are related to specific contexts which are closely linked to the choice of a particular story (or a particular version of it), the necessity of retelling it at a given time, and the appeal of retelling the story in the way(s) it is retold (including mixing versions of the same tale or of similar tales). Snow White lends itself to an analysis of this phenomenon, as four adaptations appeared, all in 2012 and all as feature-length films: Tarsem Singh’s Mirror Mirror, Rupert Sanders’s Snow White and the Huntsman, Pablo Berger’s Blancanieves, and Siegrid Alnoy’s Miroir mon amour. Each of these films brings its own experimental quality to the remodelling of the tale. This article analyses the various creative techniques used by each of the directors, reflecting their cultural contexts as well as modern, global values and the evolving nature of adaptation.0118202110.1515/9783110642056-029https://uplopen.com/chapters/e/10.1515/9783110642056-029https://uplopen.com/books/5115/files/c2c76a76-37b0-43f6-8a12-c4069cb56d1a.pdfAdile AslanAlmondThis article examines the only Turkish cinematic adaptation of Hamlet to date, entitled Kadın Hamlet: İntikam Meleği [Lady Hamlet: The Angel of Vengeance] (1976), which replaces the role of Hamlet with a strong and determined female character. It is set against the background of a modernizing Turkish state, but still within a culture that showed some resistance to such modernity. This study examines how the director employs certain motifs, devices, and strategies (such as the use of classical music or westernized styles of dressing) to forward a modernizing agenda for the film. In particular, the idea of longing for an absent father (Ataturk and Hamlet’s father) and contempt for the various puppets which have replaced him in politics (represented by Claudius and Polonius) is a key aspect of this adaptation. The 1976 film is analysed here in a wider historical context of Turkish Hamlets that have been adapted, staged, and produced in different genres and media with the modernizing aims of the Kemalist state in mind.0118202110.1515/9783110642056-030https://uplopen.com/chapters/e/10.1515/9783110642056-030https://uplopen.com/books/5115/files/d0e48b46-71e9-4cc3-8331-039131289512.pdfBernardFrancoOf the numerous cinematographic adaptations of Bram Stoker’s Dracula (1897), three main cinematographic works - Murnau’s Nosferatu (1922), Browning’s Dracula (1931) and Coppola’s Dracula (1992) - remind us of the true meaning of Bram Stoker’s novel and of its decadent origin. Stoker’s literary project was to embody artistic representation through the figure of Dracula. The three filmic adaptations make him a liminal figure: they express his position between life and death, between referentiality and representation, through the liminal spaces that the character crosses. Murnau and Coppola, however, stand at opposite ends of the spectrum: one tries to give his work complete autonomy in relation to the original work, while the other purports to go back to the novel and to link it to its historical source. Browning is in an intermediary position as he refers to the theatre adaptation of Dracula as well. Its innumerable retellings transform the story of Dracula into a myth. Adaptation thus becomes both an interpretation of the source and a synthesis of previous transpositions. The three examples examined here have renewed the myth of Dracula, turning the character into an archetype of the crossing of forbidden borders. They illustrate the function of adaptation as an aesthetic and symbolic dislocation from the original and, at the same time, as a return to its original meaning.0118202110.1515/9783110642056-031https://uplopen.com/chapters/e/10.1515/9783110642056-031https://uplopen.com/books/5115/files/118af880-fb22-498d-9aa9-8a43ff710c3a.pdfJiaGuoThere is one point on which viewers and critics usually agree: that film adaptations of works of literature cannot reflect the full connotations of the original written work. To Live, written by Yu Hua, one of the most important contemporary Chinese writers, was first published in the Chinese literary magazine Shouhuo in 1992 with a length of 7,000 Chinese characters, and then was extended to 12,000 Chinese characters for cinematographic adaptation. Zhang Yimou, one of the leading Chinese directors of his time, adapted the novel as a film in 1994. Zhang is fully aware of the significance of the practice of film adaptations of literary works. Of his eighteen films, thirteen are adaptations of literary works, which has earned him the title of “the director inseparable from literature.” Both the novel and the film versions of To Live have gained great renown. By analysing the variations and distinctions between novel and film, this article will offer some interpretations of Zhang Yimou’s creative process in adapting literature.0118202110.1515/9783110642056-032https://uplopen.com/chapters/e/10.1515/9783110642056-032https://uplopen.com/books/5115/files/97a49a43-e8ad-46e6-b3b5-9e1efd84b840.pdfMargaridaEsteves PereiraThis article aims to address issues of adaptation from the point of view of transcultural and transhistorical film adaptations of classic nineteenth-century realist novels. I propose to discuss a number of these adaptations, taking into account production aspects as well as stylistic elements that enhance the transnational/ global angle of the films. There are many examples of these, including the popular Bride and Prejudice (2004), an adaptation of Jane Austen’s novel by director Gurinder Chadha, or the film Trishna, directed by Michael Winterbottom (2012), which is based on Thomas Hardy’s Tess of the D’Urbervilles. We can call them transcultural and transhistorical adaptations, since they relocate the narratives that inspired them to different geographical and historical settings. We will frame our discussion of these adaptations using theories of adaptation, namely those of Linda Hutcheon and Robert Stam, as well as within a discussion of transnational film studies.0118202110.1515/9783110642056-033https://uplopen.com/chapters/e/10.1515/9783110642056-033https://uplopen.com/books/5115/files/b87d99dc-6990-41a9-a172-86fcc3789d2e.pdfCarmenConcilioIn this article, I intend to scrutinize a Web project by the Canadian poet, land artist, and photographer Marlene Creates: A Virtual Walk of The Boreal Poetry Garden (2010). Her multimedia and multisensory artwork is here viewed as a contribution to the environmental humanities as well as to the eco-digital humanities. Creates’s literary and photographic creations - that unravel through a patch of boreal forest in Newfoundland - are certainly among the most original and composite experiments in both digital art and art-en-plain-air, challenging the traditional museum and revealing nature within an ethical and aesthetic discourse of high literary value. The aim of this article is ultimately to assess the variety of media, forms, languages, and stances that The Boreal Poetry Garden project displays to its both real and virtual audiences, also taking into consideration the existing corpus of art and literary criticism on the artist’s career (Susan Gibson Garvey and Andrea Kunard).0118202110.1515/9783110642056-034https://uplopen.com/chapters/e/10.1515/9783110642056-034https://uplopen.com/books/5115/files/8f746c96-00a2-4734-b55a-21ca19e3a61b.pdfEleonoraMarziL’article vise a identifier certains traits typiques de la litterature numerique en partant de l’idee que la forme du dispositif d’ecriture/lecture influence le contenu : la singularite de l’hypertexte, compose de liens hypertextuels et de noeuds, comporte une structuration narrative qui differe de celle du format papier. La litterature numerique est une litterature de fragments mais, dans leur logique de combinaison, les concepts de linearite, de sequentialite et de causalite y jouent un role fondamental. Pour soutenir les idees presentees, une analyse est proposee a partir de deux des premiers hypertextes de la litterature numerique : Afternoon, a Story, de Michael Joyce, et Victory Garden, de Stuart Moulthrop. Toutefois, considerer que des hypertextes aurait pu rendre ce travail incomplet, car certains phenomenes presents dans la litterature numerique naissent de la litterature imprimee. Afin d’illustrer comment ces caracteristiques se modifient au cours du passage de la litterature imprimee a la litterature numerique, nous avons inclus dans notre analyse deux textes de ≪ tradition hypertextuelle ≫ : La Vie mode d’emploi de Georges Perec et Rayuela de Julio Cortazar.0118202110.1515/9783110642056-035https://uplopen.com/chapters/e/10.1515/9783110642056-035https://uplopen.com/books/5115/files/9b150d50-5996-41c8-9ffa-5d629ea3b88b.pdfMichaelaBürger-KoftisRamonaPellegrinoSandraVlastaIm Beitrag werden die Moglichkeiten (und die Grenzen) eines wissenschaftlichen Webportals in Hinblick auf die Rolle des sogenannten „Web 2.0“ untersucht sowie die Merkmale einer Kommunikationskultur, die von Folksonomien gekennzeichnet ist. Ferner wird das Webportal „Polyphonie. Mehrsprachigkeit_ Kreativitat_Schreiben“ unter anderem durch Screenshots vorgestellt, wobei insbesondere auf seine Dreiteilung, auf seine Rolle als Publikationsplattform und auf das Potenzial seiner Interview-Datenbank eingegangen wird.0118202110.1515/9783110642056-036https://uplopen.com/chapters/e/10.1515/9783110642056-036https://uplopen.com/books/5115/files/c64aa87e-ef40-41e8-9e4e-3dec9108219e.pdfBeatriceNickelThe following paper aims at presenting intermediality as a form of intertextuality by applying Julia Kristeva’s extended concept of textuality. Therefore, the literary tradition of the motif of the moon is - to some extent - retraced within the framework of a comparative case study: by analyzing the influence of Jules Verne’s moon-fiction Autour de la lune (1869) on Georges Melies’s silent film Le Voyage dans la Lune (1902), which has in turn affected Brian Selznick’s best-selling novel The Invention of Hugo Cabret (2007), which has been picturized by Martin Scorsese in his 3D-movie Hugo (2011).0118202110.1515/9783110642056-037https://uplopen.com/chapters/e/10.1515/9783110642056-037https://uplopen.com/books/5115/files/6bcf3af5-4b08-4db6-b8a2-0f8420da883f.pdfIrinaRosenauDer Beitrag untersucht das besondere Verhaltnis zwischen Text und Bild im autobiographischen Text des Malers Marc Chagall Mein Leben (Ma vie, 1921-1931). Wahrend Chagalls Bilder autobiographische Elemente enthalten, lehnt sich der Maler sprachlich in seiner literarischen Autobiographie an das Bildliche. Der Schreibprozess veranlasst den Kunstler dazu, die Beziehung zwischen dem gewohnten Medium der Malerei und der Versprachlichung der Erinnerung zu reflektieren. Unter der Berucksichtigung der Poetik des Kunstlers, dessen Leben vom Sprach- und Kulturwechsel gepragt ist, wird sein Sprachverstandnis untersucht. Dabei wird aufgezeigt, dass Bilder bei Chagall als Speicher des Erlebten und die Bildsprache als eine universelle Sprache verstanden werden. An den Besonderheiten des Inhalts und der Form zeigt der Beitrag, dass Mein Leben ein autofiktionaler Text ist, in dem die Auflosung der Grenzen zwischen Realitat und Fiktion, Text und Bild konstitutiv ist.0118202110.1515/9783110642056-038https://uplopen.com/chapters/e/10.1515/9783110642056-038https://uplopen.com/books/5115/files/5cd8201c-0391-43fe-8ea1-42582a19d0e7.pdfChristian vanSteegDieser Beitrag analysiert ausgehend von einer Fotografie des osterreichischen Buhnenstars Max Pallenberg die publizistische und literarische Rezeption der vom Piscator-Kollektiv 1928 uraufgefuhrten Buhnenadaption von Jaroslav Hašeks Romansatire0118202110.1515/9783110642056-039https://uplopen.com/chapters/e/10.1515/9783110642056-039https://uplopen.com/books/5115/files/46dbea2e-5e9f-4728-84bf-8be3c5f670d9.pdfBlažZabelThis article compares two different oral traditions, namely, archaic Greek poetry and hip-hop. It first defines what is meant by the oral character of both traditions and then considers how research in hip-hop scholarship could contribute to knowledge of archaic Greek poetry. Two specific topics that seem to be mutual to both artistic forms are addressed: rhythm, or flow, and intertextuality. It is argued that research on hip-hop can shed some light on the use of formulaic language in Homeric poetry. To this end, the article considers how artists in both traditions used accentuation and melody in performance. Furthermore, by comparing the use of intertextual referencing in both hip-hop and Homer, it is suggested that arguments about intertextuality in hip-hop support the views of those classical scholars who oppose the generally accepted notion that oral traditions cannot be intertextual.0118202110.1515/9783110642056-040https://uplopen.com/chapters/e/10.1515/9783110642056-040https://uplopen.com/books/5115/files/02f86673-e8b7-45b6-98ab-37635d76fe75.pdfThe relations between literature and other arts are multifarious, and manifest themselves differently in each case, enabling the emergence of fresh artistic expressions. By looking at language in “intermedial metamorphosis,” I argue that, in multilingual cultures, simultaneously united and separated by several factors, the transactions between language, culture, and the arts require a constant multiperspectivism as well as new enquiries that need to constantly alter language itself and its processes of intermedial transference into new, evolving literary/artistic idioms. The intermedial exchange between different arts entails transformations not only on the linguistic level, but also in terms of image selection, presentation, and performance, where culture-specific elements reshape the source themes and narrative devices towards a new architectonics. Moreover, in Indian culture, intermediality belongs to the inherent structure of various art forms, and is, in fact, as I call it, an epigenetic intermediality; it is a process leading to the creation of art forms containing performative elements which develop under epigenetic factors into complex intermedial structures. The article draws on examples from various Indian arts, such as the traditional patachitra performance, and Kathakali and other styles of dance-drama.0118202110.1515/9783110642056-041https://uplopen.com/chapters/e/10.1515/9783110642056-041https://uplopen.com/books/5115/files/8286045a-24d0-4359-b6f6-2798643e1687.pdfDoraNunes GagoThe aim of this paper is to analyse the echoes of the modernist Brazilian poet Manuel Bandeira in the poetry of the Portuguese writer Jorge de Sena. Following the theoretical approaches of Julia Kristeva, Harold Bloom, and Antoine Compagnon, we will analyse the mechanisms of intertextuality present in some of Sena’s poems dedicated to Manuel Bandeira, such as “Poema desentranhado de um poema de Manuel Bandeira,” “Nos Setenta anos do poeta Manuel Bandeira,” and “Morte de Manuel Bandeira.” We will discuss the concept of influence and the affinities between the two writers - who met in person and became friends - as manifested in references, quotations, and the use of similar subjects. Finally, we will try to see how the intertextual dialogue with Bandeira could be one way to define Sena’s original poetry and how, by describing his “master,” Manuel Bandeira, Sena is able to draw his own portrait as a poet.0118202110.1515/9783110642056-042https://uplopen.com/chapters/e/10.1515/9783110642056-042https://uplopen.com/books/5115/files/d0d8b233-fb1a-473c-9411-b4e4a80513ab.pdfAlexander VladimirovichKalashnikovThe article studies the references to music in Alice’s Adventures in Wonderland and their renditions in its Russian translations. The material of the research consists of three translations containing thirteen cases of musical references. To assess the quality of the translations, an approach was developed on the basis of the criteria of musical genre, period of Russian translation/analogue, and vocabulary, syntax, and register. This method helped in selecting the translations which may be regarded as successful, even if they have employed a degree of poetic licence, in rendering the idea and pragmatics of the source text. Analogues based on Russian lyrics made the text domesticated, making the translations closer to the Russian analogues rather than Carroll’s verses.0118202110.1515/9783110642056-043https://uplopen.com/chapters/e/10.1515/9783110642056-043https://uplopen.com/books/5115/files/754edc09-f7a3-47d7-bb50-f34908407049.pdfGiovannaLucciThe project described in this article focused on investigating and experimenting with the three main types of translation (interlingual, intralingual, and intersemiotic). Based on the concept of transcreation - here understood as a creative approach to translation - this research aimed to reimagine the novel Emma, written by Jane Austen in 1815. In attempting to bring two cultures and two very distinct time periods together, the research took as its primary motivation the study of the relationship between words and pictures. And, in addition to exploring how a text can be translated into another context, I studied the narrative flow of the story and the dynamics between its characters, performing several investigations into the variation of pace and rhythm, sound and image, and shapes and colours, as well as the translation of colour schemes and formal structures into visual elements. Throughout the whole process, aspects of Brazilian culture and imagery, as well as traits of the present era, were explored to ensure that the narrative would be able to reflect, at least in part, Brazilian culture, even though the final product is based on a piece of classic English literature.0118202110.1515/9783110642056-044https://uplopen.com/chapters/e/10.1515/9783110642056-044https://uplopen.com/books/5115/files/9b4e1c6a-d41b-45f7-a488-67d488f251a4.pdfAna MariaMachadoBased on imagological theory and authors such as Leerssen and Beller, I will study images of the Portuguese 25 April Revolution in the nineties and at the beginning of the twenty-first century, namely in the Luso-French-Brazilian Sergio Trefaut’s documentary Outro país (2000) and Lidia Jorge’s recent novel Os memoráveis (2014), focusing on the implications of using different media and codes. Both documentary and novel have in common the same research method, in the sense that both look for temporally distant testimonies of the event. In a more fictional way, but under the same postmodern vision of History, Jorge, like Trefaut, offers the reader fragments of an unfinished historical episode that we can only grasp through successive versions and perspectives. Since the novel opposes fiction to the presumed realism of the interviews and to a hybrid-genre film, the documentary, I will compare Jorge’s literary verbal medium, codes, and structure with Trefaut’s languages, in order to identify the perspectives and strategies employed to realize the thesis of each work.0118202110.1515/9783110642056-045https://uplopen.com/chapters/e/10.1515/9783110642056-045https://uplopen.com/books/5115/files/966c4782-0a54-4d59-a527-71643fc0b3c9.pdfNilce M.PereiraThis article examines book illustration from the perspective of translation studies - as intersemiotic translation. It is suggested that while illustrations can operate in multiple ways - as clarification, adornment, addition, and so on - as translations they should be thought of in terms of two different types of function that they fulfil in the literary work. The main function of illustrations, their primary function, is to render the text from the verbal into the visual medium. Other secondary functions that the pictures may perform will then be dependent on how the primary function has been accomplished; that is, on whether the pictures translated the text in such a way as to clarify it, add to it, or even contradict or deviate from its purposes. The illustrations in three of Dickens’s novels will be used to exemplify these points.0118202110.1515/9783110642056-046https://uplopen.com/chapters/e/10.1515/9783110642056-046https://uplopen.com/books/5115/files/ec46203d-2f6b-48f6-bdda-817db7cbf0da.pdfMárciaArbexIzabelaBaptista do LagoL’objectif de cet article est de presenter les rapports entre la litterature et l’art a partir de l’examen de l’un de ses topoï les plus frequents : l’atelier de l’artiste. Considere comme ≪ enveloppe du peintre ≫, l’atelier fait l’objet de descriptions complexes dont l’importance pour le recit se revele fondamentale. Une selection de textes litteraires des XIXe et XXe siecles a permis d’etablir une typologie de ce topos, qui sera illustree par des extraits d’oeuvres. Espace propice a la mise en scene de l’artiste au travail, l’atelier apparait comme une metaphore de l’espace de creation litteraire ou la figure de l’ecrivain se reflechit dans celle du peintre.0118202110.1515/9783110642056-047https://uplopen.com/chapters/e/10.1515/9783110642056-047https://uplopen.com/books/5115/files/ca89da84-c6c4-4a57-831d-6cf2b8d43a38.pdfCapucineEchiffreLes annees 1840 voient apparaitre en France un nouveau genre poetique d’origine germanique, le lied, caracterise selon les mediateurs francais par son lyrisme inedit. Cette nouveaute coincide en outre avec un inflechissement dans la litterature francaise. La grande periode romantique, desormais revolue, laisse en effet le champ libre a une mise a distance reflexive et critique. Dans ce contexte, la poesie allemande est souvent erigee par les intercesseurs en modele a suivre en vue d’une regeneration de la production francaise. C’est ainsi qu’Henri Blaze de Bury publie a partir des annees 1840 plusieurs articles de presse sur le lied et sur la litterature francaise dans la tres influente Revue des Deux Mondes. Sous sa plume, le discours poetologique, et en particulier la categorie du lyrisme, se voient investis de valeurs alors peu repandues en France. En somme, une triple confrontation se joue dans ses textes, opposant deux aires culturelles, deux ecritures et deux epoques poetiques. S’il faut certes attendre les annees 1850 pour voir l’emergence de grands recueils poetiques modernes, on peut envisager les annees qui precedent comme une periode de gestation, au cours de laquelle les mediateurs germanistes tels que Blaze de Bury jouent un role meconnu mais non negligeable.0118202110.1515/9783110642056-048https://uplopen.com/chapters/e/10.1515/9783110642056-048https://uplopen.com/books/5115/files/45d2f2b1-a00f-4638-8b0d-4cefffbc8042.pdf