Fatemeh Gholipour Fereydouni
Moving between Literature and Cinema examines the diverse interpretations of Jane Austen’s major novels translated for the screen. It shows how cinematic presentations give us insights into interpretations of the original works. No matter what our impressions from the books might be, we will see that the impression we get from the on-screen versions are not the same. Most of these films inspire fruitful meditations on the themes of Austen’s texts. This act of creativity is also testament to the fact that readers of the same text make different responses. Therefore, the different screen versions of a single novel, which result from the different responses of the filmmakers as readers, lead to diverse audience responses. The book also explores how intertextuality, as a technique in art, is used both in Austen’s own novels and in cinematic translations. Moving between Literature and Cinema shows how alterations and additions appear through each film as the manifestation of the filmmakers’ responses. It indicates where the films make interpretive assumptions about the original text. This study seeks to explore why and how an original story (conceptual sign) can be represented or modernized through a film (perceptual sign) within the frameworks of prevailing literary and film theories.
From Francois Villon to Jay-Z, this book looks at the topic of creativity, and through the theories of several writers, poets, composers, painters initially reflecting Romanticism, and then moving on to Post-Modernism, Hip-Hop, and other schools. Creativity. It’s a word that gets kicked around a lot these days. From the boardroom to the classroom, we are being asked to make do with less, the same time we are expected to come up with ideas and projects that are original, unique, and striking. Yet for centuries, artists, writers, poets, and composers, have been exploring this topic along- side of their chosen craft. This book looks at the various letters, manifestos, theories, and works of art that creative spirits ranging from poet Emily Dickinson to composer Charles Ives have left regarding their approach to creativity, a word that has a lot of currency but little definition today.
Dancing Images investigates the theoretical issues and practical concerns regarding the use of historic works of art as illustration in dance history. The first section draws content from the diverse fields of visual communication, visual culture, history and theory of illustration, dance iconography, emotional intelligence, visual intelligence, perception theory, visual learning, and visual instruction. The second section provides a collection of 171 images that illustrate the history of Western theatrical and social dance forms, 1581 to 1900, providing art-historical attribution and relevant dance historical information for each image in the collection.