Conference Presentations by Roberto C . Rodrigues
Cluj-Napoca: Presa Universitară Clujeană, 2021
International Dracula Congress, 2021, Brasov, România.
ISBN: 978-606-37-1121-3
Papers by Roberto C . Rodrigues
“Children of the Night” International Dracula Congress, 2022
Dacre Stoker: Recent Discovery in the London Library Shed Light on Bram Stokers Research for Drac... more Dacre Stoker: Recent Discovery in the London Library Shed Light on Bram Stokers Research for Dracula. My illustrated presentation will be about Mr Philip Speddings discovery in 2018 of 26 books that Bram Stoker used for his research for Dracula at the London Library. I will provide the details how I played a small role in helping Philip verify that the markings he discovered in the books were actually made by my great grand uncle. Phillip was a huge Dracula fan, worked as the head of fundraising at the London Library, he owned a copy of the Bram Stoker's Notes a Facsimile Edition, (2018 Miller & Eighteen Bisang). He was curious to see if the books Bram listed in these notes were anywhere to be seen at the library. Philip knew that his library did not have records of actual books requested by each member, but he was aware that Bram was a member there during the 7 years (1890-97) that he did his research and writing of Dracula. Like a detective, he walked thru the rows of shelves and collected the books listed as resource books in Bram's notes, then he noticed a variety of pencil marks on certain pages of these books. Philip was able to make a connection between some of the words designated by the pencil marks in these books and what ended up as text in the novel Dracula. Sometimes Philip noticed that Bram actually copied passages right out of the books into the notes, at some point some version of those thoughts made it all the way into the story. Philip contacted me and Robert Eighteen Bisang to ask for our assistance in verifying if the marginalia could be attributed to Bram Stoker. Without a hesitation we both bought our plane tickets for London and met up with Philip a week later where we dove into this most interesting discovery. What follows is how I was able to provide verification: I had in my possession a copy of the sixth edition of Dracula which Bram used to mark up with his pencil when asked to reduce the word count by 30,0000 to help create the 1901 abridged paperback edition of Dracula. In Bram's process to cut words, sentences, and whole paragraphs there were pencil marks similar in style to those in the 26 London library books. In some cases, Bram added "bridge words" to link up sentences where portions were edited for length. Furthermore, Philip showed me one of the books that Bram's son Noel had donated to the London Library after his father had died, that also contained similar pencil markings in the margins. I will explain this process using images of various books in the London Library and will also include my opinions about specific passages that Bram highlighted and show how they wove their way into the fabric of the novel Dracula.
Caderno de Resumos EPHA, 2022
Thiago Alcântara || Propaganda como deboche na série Presidentes americanos e líderes comunistas ... more Thiago Alcântara || Propaganda como deboche na série Presidentes americanos e líderes comunistas vendem pornografia, de Moraleida Vitória Paschoal Baldin || Ativismo transnacional através de imagens na comunicação digital: estudo de caso a partir da análise da página do Instagram do cartunista palestino Mohammad Sabaaneh Flávio da Silva Nogueira || Mãe Preta, ou a Fúria de Iansã: O corpo negro na obra de Sidney Amaral Leonardo Rodrigues dos Santos || O negro no modernismo brasileiro: Entre símbolo nacional e o "outro" racial Maria Joana Mayer de Mattos e Rogério Vanderlei de Lima Trindade || A omissão de visualidades negras na iconografia histórica do Rio Grande do Sul Victor Hugo de Souza || Entre implicações, restituições e emancipação: Práticas artísticas em território ladino amefricano diante da História da Arte Gabriela Traple Wieczorek || Espaços para o dissenso: Intervenções e discursos contra-hegemônicos na arte feminista contemporânea
Repositório Institucional UNIFESP, 2022
Neste trabalho de pesquisa buscamos, por meio do levantamento e do debate bibliográfico, propor u... more Neste trabalho de pesquisa buscamos, por meio do levantamento e do debate bibliográfico, propor uma análise fílmica e artística do longa metragem Drácula de Bram Stoker (Francis Ford Coppola, 1992), especificamente de seu figurino, desenvolvido pela designer e diretora de arte japonesa Eiko Ishioka 石岡 瑛子 (1938 – 2012). Levaremos em consideração a recepção do filme pela crítica e sua consequente elevação ao status de “cânone” entre as adaptações cinematográficas do romance homônimo de Bram Stoker. Propomos uma ressignificação do legado de produção de figurino de Ishioka, que flerta de forma significativa com a Haute Couture parisiense, principalmente por sua originalidade. Nossa intenção, assim, é realizar um estudo mais aprofundado em elementos que tornam o figurino dessa produção tão singular, entre eles sua falta de acuracidade histórica proposital, seus medievalismos fantásticos e sua ode ao exagero simbólico e decadentista.
Bulletin of theTransilvaniaUniversity of Braşov Series IV: Philology and Cultural Studies • Vol. 14(63) Special Issue , 2022
In this paper, through a bibliographical research and debate, we intent a filmic and artistic ana... more In this paper, through a bibliographical research and debate, we intent a filmic and artistic analysis of the feature film 'Bram Stoker's Dracula' (Francis Ford Coppola, 1992), specifically its costume design, signed by the Japanese designer and art director Eiko Ishioka 石岡 瑛子 (1938-2012). The film's critical reception as well as its consequent elevation to a 'canon' status among the adaptations of the homonymous novel by Bram Stoker were taken into consideration. This paper proposes a new approach of Ishioka's costume design legacy, that flirts significantly with the Parisian 'haute couture' for its uniqueness. Our intention is to develop an in-depth study on the elements that make the costumes of this movie so singular, such as its intentional lack of historical accuracy and the ode to an overly exaggerated symbolism and decay.
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Conference Presentations by Roberto C . Rodrigues
Papers by Roberto C . Rodrigues