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Denna uppsats är en komparativ analys av Roald Dahls bok Kalle och chokladfabriken från 1964 med Mel Stuarts filmadaption från 1971 och Tim Burtons filmadaption från 2005. Syftet med uppsatsen är att se vilka möjliga likheter och skillnader som finns mellan karaktärerna och ifall de olika skillnaderna kan bero på tidsperioden verket skapades i. Analysen påvisar att det finns några tydliga skillnader som ändrar karaktärerna drastiskt och att detta bland annat kan kopplas till den tidsperiod som verket är gjord i. Således är det ingen stor skillnad i karaktärerna mellan Roald Dahls bok och Mel Stuarts filmadaption troligtvis då de skapats i samma tidsperiod. Budskapet i Burtons adaption har däremot blivit alternerat med mer fokus på tidens mer aktuella frågor såsom mental hälsa och familjerelationer och har därmed orsakat en stor förändring i karaktärerna Willy Wonka, Kalle Spann och Oompa-Loompianerna. Med dessa tre verk kan lärare didaktiskt undervisa eleverna om hur ett verk kan ändras när adaptioner sker för att passa samtiden. Dock får läraren påpeka att det inte alltid är självklart vad som är en produkt av tiden och vad som är en upphovsmans egen konststil.

<p>This dissertation argues that the works of Augustine, especially the <em>City of God</em> and the <em>Confessions,</em> serve as a major source and influence upon Burton's <em>The Anatomy of Melancholy</em>. Burton's attitudes towards the world, humanity, and his sources can be seen to derive in part from Augustine's attitudes on these subjects. Especially, Burton shares with Augustine a form of scepticism this dissertation defines as 'Augustinian Scepticism', which is qualitatively different from the dawning scientific-rationalist scepticism of, for example, Descartes. Though this form of scepticism could be defined as dogmatism, as its rigorous negativity never extends to the grounds of faith, it is still the source of much of Burton's attitude towards the world, his reader and his material throughout the <em>Anatomy</em>. Burton's <em>elenctic</em> rhetorical strategies especially, wherein he collapses all sides of an argument to create seeming chaos in the sublunary world, can in large part be traced to his reading of, and use of, Augustine and avowedly Augustinian thinkers such as Melancthon, Nicholas Cusanus and Agrippa.</p> <p>Although critics such as Fish, Fox, Babb and Thompson deny an Augustinian influence in Burton's <em>Anatomy</em>, this dissertation argues against their positions. The argument presented employs a method of close, comparative readings, examining key passages of the <em>Anatomy</em> in the light of Augustine's <em>City of God</em>, the <em>Confessions</em>, and other works. Passages wherein Burton cuts closest to his submerged themes of redemption and salvation, abandoning the persona of Democritus Jr. in favour of his persona as Burton the Divine-Physician, (a symbolic persona drawn directly from Augustine), are especially examined. Through a focus on Burton's religious themes, a direct parallel with Augustine is discerned. and it is argued that Augustine has an influence on both style and substance in the <em>Anatomy</em>. Although Augustine is by no means the only, or even dominant influence on the <em>Anatomy</em>, Augustine would appear to play a much larger role in Burton's moral and spiritual thought, especially in Burton's scepticism towards the world, human knowledge and human endeavour, than has previously been acknowledged.</p> / Doctor of Philosophy (PhD)

The purpose of this essay is to study two film adaptations of the original Planet of the Apes novel and see what kind of relationship the two adaptations have with each other. The main question is if the secondary film adaptation is restricted by the primary and if the relationships between these two are as two separate adaptations or as a remake of an adaptation. What the results of the study show is that the secondary adaptation can not be seen as a remake even though it gets some of its inspiration from both the original story as well as the primary adaptation. The secondary adaptation is, however, restricted in what it can adapt due to the primary adaptation having the first pick, at least if the secondary adaptation wishes to be a whole new adaptation and not a remake of the primary. The study shows also that the fidelity in the secondary adaptation is not necessarily to either the original or the primary but to the knowledge the audience has about the Planet of the Apes universe which they have gathered from all of the important versions of the story. The essay also states that there is yet much to learn about the relationship between secondary and primary film adaptations which means that the field is still in need of exploration.

This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other. / English Studies / M.A. (English Studies)

Painting As Becoming: Reflections Between Content and FormThis thesis is the culmination of my two years at graduate school. It lays out some of my ideas about painting as a particular approach to art making. The development of my work has not always followed a linear path – some ideas take longer to emerge, some vices longer to recognize. The text is separated into four main sections: Form, Development, Color, and Landscape. The main issue that I explore is the relationship between abstraction and representation. Tending to be over-logical, I have avoided explicit ‘content' in my work, because I am afraid that it will pin it down. Painting abstractly initially allowed me to exercise the other side of my brain, to avoid ‘meaning'. But abstraction is also a language that can be assimilated and therefore does not really offer an enduring solution to the problem of content.My paintings are usually structured in a logical way: composition, color harmony and dissonance, perspective, light, and space - but my process also leaves room to explore the illogical and the absurd. I began to appropriate representational imagery into the work to weave in additional information – a textual layer to frame and foil the objectivity of oil paint. This juxtaposition puts paint in the role of becoming at the same time that it puts the image in the role of disintegrating. Importantly these roles are interchangeable. The imagery itself is derived from places that have been significant to me by effecting the formation of my scattered sense of identity: my birthplace in Virginia, my upbringing in Lake Tahoe, my studies in New Hampshire and Rhode Island, and my subsequent move out of the country to Mexico, where I lived until returning to Virginia to pursue an MFA. The transitions between abstraction and representation resonate with the intersection of the personal and the collective.Ultimately, the comings and goings of interpretation that characterize my work occur through the lens of beauty. I cannot define beauty, but I maintain the belief that it can be found in painting, and that its primary function is to remind us to see.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-14T12:36:56Z No. of bitstreams: 1 Filipi César Rodrigues Cardoso da Silva.pdf: 761679 bytes, checksum: 69b6274afc89a7facd136c505ebaf65e (MD5) / Made available in DSpace on 2018-06-14T12:36:56Z (GMT). No. of bitstreams: 1 Filipi César Rodrigues Cardoso da Silva.pdf: 761679 bytes, checksum: 69b6274afc89a7facd136c505ebaf65e (MD5) Previous issue date: 2018-02-15 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research conducts a narratological study of Tim Burton’s films in the light of the narrative theory of Vladimir Propp. It is to analyze in the oeuvre of Burton, analogous procedures to those of the wonderful tale such as described by Propp. It also pays attention to the matters that interconnect the Proppian wonderful world to the fantastic burthonian world. It seeks to understand how a reinterpretation in the cinematographic context of Tim Burton films create a connection with the morphological structure of the wonderful of V. Propp. The conducted literature reviews involve authoritative works on the fantastic cinema, the animation cinema in general and particularly the cinema of Tim Burton. The corpus of the research is composed by the Corpse Bride – 2005 of Tim Burton; The establishment of the corpus was based on the criterion of selection of the animation films that stand out in the oeuvre of Tim Burton. Methodologically, the research is bibliographical and comparative. The main theoretical reference is Propp's own narratological theory, which always seeks the wonderful in his works. This research also takes into consideration the masterful model work of Haroldo de Campos, Morphology of Macunaíma, which presents and reinterprets the proppian model. The relevance of this study lies in the fact that little research has been made on hybrid wonderful tale to the animation cinema. It is also proposing a new unfolding of the proppian semiology, turning it this time to the universe of visual discourse and digital manipulation / Esta pesquisa realiza um estudo narratológico em filmes de Tim Burton à luz da teoria narrativa de Vladimir Propp. Trata-se de analisar na obra de Burton, procedimentos análogos àqueles do conto maravilhoso tais como descritos por Propp.Atenta-se também para as pautas que interconectam o mundo maravilhosoproppiano ao mundo fantástico burthoniano. Busca-se entender como uma reinterpretação no contexto cinematográfico das películas de Tim Burton criam uma conexão com a estrutura morfológica do maravilhoso de V. Propp. A revisão bibliográfica efetuada aquienvolve trabalhos abalizados sobre o cinema fantástico, o cinema de animação em geral e o cinema de Tim Burton em particular. O corpus da pesquisa é composto pela obra cinematográfica A Noiva Cadáver – 2005 do diretor Tim Burton; O estabelecimento do corpus pautou-se pelo critério de seleção do filme de animação que despontam no conjunto da obra de Tim Burton. Metodologicamente, a pesquisa é bibliográfica e comparativa. O principal referencial teórico é a própria teoria narratológica de Propp que sempre busca o maravilhoso em suas obras. Este trabalho também leva em consideração o modelo da obra magistral de Haroldo de Campos, Morfologia do Macunaíma, que apresenta e reinterpreta o modelo proppiano. A relevância do trabalho está no fato de que poucas pesquisas foram realizadas sobre conto maravilhoso hibrido ao cinema de animação. Está também em propor um novo desdobramento da semiologia proppiana, voltando-a desta vez ao universo do discurso visual e da manipulação digital

Uppsatsens syfte är att undersöka hur drömmen gestaltas i romanen Alice i Underlandet och Tim Burtons filmadaption från 2010. Tillvägagångssättet för att uppnå syftet är en intermedial analys kombinerat med teorier om drömmar i film samt Freuds teorier om drömmar i litteratur. Uppsatsens frågeställning är hur gränsen mellan dröm och verklighet är gestaltad, som besvaras genom en jämförelse mellan romanen och filmadaptionen. Gestaltningen av drömmen syns tydligast i kontrast till Alice vakna verklighet eftersom det då går att se vad som skiljer drömmen från verkligheten. Genom en enskild analys av romanen och filmen, samt en jämförande analys av båda medierna har uppsatsens slutsats fastställts. Slutsatsen är att filmens gestaltning av gränsen mellan dröm och verklighet består av en markerande passage mellan dröm och verklighet, medan romanen gestaltar gränsen mellan dröm och verklighet som en flytande övergång.  Romanen gestaltar övergången till drömvärlden främst genom text där Alice funderande blir en övergång till drömmandet. Filmen möjliggör även tolkningen att Underlandet finns på riktigt och därmed inte är en dröm.

Film adaptations are becoming more popular and past critics and scholars have discussed films based on dramas and novels. However, few have explored the children’s literature genre. In discussing such a topic, it takes more than just debating whether the novel or book is better. A discussion on what elements have been maintained, removed, or added in such an adaptation has to be made along with its success or failure. With this in mind, Roald Dahl’s 1964 novel, Charlie and the Chocolate Factory, and its two film adaptations will be explored along with an analysis of film adaptation theory to show that the first version of the novel succeeds and the second one fails.