Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 55-59).

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 55-59). Also available in print.

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains vi, 98 p. Includes bibliographical references.

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Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 5, 2007) Includes bibliographical references.

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-06Bitstream added on 2014-06-13T19:39:20Z : No. of bitstreams: 1 sbrissa_fs_me_sjrp.pdf: 797233 bytes, checksum: 5bce352079a39193380ab347ca430734 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Este trabalho tem como objetivo discutir a noção de adaptação cinematográfica como independente do texto fonte, a partir de considerações a respeito do dialogismo e da intertextualidade, baseando-se principalmente em teóricos como Robert Stam (2000; 2004; 2008), Linda Hutcheon (2006), Christine Geraghty (2008) e Thomas Leitch (2008a; 2008b). Após um panorama das teorias da área, a dissertação analisa dois filmes baseados em dois romances do escritor inglês Ian McEwan, Amor Obsessivo (2004) e Desejo e Reparação (2007), para demonstrar como o critério de fidelidade não é determinante para a qualidade e/ou sucesso da adaptação cinematográfica / The objective of this study is to discuss the notion of cinematographic adaptation as being independent of its source text, beginning with considerations concerning dialogism and intertextuality, based mainly on theoreticians like Robert Stam (2000; 2004; 2008), Linda Hutcheon (2006), Christine Geraghty (2008) and Thomas Leitch (2008a; 2008b). After an overview of the theories of the area, the dissertation analyses two films based on two novels written by the English writer Ian McEwan, Enduring Love (2004) and Atonement (2007), in order to show how the criterion of fidelity is not a determining factor in the quality and/or success of the cinematographic adaptation

This dissertation examines the trope of filiation in novels by three contemporary British writers: John Banville, Ian McEwan, and Kazuo Ishiguro. The trope of filiation and the related theme of inheritance has long been central to the concerns of the British novel, but it took on a new significance in the twentieth century, as the novel responded both thematically and formally to the aftermath of the two world wars. This study demonstrates the ways in which Banville, McEwan, and Ishiguro each situate their work in relation to this legacy, by means of an analogy between the inheritance structures figured within their novels and the inheritance performed by their engagement with the genre itself. This study relies on an instructive analogy to similar treatments of the larger problem of cultural filiation by the theorists Emmanuel Levinas and Jacques Derrida. Levinas exposes in his work the ethical and political problems of modernist temporality by critiquing modernity’s rejection of filiation, a rejection modeled also in the lost children, and barren and celibate men and women of modernist novels. Derrida meanwhile provides a way forward with his representation and performance of inheritance as a critical and transformative act, which is characterised on one hand by an ethical injunction, and on the other, by a filtering or a differentiation which changes the tradition even as it reaffirms it.

This dissertation examines the trope of filiation in novels by three contemporary British writers: John Banville, Ian McEwan, and Kazuo Ishiguro. The trope of filiation and the related theme of inheritance has long been central to the concerns of the British novel, but it took on a new significance in the twentieth century, as the novel responded both thematically and formally to the aftermath of the two world wars. This study demonstrates the ways in which Banville, McEwan, and Ishiguro each situate their work in relation to this legacy, by means of an analogy between the inheritance structures figured within their novels and the inheritance performed by their engagement with the genre itself. This study relies on an instructive analogy to similar treatments of the larger problem of cultural filiation by the theorists Emmanuel Levinas and Jacques Derrida. Levinas exposes in his work the ethical and political problems of modernist temporality by critiquing modernity’s rejection of filiation, a rejection modeled also in the lost children, and barren and celibate men and women of modernist novels. Derrida meanwhile provides a way forward with his representation and performance of inheritance as a critical and transformative act, which is characterised on one hand by an ethical injunction, and on the other, by a filtering or a differentiation which changes the tradition even as it reaffirms it.

Thesis (M.A.)--University of Akron, Dept. of English, 2007. / "May, 2007." Title from electronic thesis title page (viewed 4/26/2009) Advisor, Sheryl Stevenson; Faculty Reader, Bob Pope; Department Chair, Diana Reep; Dean of the College, Ronald F. Levant; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

Zugl.: Mannheim, Univ., Diss., 2008