Rewriting

ÖZET
Dede Korkut Hikâyeleri içerisinde yer alan Duha Koca Oğlu Deli Dumrul, aynı adlı kahramanının kişilik özellikleri, bilinç dünyası, kahramanlığı, Azrail’e meydan okuyuşu, onunla kavgaya tutuşması, yenilgisi ve yenilgiyi kabulleniş biçimiyle ilgiyi üzerinde toplayan hikâyelerden biridir. Şöhretinin yayılması için kuru çay üzerine köprü yaptırması, geçenlerden otuz üç, geçmeyenlerden zorla kırk akçe alması onun davranışlarındaki taşkınlığı sergiler. Ölen bir yiğit için Azrail’e meydan okuması, cesareti kadar bilgisizliğini gösterir. Duha Koca Oğlu Deli Dumrul, Dumrul’un Azrail’e meydan okuyuşu sonucu ölüm karşısında kapana kısılmışlığını ve çare arayışını anlatmasıyla insani özü ve insanın yeryüzündeki dramını yansıtan bir metindir. Bu sebeple kimi modern yazarlar, Duha Koca Oğlu Deli Dumrul’u yorumlayarak yenidenyazma yoluna gitmiştir. Bulud Karaçorlu Sehend, Güngör Dilmen ve Murathan Mungan bunlar arasındadır. Bu bildiriyle Duha Koca Oğlu Deli Dumrul adlı hikâyenin Türk tiyatrosunun usta yazarlarından Güngör Dilmen’in kaleminde tiyatro türü içerisinde yeniden hayat bulduğu Deli Dumrul adlı oyunun metinlerarasılık ve yenidenyazma kuramı çerçevesinde ele alınması amaçlanmaktadır. Böylece modern Türk edebiyatında yeniden hayat bulan Duha Koca Oğlu Deli Dumrul’un çağdaş sanat anlayışı içerisinde Güngör Dilmen’in kaleminde aldığı şekil inceleme konusu yapılacaktır. Yazarın yenidenyazma yöntemiyle ortaya koyduğu tiyatroda ana metne hangi oranda bağlı kaldığı, model metni ne ölçüde değiştirip dönüştürdüğü, ne gibi ekleme ve çıkarmalar yaptığı, bu uygulamaların modern edebiyat açısından anlamının ne olduğu sonucuna varılmak istenmektedir.

ANAHTAR KELİMELER: Dede Korkut, Deli Dumrul, yenidenyazma, Güngör Dilmen.

This paper shows that considering the group generated by orthogonal symmetries relatively to lines may give very short and readable proofs of geometric theorems. A short and readable proof of the fundamental Pascal's theorem is provided for illustration.

Orientador: Inês SignoriniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da LinguagemResumo: Neste trabalho são analisados os resultados da aplicação de uma sequência didática de ensino do gênero artigo de opinião em duas salas de aula do Ensino Médio de duas escolas públicas da Região Metropolitana de Campinas, SP. Trata-se de uma investigação de cunho qualitativo com geração de registros sob a metodologia da pesquisa-ação. A aplicação dessa sequência didática nas duas salas de aula estendeu-se de março a dezembro de 2009 e gerou, primeiramente, 41 primeiras versões do gênero em 61 aulas videogravadas. Num segundo momento, o processo de correção por meio de bilhetes orientadores para a reescrita gerou mais 75 segundas e terceiras versões. As análises mostraram que a interação (ora e escrita), sobretudo a do professor com os alunos, é fator constituinte da produção escrita desses alunos. Conforme verificado, as diferenças linguístico-discursivas ent...

AbstrAkt Článek uvádí koncept postkoloniálního přepisu do českého a slovenského akademického diskursu a zároveň představuje literaturu v nizozemštině jako potenciálně postkoloniál-ní literaturu. Po krátkém úvodu do problematiky je navrženo několik charakteristických znaků tohoto fenoménu. Ty jsou poté v praxi ukázány na příkladu komparativní analý-zy dvou děl nizozemské spisovatelky Helly S. Haasse – novely Oeroeg (1948) a románu Sleuteloog (2002). Posun v intenci autorky je patrný především na srovnání závěrečných pasáží obou děl, jejichž close-reading analýzu článek nabízí. POSTKOLONIALISMUS V posledních několika desetiletích se postkolonialismus ironicky stal moderním označením, používaným v nejrůznějších situacích. V akademickém kontextu spadá do oblasti kulturních studií a jako ostatní disciplíny v této kategorii se zabývá studiem nejrůznějších textů – kulturních produktů – a jejich společenského kontextu. V souvislosti s literaturou je termín používán především kritiky a teoretiky, stává se jen zřídka, že by se sám autor označil za postkoloniálního spisovatele nebo básníka. Co ale postkoloniální literatura znamená? Velmi obecně lze říci, že postkoloniální literatura dává hlas těm, kteří byli v koloniálním systému (diskursivně) umlčeni. Literatura je mnohem více, než jen způsobem, jak vyprávět příběhy. Hegemonické systémy jako kolonialismus, ale třeba také patriarchát, (pod)vědomě využívaly literatury jako diskursivního nástroje k potvrzení a upevnění své nadvlády. Homi Bhabha, jeden z nejdůležitějších postkoloniálních kritiků, charakterizoval koloniální systém jako aparát založený na rozlišování rasových/kulturních/historických rozdílů. Jeho hlavní strategickou funkcí je vytvoření prostoru pro " podrobené " lidi pomocí sestavení korpusu znalostí, jímž se provádí společenský dohled a který vzbuzuje komplexní formu (ne)libosti (Bhabha 70). 1 Koloniální systém potřeboval ke své existenci jasně stanovenou hranici mezi (kulturně) nadřazenými a podřazenými, mezi " já " a " ten druhý " (self – the other). Pro Bhabhu je klíčovým aspektem koloniálního systému neměnnost (fixity) (Bhabha 94). Sandra Ponzanesi, významná evropská postkoloniální teoretička, kombinující znalosti postkoloniální teorie a gender studies, které pak aplikuje na evropskou

Il mio progetto di ricerca intende prendere in analisi alcuni prodotti multimediali (videogames, giochi di ruolo, avventure grafiche) che riprendono opere significative della letteratura italiana, o anche rielaborano motivi, tematiche, ambienti legati alla nostra tradizione culturale, comprendendo di essa ulteriori declinazioni popolari e folkloriche. L’obiettivo principale del presente lavoro è definire, al di là delle differenze formali e contenutistiche tra fonte e riscrittura, se e in che misura siano mantenute significazioni del testo di partenza (L. Hutcheon, A Theory of Adaption, 2006),  quali funzioni rivestano modifiche ed adeguamenti, come si configuri il ruolo del lettore/giocatore nelle rielaborazioni.
Primo in ordine cronologico è il gioco di ruolo Orlando Furioso, di Andrea Angiolino e Gianluca Meluzzi, del quale esiste una prima versione didattica per le scuole, edita nel 1993, e una seconda ampliata, pubblicata nel 2002 da Rose § Poison e arricchita da una guida ai luoghi del poema. L’ambiente ludico riprende di fatto l’intero ciclo carolingio e bretone, integrando le vicende ariostesche con l’Orlando Innamorato del Boiardo. I valori cavallereschi, riassunti in Agilità, Forza Dialettica, Concentrazione, Vitalità, Eroismo, sono a disposizione dei giocatori, mentre il narratore crea le trame utilizzando le conoscenze – personaggi reali, figure mitologiche, oggetti magici e non -  fornite dal testo, che si avvale delle illustrazioni di Gustave Doré. Presenza del magico e dell’avventuroso, tensione fra casualità dell’esistenza (i giocatori agiscono anche tirando i dadi) ed equilibrio, già elementi fondanti del poema, diventano componenti del gioco, da utilizzare per immergersi da protagonisti in un mondo al quale possono essere aggregate narrazioni ‘esterne’, mitologiche e folkloriche, come già in parte avviene nell’opera originaria. L’interazione fra giocatori determina inoltre una campitura architettonica complessa, con rimandi, entralacement, ritorni, affine a quella ariostesca; la coppia giocatore/narratore quindi rielabora, ed elabora,  questo e altri infiniti poemi, rendendo il  poema di Ariosto testo ‘scrivibile’,  secondo la definizione di Roland Barthes in S/Z (1970) : non più soltanto un prodotto ‘leggibile’, chiuso, ma connesso ad altri testi e attivatore di ulteriori significati nella cultura contemporanea.
Il secondo prodotto che intendo analizzare è il videogioco Dante’s Inferno, distribuito da Electronic Arts nel 2010; screenwriter Brandon Auman. La trama, che presenta un Dante crociato diretto all’Inferno per salvare Beatrice rapita da Lucifero, è stata stigmatizzata come irrispettoso ‘stravolgimento’ del testo originario (Barolini, Entertainment Weekly, 2010). In realtà, se il gioco sfronda la fonte letteraria di ogni complessità, esaltando il momento interattivo fra il protagonista e le figure infernali come combattimento videoludico, il senso del viaggio dantesco come percorso spirituale viene esteriorizzato ma non stravolto: Dante si confronta effettivamente con i propri peccati, incarnati nei demoni che incontra nei diversi gironi, e l’aumento della violenza e pericolosità degli scontri corrisponde alla profondità della colpa da espiare.  La stessa modalità di gioco, che consente al fruitore di vivere in prima persona la discesa agli Inferi, sembra rispondere all’intento dantesco di allargare l’esperienza personale ( “mi ritrovai”)  ad ogni individuo ed a tutta l’umanità (“nostra vita”).
In ogni caso, nonostante le infedeltà, il videogioco ha il merito di rendere concreto ed alla portata di un vastissimo pubblico il mondo dell’inferno dantesco, grazie ad ambientazioni di alto livello qualitativo, dove suoni, colori, silenzi ricreano in modo efficace l’atmosfera dell’opera originale. Ne è derivata un significativo interesse per l’opera di Dante, soprattutto nei paesi anglosassoni, interesse riscontrabile facilmente sul web, ma non esattamente quantificabile proprio per la vastità del fenomeno: cercando termini collegati a Dante, quali Divine Comedy o simili, sono presenti su Google più di un milione di siti e pagine web.
Il presente progetto, accogliendo i suggerimenti forniti da analoghi lavori di Tison Pugh, Angela Jane Weisl, Denise Ayo, intende quindi stabilire le possibili connessioni fra tradizione dantesca e immaginario contemporaneo, per determinare modalità e limiti di un’attualizzazione che ripensa interamente il Dante della tradizione letteraria.
A conclusione del mio discorso intendo esaminare l’avventura grafica Occultus, cabala mediterranea (2016), sviluppata dal gruppo Sylphe Labs (Luca Alba, Paolo Gallo, Filippo M. Vela). Il gioco presenta una Palermo di primo Novecento, città di intrighi e mostri, esoterica e cabalistica: un anziano antiquario perseguitato da una maledizione di famiglia chiede aiuto al nipote, che dovrà fronteggiare creature soprannaturali, misteri inquietanti, pericolosi gruppi settari quali i Beati Paoli. Il giocatore attraversa luoghi dove la splendida realtà di superficie- antiche strade, piazze, monumenti sono fedelmente riprodotti – nasconde un sottosuolo orrifico, svelato tramite gli enigmi da affrontare per procedere nella dinamica ludica; la matrice culturale è il feuilleton siciliano, da I misteri di Palermo (1852) di Benedetto Naselli, ai Beati Paoli ( 1909/1910) di Luigi Natoli, ma anche la ricerca antropologica di Giuseppe Pitrè, che mostra la perturbante contiguità fra sfera del quotidiano e soprannaturale. Il gioco permette l’esperienza diretta e sensoriale, visiva e auditiva, dei sotterranei palermitani, mostrati nel percorso labirintico dei Qanat, come luogo di miseria, corruzione, terrore; se le trame arcane della vicenda e i destini prefissati dei personaggi si esplicano nell’ambito del fantastico, è adombrata una valenza politica e insieme l’immagine del violento e sopraffattorio potere aristocratico, ampiamente presente nei testi /fonte.
I prodotti multimediali esaminati quindi, per quanto distanti dalle rispettive matrici letterarie, ne rappresentano valide forme di riscrittura, che riattivano i sensi delle opere/fonte inserendole in un circuito di ricezione contemporanea, confermandone altresì lo status di ‘opera aperta’ (Umberto Eco, 1962), tale cioè da permettere l’incontro creativo fra autore e lettore.

In the 1970s Sonny Venkatrathnam was imprisoned on Robben Island, together with Nelson Mandela and other prominent opponents of apartheid. Venkatrathnam managed to bring Shakespeare’s Complete Works with him by telling a warder that the volume, covered with cards celebrating the Hindu festival of lights, was ‘his bible’. The book circulated amongst the detainees in the small single-cell section of the prison. Before Venkatrathnam was released, he invited his fellow inmates to mark a passage of their choice. Between 1975 and 1978 thirty-three of them did so and added their signatures. In his ground-breaking Hamlet’s Dreams: The Robben Island Shakespeare (2013) David Schalkwyk focuses on the trope of confinement resonating through the prisoners’ choices. The article traces a further pattern and argues that several highlighted passages evoke an exilic state resulting from being dispossessed of one’s homeland even while living in it; a state in which the political prisoners and, in fact, the majority of South Africans found themselves under apartheid. The marked passages concerned with exile, the article argues, offer an alternative view on colonial history in which the legitimacy of colonization is critiqued by stressing the exilic status of the colonizer. Offering such an alternative view makes the ‘Robben Island Shakespeare’ comparable to colonial and postcolonial rewritings of The Tempest.

The Arden Shakespeare published a poetry collection titled On Shakespeare's Sonnets in 2016 in which several contemporary poets have responded to one Shakespearean sonnet of their choice. Most of the themes in the sonnets such as the transience of earthly life, the endurance of love, and the procreation of beauty are retained in their modern versions. However, recent approaches to these themes do not follow the sonnet tradition due to the poets' adherence to modern topics, as seen in the poems of Douglas Dunn, Jackie Kay, and Andrew Motion, and an emphasis on realism instead of the romanticised exaggerations in the sonnet genre, as observed in the poems by Alan Jenkins, Carol Ann Duffy, and Elaine Feinstein. In some of these poems, love for the beloved, for instance, is treated alternatively as a temporary feeling that cannot endure the passing of time. The platonic ideal of love for the beloved is reconstituted with a mother's compassion for her son. The idea of the procreation of beauty is replaced with an adoration of the regenerative power of nature. In some others, the influence of the contemporary context is evident with indications of urban images such as traffic, technology, and shopping malls. Through such examples, this paper aims to discuss some of the rewritten versions of Shakespeare's sonnets to explore the idea that recontextualisation and subversion of the source text are central to the practice of Shakespearean adaptation despite the initial tenet of the production of this particular collection, which is to celebrate Shakespeare's literary heritage.

It is difficult for adults to admit the change in gender roles in society. It can be claimed that some fairy tale books that have been published recently intensified the change of perspective in gender roles, for example, we can see the rewriting of classic fairy tales in children's literature to break gender stereotypes. Some books such as Prince Cinders by Babette Cole and Kim Korkar Kırmızı Başlıklı Kız’dan by Sara Sahinkanat are works that give gender stereotypes a deep shock. This kind of rewriting emphasizes that children do not see gender taboos as an obstacle. In this study, it will be explored how Prince Cinders and Kim Korkar Kırmızı Başlıklı Kız’dan challenge gender stereotypes from their perspectives.

This article presents an analysis of the heroine of the anonymous romance Guillaume de Palerne, composed at the end of the twelfth century. The study fills a gap in criticism
on Guillaume by examining the influence held by the heroine on the plot of the romance and equally the role of this character in the intertextual sphere of the text.
A study of the relationship between this figure and a model taken from the anonymous romance Partonopeu de Blois allows us to reconsider the importance of this character
in Guillaume and to better appreciate the compositional process adopted by the poet of this text.

We present a novel dynamic analysis technique that finds real deadlocks in multi-threaded programs. Our technique runs in two stages. In the first stage, we use an imprecise dynamic analysis technique to find potential deadlocks in a multi-threaded program by observing an execution of the program. In the second stage, we control a random thread scheduler to create the potential deadlocks with high probability. Unlike other dynamic analysis techniques, our approach has the advantage that it does not give any false warnings. We have implemented the technique in a prototype tool for Java, and have experimented on a number of large multi-threaded Java programs. We report a number of previously known and unknown real deadlocks that were found in these benchmarks.

The contemporary rewritings of Don Juan’s myth highlight several forms of hybridity and illustrate the stakes involved. The hybridation affects in the first place the sources of the myth since the authors appeal to numerous intertextual references. But the successive transpositions of the mythical scenario also lead to a generic hybridity. This intermediality has a reflexive dimension: it raises the question of the limits of language to talk about the myth and abolishes the frontier between fiction and critical speech.

The paper analyses the first three works published by Franca Mancinelli, outlining their thematic continuities as well as their foundational unity. By studying the chronological progress of specific themes, the article sheds a new light on the intertextual connections that can be found both within a single book as well as across the three works. The study of these links has the purpose of showing the singular structure as well as the formational dynamics at the basis of a poetic work by Mancinelli. With particular attention towards the declarations of a poetics by the author as well as the variants within the microtexts, the objective of the paper is to define the intentions behind the production of new poetic and prose versions of the author’s texts.  The process of rewriting finds its explanation through a thematic, stylistic and structural perspective, ultimately identifying a distinctive feature of Mancinelli’s style.

The novel that is being discussed is Mahfouz’ Arabian Nights and Days (1995), which is an adaptation of the Arabian Nights (1706). This thesis focuses on the implicit objective of the author’s rewriting, which concerns the reawakening of the hermeneutic imperative at the heart of Islam. The novel emphasizes the importance of knowledge, reflection, and reevaluation in religion, thus rejecting blind imitation. The author is readdressing the past and trying to establish a new relationship with Islam in this particular instance. He is reconsidering the original source of Islam without trying to repeat it, but rather adapts it in order to come to a more profound relationship and more genuine understanding of religion. By reengaging with the narrative, the reader is following in the footsteps of the author: he is translating and shaping the text into a work of his own, and therefore instigating his own process of self-discovery and self-development. Subsequently, the reader - just like the Muslim - moves from a state of ‘being’ to one of ‘becoming’.

Although interpretations of the metatheatre stand as a recurring theme in many of Shakespeare's plays, The Tempest can be observed to be the most self-conscious one as a theatre about the theatre. With a comparative look at the Bard's The Tempest and its rewriting Hag-Seed by Margaret Atwood, the present study aims to explore the ways in which metatheatricality functions, and is translated to a contemporary context, as an asset of symbolic power and representing different layers of reality governed mainly by Prospero's art.

"Jutta of Sangerhausen. A ‘new saint’ in the wake of Elizabeth of Thuringia?

Jutta of Sangerhausen (Thuringia/Germany) is a less known representative of the religious movements of the 13th Century Western Europe, a lay woman who spent the last four years of her life as anchoress in the neighborhood of the town Kulm in Prussia (today: Poland) and probably died in 1260. There is no reference to her neither in HERBERT GRUNDMANN’s standard work about the “Religious movements in the Middle Ages” (Berlin 1935/Darmstadt 1977) nor in the books written by KURT RUH and BERNARD MCGINN about the history of mysticism in Western Europe (see Geschichte der abendländischen Mystik, Vol. 2, München 1993 and The Flowering of Mysticism, New York 1998). Not even ANNEKE B. MULDER-BAKKER mentioned Jutta in her recent publication about the “Lives of the anchoresses” (Philadelphia 2005). The reason for this ignorance may be the lack of a modern edition of the sources about Jutta. Now, that a new edition appeared last year (ed. by PETER GERLINGHOFF, Sangerhausen 2006) we finally have the opportunity to situate Jutta in her historical context. Some scholars are of the opinion that Jutta modelled herself on the Hungarian princess and Thuringian countess Elizabeth, a contemporary and compatriot of Jutta who died in 1231 and was canonized as early as 1235. The purpose of this paper is to prove the validity of this claim. My methodological procedure will be a textcritical one. Such an approach is inevitable because all the sources came from the 16th and 17th century. The question is: Couldn’t have been Jutta a ‘new Elizabeth’ before the 17th century? Or do we have to do with a ‘falsification’? In other and less provocative words: Is Jutta a ‘sainte construite’?"

El objetivo principal de esta ponencia es desentrañar el concepto de traducción que subyace a la afirmación de que El guacho Martín Fierro, de Oscar Fariña (2011) es una traducción, denominación empleada por el autor para presentar su obra. En otras palabras, se cuestionan los andamiajes teóricos que permiten aseverar no solo que toda traducción es una reescritura, en el sentido remarcado por los Estudios Descriptivos de la Traducción, sino, yendo más lejos, que toda reescritura es una traducción. Se indaga, asimismo, la motivación de Fariña, en cuanto agente cultural, para sustentar esta postura, a la que defino, resumidamente, como un medio estratégico de apuntalar la lectura del libro.
Sometido a análisis, El guacho Martín Fierro se revela como una apropiación paródica que se propone devolver al texto fuente ciertos valores que considera embargados por la lectura nacional esencialista de la obra de Hernández. A través de este gesto contradictorio, por un lado, Fariña se instala en la tradición de la lectura borgeana de la literatura gauchesca y, por otro, se inscribe en una visión logocéntrica de la traducción. De esta forma, al debate sobre el sentido estricto y lato de la traducción en medios académicos y extraacadémicos, se suma el de la pertinencia de indagar sobre la relación entre las traducciones y otras formas de reescrituras en la conformación de imágenes de una obra canónica que son culturalmente proyectadas desde la cultura de origen.

The paper looks at two narratives of women / women’s
narratives – Jyoti Prasad Agarwalla’s Joymati and Mamoni Raisom Goswami’s Datal Hatir Une Khowa Howdah – that have been taken over, rewritten, or written over by two contemporary Assamese women filmmakers, Manju Bora and Dr Santwana Bordoloi. It tries to track how the retelling is attempted act of recovery of the female agency, which in terms of the palimpsest of history and context, is forever an incomplete project.

This thesis explores the works of Oscar Wilde and Will Self in order to show how the myth of
Dorian Gray managed to be adapted in Will Self’s postmodernist novel. Wilde already had postmodernist thoughts before the arrival of this movement in literature, and it helped him become popular and write his famous novel The Picture of Dorian Gray (1890). This thesis aims at showing
that the works of Oscar Wilde and Will Self belong to the libertine tradition and that Dorian: An
Imitation is indeed a modernisation of Wilde’s Victorian novel. This thesis also lays the emphasis
on the notions of aestheticism, hedonism and individualism present in these novels. Wilde and Self
are both known for their infamy and their desire to provoke their readers. In their novels, Wilde and
Self advocate their principle of life that is to break free from any moral hypocrisy and yield to one’s
pleasures and desires; so much so that they end up shocking their audiences.

Translation of theater texts creates a two-way research area, thanks to the
openness of both Theater Studies and Translation Studies to interdisciplinary research. In particular, examining plays that exist in more than one translation and that have been staged in different arenas enables comparative research into areas such as translation poetics and common translator strategies during the period of the translation. In this study, two target texts, both published and staged in different periods, have been scrutinized in connection with the theories of André Lefevere, which characterize translation as rewriting. The texts in question are translations of The Glass Menagerie by Tennessee Williams, one of the leading playwrights of 20th century America. This play, set during the Great Depression in the 1930s, depicts the life struggles of a family of three, whose biggest problems are triggered by the presence of a “guest.” Translations of the play entered the Turkish literary system in the forms of Can Yücel's text Sırça Kümes and Aytuğ İzat's text Sırça Hayvan
Koleksiyonu, published by the Ministry of Education and Mitos Boyut Publishing respectively. These translations have been staged by state-funded theaters, such as the State Theaters and the Istanbul Metropolitan Municipality City Theaters, as well as by private theaters. The source and target texts were read comparatively, alongside each other according to the “stereoscopic reading” method of Marilyn Gaddis-Rose. In this comparative reading, the translators’ decisions, as observed in the target texts, were analyzed in the context of the translation of theater texts. The choices
made, in terms of the transfer of cultural characteristics, characteristics of theater texts, and linguistic expressions, were examined under various sub-headings and explained as translator’s decisions, versions, and interpretations.
Keywords: Rewriting, stereoscopic reading, dramatic text translation, Sırça Kümes, Sırça Hayvan Koleksiyonu, The Glass Menagerie

This article tries to provide a thorough analysis of Nikolai Leskov’s rewriting of Lady Macbeth, the Shakespearean character, in the novella Lady Macbeth of the Mtsensk District, from the perspective of Translation and Adaptation Studies. The focus will be placed on the ideology of the author who, with full knowledge, rewrites a previous work to adapt it to a specific context. Apart from Leskov’s work, attention will be also paid to two of its subsequent adaptations: Dmitri Shostakovich’s homonymous opera and William Oldroyd’s filmic version, Lady Macbeth. Finally, the importance of these processes for the development of target literary systems will be discussed and emphasized.

Angela Albanese ricostruisce in questo saggio la storia della ricezione del Cunto, prendendo in esame una campione di traduzioni interlinguistiche e intralinguistiche, riscritture, adattamenti per l'infanzia e trasposizioni in-tersemiotiche.

"The Anglo-Saxon poem Beowulf, as we read it, is already the literary place of a cultural encounter
over centuries between an old Germanic heroic story and the Christian culture of the writer, a novel
of our days which re-uses the story is the continuation of a tradition already inscribed in the old
poem. But in the poem another main cultural encounter takes place. If a culture can, or can try to,
define itself and narrate its own survival through its hero, a hero needs an antagonist to define itself:
Beowulf’s antagonist is the well-known monster called Grendel. The article focuses on the
encounter with the otherness represented by Grendel in the original Beowulf and on how it changes
in its rewriting 'Eater of the Dead' by Michael Crichton (1997): from the threat morally and ethically
posed of the medieval poem to the contemporary anthropological threat revealing our fear for
previous stages of evolution. Crichton’s novel combines Beowulf’s story with Ibn Fadlan’s account
of his journey among the Bulghars, which gives the novel a geographical and multi-cultural
approach that was absent in the Anglo-Saxon poem. An epic poem is always a literary space where
cultural encounters take place, but these encounters have to change their features to be felt as
relevant in another time and in another culture."

This study explores the role that translation has played in the introduction and importation of chick lit as a literary genre in the Turkish literary system. The study acknowledges chick lit as a literary genre and presents the characteristics of chick lit as well as its position within the feminist history and its relation with women’s literature in the past. So as to investigate the role of Turkish translations of chick lit novels in introducing the genre into the Turkish literary polysystem, the translated chick lit novels in Turkey are descriptively examined year by year and notes are made regarding the publishing houses. The increase and decrease in the number of translated chick lit novels in years are observed and explained with respect to the marketing strategies of publishing houses and the appearance of the attempts for producing the first Turkish chick lit novel. Through the textual and paratextual analysis of the translations of Sophie Kinsella’s Shopaholic series and Ekin Atalar’s Selindrella series, the study reveals the similarities between the two and considers the latter as a “rewriting” of the former. In addition, the study presents a textual and paratextual analysis of Kocan Kadar Konuş by Şebnem Burcuoğlu to demonstrate that this book is the first example of “full import” of chick lit in Turkey.

One definition of translation in contemporary translation theory claims that rendering a text from one language into another is in fact a form of rewriting. Although this concept was first articulated in the early 1990s, this paper argues that it has much in common with premodern rhetorical ideas of imitation and emulation and can be usefully applied to explain medieval and humanist translation practices. To demonstrate this, I analyze premodern hagiographical and historiographical texts (primarily translations from Greek into Latin) in relation to Gérard Genette’s concept of hypertextualité and André Lefevere’s theory of translation as rewriting. Juxtaposing modern and premodern theories and practices, I identify and describe connections on both a synchronic level – between various premodern writing modes such as historiography and hagiography and translations of these genres – and a diachronic one, comparing conceptual frameworks from Late Antiquity, the medieval period, and in one instance the Renaissance, with that of contemporary translation theory.

This paper discusses the work of contemporary British poet and spoken
word performer Kate Tempest, whose postmodern poems challenge the
triangular relationship between written and/or performed text, the role of
the author and/as performer, and the traditional function of the (reading)
audience. It argues that her work questions in productive ways crucial
issues like authorship, ethical responsibility, inter- and transmedial textual
plurality, reception and oral narration. In Brand New Ancients (2013) in
particular, Tempest questions and deconstructs the form and the structure
of traditional epics by reversing a number of key features. Set in the
contemporary age, Tempest’s poem breaks down sociocultural boundaries
such as, for example, those between high and low, Gods or semi-divine
figures and lower-class, disenfranchised mortals and, in a metanarrative
move, between the figure of the poet and the readers/listeners, who are
transformed into potential members of an interactive postmodern dramatic
chorus. In this way, Tempest gives voice to a potentially endless spectrum of voiceless and marginalised subjectivities, whose subaltern status is erased in this new poetic hierarchy-free (inter)textual space where opposites can co-exist.

L'indagine intorno alle letture o alle biblioteche degli scrittori non sempre rappresenta uno strumento accessorio per venire a conoscenza delle cosiddette fonti o dei "contorni" più o meno significativi della loro opera, e ancor meno dovrebbe costituire una semplice "occasione" per rincorrere -quasi in un gioco fine a se stesso -i vari esempi di intertestualità. Se Italo Calvino si è potuto chiedere «chi siamo noi, chi è ciascuno di noi se non una combinatoria d'esperienze, d'informazioni, di letture, d'immaginazioni?» 1 , a maggior ragione noi dovremmo interrogarci sull'importanza che per l'atto critico-interpretativo detiene l'analisi delle ricezioni di testi appartenenti sia alla propria letteratura nazionale di uno scrittore, sia a tradizioni diverse dalla sua. In molti casi, infatti, quest'ultima diventa una chiave d'accesso eccellente e persino indispensabile per addentrarsi nei meandri dell'opera di un autore.

In this paper, I will examine the use of language to colonize the other from a slightly different angle.  Most postcolonial debates focus on the imposition of the colonizer’s language on the colonized, its impact on the colonized and the strategies of resistance, but I will examine the use of the language of the colonized to subjugate them.  I will be examining ‘the colonization of local language[s]’ such that they no longer serve the interest of their original cultures, but indeed, become weapons that victimize the original speakers.  This examination will look at the translations and definitions of words in the Setswana Bible and dictionaries, which were first carried out by London Missionary Society, (henceforth, LMS) agents between 1829 and 1925.  The first Setswana Bible and dictionary were subsequently revised by many other LMS agents and church missionaries of other societies.  This paper will limit itself to the LMS work, for it was the most influential among Batswana who reside in the present day Botswana.  Although this paper will be specific to Botswana, I believe that such an investigation will be of interest to many other former colonized subjects who read colonial biblical translations and interpretations.

The paper examines how colonial ideology informed biblical translation, using the case of Setswana Bible translation of 1840. The Ancestors, who represented positive power in the Setswana cultures, were rendered demons.  The paper investigates the motivation, implications and impact of such a translation.

In flesh and blood: Jane Austen as a postmodern fictional character
This chapter examines postmodern fictionalisations of Jane Austen—in particular, Stephanie Barron’s The Barque of Frailty and Michael Thomas Ford’s Jane Bites Back—and analyzes their intermingling of Austen’s biography and vampire/detective narratives. My chapter proposes that Austen author fictions simultaneously support and subvert essential meanings about the author deriving from the Victorian period (as quaint and saintly). These novels recreate Austen as a contradictory character: from the 1800s and the 2000s, Augustan and Romantic, liberal and conservative. As a primarily western genre, Austen fictionalisations welcome the polyphony and heteroglossia that characterises postmodernism, but also impose their “meaning” on western and eastern Janeite communities. These novels, thus, expose Euro-American Janeitism as a contradictory, multi-faceted phenomenon, but ultimately also postmodernism.

This study examines re-writings of Shakespeare in British drama, Edward Bond’s Lear (1971), Arnold Wesker’s The Merchant (1976) and Howard Barker’s Gertrude-The Cry (2002) in relation to the socio-political, historical and cultural backgrounds of the periods in which they were generated. These works are considered both as commentary to the events of their historical background, and as plays that question Shakespeare’s literary and cultural status. Thus, it is asserted that re-writing has a significant function in terms of creating alternative ideas to the ways in which critical issues are discussed in the canonical texts and their political and ideological foundations. In the Introduction, re-writing’s association with adaptation theory and intertextuality as a postmodern practice is considered. Additionally, the development of Shakespearean re-writing, its reception, and its functions are discussed. Within the scope of these ideas, it is concluded that Shakespeare’s works are questioned, and their ideological aspects are criticised through reworkings. In the first chapter, Edward Bond’s Lear is examined as a Marxist-Socialist appropriation written against Shakespeare’s uncritical attitude to issues like class inequality and violence in King Lear (1606). Considering the problems of the 1970s’ Britain such as unequal class structure, student and worker’s riots, inefficiency of leftist politicians, violence triggered by Stalinism and the Vietnam War, it is discussed that Bond’s appropriation is not only a Shakespeare re-writing but also a play that sheds light on the concerns of its period. In the second chapter, Arnold Wesker’s The Merchant is analysed in terms of identity politics as the play criticises Shakespeare’s Merchant of Venice (1605) for its antisemitic discourse. Accordingly, Wesker’s re-writing, as a play produced in the post-Holocaust context, is correlated with some events in its historical background such as Arab-Israeli conflict, Six Day War and Yom Kippur War. In the third chapter, Howard Barker’s Gertrude-The Cry is discussed as a response to the representation of the woman figure in Shakespeare’s Hamlet (1600) in terms of sexual and gender politics. Considering the issues of the play such as individual will and sexual freedom in relation to the regulations of New Labour as the ruling party in Britain in the 2000s, Barker’s work is also analysed as a criticism of its historical context. In the Conclusion, it is revealed that re-writings of Shakespeare in British Drama reflect theoretical, cultural, socio-political and ideological aspects of the periods in which they are created, and they also adopt a critical attitude to Shakespeare’s works. In the light of the plays examined thematically and technically in this study, it is discussed that, Shakespeare’s works evolve in a way that reflects the significant events and concerns of subsequent ages.

Keywords
Shakespeare, King Lear, The Merchant of Venice, Hamlet, Edward Bond, Arnold Wesker, Howard Barker, Lear, The Merchant, Gertrude-The Cry, re-writing, adaptation

This article offers a primarily linguistic analysis of the language used by Halldór Laxness in his novel Gerpla (1952), compairing that language with Old Icelandic. This linguistic description has multiple prongs, as it examines the novel’s orthography and phonology, morphology, syntax, and lexicon. It compares the novel’s language to the linguistic model followed by Laxness, Old Icelandic, and for what concerns the lexicon,
Fóstbræðra saga, the novel’s primary literary model. No attempt was made to provide a detailed analysis of the literary models for this novel, since such a venture is clearly beyond the scope of this investigation. The results of the linguistic inquiry may be summarized by saying that the novel’s language is a variant of Modern Icelandic from the phonological standpoint but it remarkably adheres to 14th-century Old Icelandic for what concerns morphology (with a few exceptions) and syntax. The lexicon is overall richer than that of the sagas of the Icelanders. Even the longest of them, Njáls saga, has a significantly smaller lexicon. Finally, based upon a close inspection of the corrections
Jón Helgason (1899–1986) made on the proofs of the novel, a philological appraisal of his contribution to the shaping of the language in Gerpla is offered, concluding that Jón Helgason had a crucial influence on the final form of the novel’s language.

L’ultimo romanzo di Fenoglio è il risultato finale di un lungo e complesso travaglio compositivo nel quale si possono riconoscere almeno 5 fasi: la stesura dei cosiddetti 'Frammenti di romanzo'; i tentavi di rielaborazione dei 'Frammenti'; la trasformazione della trama nella prima redazione di 'Una questione privata'; la riconversione dei personaggi e della loro psicologia nella seconda e nella terza stesura di 'Una questione privata'. Il saggio si concentra sui tre personaggi centrali della trama di tutte e cinque le redazioni, il protagonista Milton (che dal superguerriero e superseduttore della prima versione diventa l’amante disperato e il partigiano in dismissione delle ultime due redazioni); il deuteragonista Giorgio (che dal tenente repubblichino sentimentalmente ingenuo e onestamente nemico diventa l’amico traditore della versione finale) e la ragazza amata (che nel corso delle stesure si scinde e si moltiplica aumentando il suo tasso di pericolosità per il giovane partigiano). Il tutto nell’intento di mostrare la coesione logica dell’ispirazione che ha guidato l’autore nel corso della complessa rielaborazione e di avviare l’indagine sulle ragioni artistiche e umane del cantiere letterario dell’ultimo Fenoglio.

This is the first exploration of the performative and theatrical force of Austen’s work and its afterlife, from the nineteenth century to the present. It unearths new and little-known Austen materials: from suffragette novels and pageants to school and amateur theatricals, passing through mid-twentieth-century representations in Scotland and America. The book concludes with an examination of Austen fandom based on an online survey conducted by the author, which elicited over 300 responses from fans across the globe. Through the lens of performative theory, this volume explores how Austen, her work and its afterlives, have aided the formation of collective and personal identity; how they have helped bring people together across the generations; and how they have had key psychological, pedagogical and therapeutic functions for an ever growing audience. Ultimately, this book explains why Austen remains the most beloved author in English Literature.

Pochi sono i bambini che durante la loro infanzia non abbiano incontrato le figure del burattino Pinocchio o della piccola Alice del paese delle meraviglie, personaggi che ricompaiono in età adulta come protagonisti di grandi romanzi, la cui lettura verrà affrontata con una maggiore consapevolezza e in un’ottica del tutto nuova.
Queste opere che noi oggi leggiamo anche semplicemente per intrattenimento o per la loro nota divertente e stravagante, al momento della loro pubblicazione, e cioè a fine Ottocento, rappresentarono una vera svolta nel campo della letteratura per l’infanzia, isole di libertà tra i vari libri scritti per imprigionare l’immaginazione e il piacere del bambino.
Si tratta di due classici della letteratura infantile, ed entrambi ci presentano un protagonista il quale è coinvolto in viaggi enigmatici, durante cui poter fare esperienza della propria deformità: sia per Pinocchio che per Alice, il loro essere viene avvertito, o fatto loro avvertire dalle figure in cui si imbattono, come diverso e assurdo. In entrambi i casi ci troviamo di fronte a due opere dallo spirito fortemente anti-pedagogico ed anti-autoritario; questi caratteri sono stati ben percepiti e sottolineati dagli intellettuali novecenteschi, i quali hanno così eliminato ogni possibilità di catalogarli come romanzi di formazione. I nuovi soggetti della letteratura per l’infanzia, infatti, diventano gli inventori stessi delle proprie avventure, soggetti indipendenti ed unici creatori del proprio destino. Non c’è alcuna autorità esterna che abbia potere su di loro, né quella genitoriale né quella sociale, e l’unico metodo di formazione consiste nella loro stessa esperienza, vissuta in prima persona
Nelle riscritture novecentesche di Bierbaum, di Malerba e di Manganelli per Pinocchio, e del Collettivo A/Dams e a cura di Gianni Celati per Alice, questi personaggi riusciranno a ritrovare la collocazione nella loro infanzia perduta.

Çalıkuşu is an important Turkish novel which affected the subsequent
literature and social life. The novel has not lost its popularity since its first edition
until now and it always ranked among the most read and loved books of the Turkish
literature.
Çalıkuşu, first edition of which was made in 1922 is rearranged by Reşat
Nuri in 1937 and it is substantially changed with respect to its content and style. This
led to some differences in the skeleton of the novel and in the messages that it
conveyed.
This thesis headed “The Story of Çalıkuşu” has been written in order to
determine the amendments made in the novel and to establish that the differences
were made due to what requirements of the era and of the novelist. Additionally, it is
also analysed in this thesis that why the book which made its mark on Turkish social
life as well as Turkish literature is liked by the readers, how and to what extent it
affected the subsequent works, the life of Turkish woman throughout the history and
how the “new Turkish girl” image of Feride was formed. It is intended to present the
story of Çalıkuşu under the said headings, from 1922, the year that it was first
published until 2012.