This study examines different aspects of the screen adaptation of literary works through the close analysis of three films based on Dostoyevsky's novels: Pierre Chenal's Crime and Punishment, Robert Bresson's Pickpocket, Denys Arcand's Jesus of Montreal. Its originality lies in bringing to light the multifaceted nature of adaptation which is presented not only as a transfer, but also as a phenomenon having different degrees of occurrence, which can range from a simple borrowing to an elaboration of new artistic forms. The study is divided into three parts. It starts with the introduction which discusses adaptation in the light of the theory of Gerard Genette and establishes three major degrees of adaptation: formal, thematic and dialogic. The first part deals with the praxis of formal adaptation, specifically how Pierre Chenal adapted Crime and Punishment, i.e. what he borrowed from the original novel and how he created the atmosphere of nightmare by using expressionist elements such as a slightly deformed set, contrasting lights, projection of shadows. The second part focuses on the thematic adaptation by Robert Bresson who develops in his Pickpocket the themes of transgression, pride, the "will to power", and solitude, which were treated by Dostoyevsky in Crime and Punishment and The Gambler. It also highlights similarities between Bresson's and Dostoyevsky's aesthetic conceptions. The last part examines Denys Arcand's dialogic adaptation which contains a great variety of quotations and references, as well as a multiplicity of voices which composes a modern parable of the Passion. In focusing on the two main voices, the Gospels' voice and Dostoyevsky's voice, this final portion establishes their narrative functions, mode of occurrence, and relationship to one another.

As one travels about the Houston landscape, one is often bewildered by the rampant growth of spaces and their casual uses. Houston's growth over 100 years has produced a suburban metropolis that searches for its identity between temporary crowded spaces and empty lots. The traditional city remains in our minds as we experience a shriveled form of interior urbanism, primarily private and mostly exclusive. Rather than perceiving place as a physical environment, one encounters momentary conditions of place, the gathering of people. Stimulated by vacancies and remnants, Locus Moment acts as a perceptual device. Vital for a moment, this event attempts to shape our understanding of these vacancies. As Locus Moment remains in the mind as an afterimage, one is encouraged to search for the latent potential that exists within the Houston landscape.

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<p> This paper explores the patriarchal ideologies present in the top three grossing films of each year from 2000 to 2011and how these messages work to continue the subordination and oppression of women. The movies studied have been grouped into three genres: animated, action, and science fiction/fantasy. Within each of these genres the presentation of the heterosexual romance-marriage-family ideal, violence against women and the men as protectors narrative, and the depiction of men as being the only capable leaders are explored. The analysis of each genre specifically concentrates on one of these narratives, as each genre was found to place an emphasis on one particular ideological message. This paper further addresses how these films and the ideologies they are presenting in regards to women can be seen as a sort of backlash or counter-narrative to gains made by the women's liberation movement of the 1960s to early 1980s. </p>

<p>Television is a widespread, easily accessible component of popular culture that we invite into the most intimate of environments: our homes. Like other forms of popular culture, it is not only influenced by religious belief, but also has the power to transmit both traditional and subversive religious ideas to viewers. This thesis draws upon methods used in the study of religion and popular culture to argue for the potential of television to influence religious belief. Television can transform contemporary thought and renegotiate ideas of identity as well as reposition social debate and conflict in both secular and religious environments. Focusing on the British television show Doctor Who, this thesis closely analyzes recent episodes of the series to illustrate the ways in which current show-runner Steven Moffat's story arc puts forth a Freudian critique institutional religion. This thesis demonstrates that Doctor Who has developed in such a way as to reveal the deception of organized religion and its destabilization of modern notions of rationality. Rather than banishing religion to the trash heap of history, however, Moffat's Doctor Who encourages believers to reevaluate traditional religious belief and practice.

<p> This study delves into the world of nerd culture as it is presented on network, cable and web television. Drawing on foundational research within both popular culture and scholarly research, the author examines the culture through textual analysis of one episode from each of five television shows: <i>The Big Bang Theory; 30 Rock; King of the Nerds; The Nerdist; </i> and <i>The Guild.</i> As this study's theoretical framework is the Frankfurt scholars' theory of the commodification of culture, the authenticity of nerd culture in its present state is a central issue. Findings from the literature and textual analyses show that the portrayals of nerds on television designed for mass audiences often exploit traditional nerd stereotypes to encourage viewers to "play nerd" while also presenting certain nerdish characteristics as a social warning. Conversely, nerd culture as presented for niche audiences are indeed closer to what the authentic culture is, which is a community of like-minded individuals who wish to create, innovate and express their uniqueness rather than simply consume products and trends associated with the culture. </p>

<p> This paper offers an analysis of the AMC television series <i>Breaking Bad</i> by placing it directly into the tradition of frontier narratives and the Western film. It looks to understand the aspects of the Western genre that the series revises as well as understand <i>Breaking Bad</i> as both a revisionist Western that redefines certain tropes common to the family-centered Western, as well as a Meta-Western that calls attention to the impact of the frontier myth on modern characters like Walter White. It finds that to make a "contemporary Western," as creator Vince Gilligan termed it, the show revises the traditional Western narrative by denying a regenerative quality to violence and demanding a multicultural, complicated, and ongoing understanding of the American frontier. The paper concludes by analyzing how the show's cultural allegories are a reaction to, and a critique of, a modern crisis of masculinity and the American empire.</p>

<p> The objective of this work is to present the identities of two traditional African societies: Agni and Bakongo. It is imperative to note that the initiation allegory and the initiation ritual practiced in traditional African society are the two methods of initiation used to analyze the respective identities of two characters: Prince M&eacute;l&eacute;douman in Jean-Marie Adiaffi's <i> La Carte d'identit&eacute;</i> and King Mani Kongo in Mweze Ngangura's <i> Pi&egrave;ces d'identit&eacute;s</i>. Not only does this approach establish a study of these heroes, but also of their people. </p><p> Thus, the ancestral practices, and the cultural and religious values that M&eacute;l&eacute;douman discovers in his quest, are those that express his identity and that of his community. Additionally, the symbols that Mani Kongo wears bestow on him his identity and present his DNA. That is, it signals his belonging to his ethnic group. Moreover, the lived experiences of Prince M&eacute;l&eacute;douman and King Mani Kongo, in the course of their prospective initiation voyages, can be defined as an initiation allegory whereby the neophyte, M&eacute;l&eacute;douman, on one hand, goes to be reestablished in his rights and Mani Kongo, on the other hand, becomes convinced of the limits of his traditions. Likewise, the practice of the <i>Comian</i> illustrates a type of initiation ritual, which expresses a unique identifying value among the Agni people in the Ivory Coast. </p><p> This study aims to reconstruct and to revalorize the identity of two peoples. It is evident that the cultural symbols, values, and other ancestral practices are in the process of disappearing due, certainly, to the domination of Western values of which francophone African peoples are the victims. Finally, this particular identity, constructed through history, myths, practices, and belief, translates, as well as defines, the worldview of these two traditional francophone African societies.</p>

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