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dc.contributor.authorCao, Claudia
dc.contributor.editorDeckert, Mikołaj
dc.contributor.editorKocot, Monika
dc.contributor.editorMajdzińska-Koczorowicz, Aleksandra
dc.date.accessioned2021-10-26T08:31:23Z
dc.date.available2021-10-26T08:31:23Z
dc.date.issued2020
dc.identifier.citationCao C., The Ending of Great Expectations According to South Park: A Science-Fictional Revisitation, [in:] Moving between Modes. Papers in Intersemiotic Translation in Memoriam Professor Alina Kwiatkowska, Deckert M., Kocot M., Majdzińska-Koczorowicz A. (eds.), Łódź University Press, Łódź 2020, pp. 265-278, doi: 10.18778/8220-191-8.18pl_PL
dc.identifier.isbn978-83-8220-191-8
dc.identifier.urihttp://hdl.handle.net/11089/39554
dc.language.isoenpl_PL
dc.publisherŁódź University Presspl_PL
dc.relation.ispartofDeckert M., Kocot M., Majdzińska-Koczorowicz A. (eds.), Moving between Modes. Papers in Intersemiotic Translation in Memoriam Professor Alina Kwiatkowska, Łódź University Press, Łódź 2020;
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 Międzynarodowe*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.titleThe Ending of Great Expectations According to South Park: A Science-Fictional Revisitationpl_PL
dc.typeBook chapterpl_PL
dc.page.number265-278pl_PL
dc.contributor.authorAffiliationUniversity of Cagliaripl_PL
dc.identifier.eisbn978-83-8220-192-5
dc.contributor.authorBiographicalnoteClaudia Cao received her PhD in Philological and Literary Studies at the University of Cagliari, where she worked on a project on the rewritings and adaptations of Great Expectations. She recently completed her Post-Doc Fellowship at the same university, in which she took part in a research group on “Sisters and sisterhood in literature and other arts”. Her publications include the books Le riscritture di Great Expectations. Sei letture del classico dickensiano [The Rewritings of Great Expectations. Six Readings of The Dickensian Classic] (Mimesis, 2016), and Sorellanze nella narrativa femminile inglese tra le due guerre [Sisterhood in British Women’s Fiction between The Wars] (Morellini, 2018). She also co-edited the volumes Sorelle e sorellanza nella letteratura e nelle arti [Sisters and Sisterhood in Literature and Other Arts] (Franco Cesati, 2017) and Maschere del tragico [Masks of The Tragic] on the open access international journal “Between” (www.betweenjournal.it), where she is editorial supervisor.pl_PL
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dc.referencesCao, Claudia (2015). “The Fortune of Great Expectations from the Nineties to Today”. In: Victorianomania. Reimagining, Refashioning, and Rewriting Victorian Literature and Culture. Eds. Simonetta Falchi, Greta Perletti and María Isabel Romero Ruiz. (109–127). Milano: FrancoAngeli.pl_PL
dc.referencesCao, Claudia (2016). Le riscritture di Great Expectations. Sei letture del classico dickensiano. Milano–Udine: Mimesis.pl_PL
dc.referencesCorrigan, Timothy (1999). Film and Literature: An Introduction and Reader. Upper Saddle River: Prentice-Hall.pl_PL
dc.referencesCortellazzo, Sara, Dario Tommasi (1988). Letteratura e cinema. Roma–Bari: Laterza.pl_PL
dc.referencesDickens, Charles (1996). “Great Expectations”. In: Great Expectations. Complete Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives. Ed. Janice Carlisle. Boston: Bedford Books of St. Martin’s Press.pl_PL
dc.referencesDoležel, Lubomír (1999). Heterocosmica. Fiction e mondi possibili. Trans. M. Botto. Milano: Bompiani.pl_PL
dc.referencesDusi, Nicola (2003). Il cinema come traduzione. Da un medium all’altro: letteratura, cinema, pittura. Torino: Utet.pl_PL
dc.referencesDusi, Nicola (2010). “Translating, Adapting, Transposing”. Applied Semiotics 24: 82–94 [accessed Feb. 22, 2014].pl_PL
dc.referencesEco, Umberto (2010). Dire quasi la stessa. Esperienze di traduzione. Milano: Bompiani.pl_PL
dc.referencesFrye, Northrop (1968). “Dickens and the Comedy of the Humours”. In: Experience in the Novel. Selected Papers from the English Institute. Ed. Roy Harvey Pearce. (49–81). New York: Columbia University Press.pl_PL
dc.referencesFusillo, Massimo (2011). Feticci. Letteratura, cinema, arti visive. Bologna: Il Mulino.pl_PL
dc.referencesGenette, Gerard (1980). Narrative Discourse: An Essay in Method. Ithaca: Cornell University Press.pl_PL
dc.referencesGlavin, John (ed.) (2003). Dickens on Screen. Cambridge: Cambridge University Press.pl_PL
dc.referencesHammond, Mary (2015). Charles Dickens’s Great Expectations. A Cultural Life, 1860–2012. Farnham–Burlington: Ashgate.pl_PL
dc.referencesKozloff, Sarah (1988). Invisible Storytellers. Voice-over Narration in American Fiction Film. London: University of California Press.pl_PL
dc.referencesLotman, Jurij M. (1982). “Il cervello, il testo, la cultura, l’intelletto artificiale”. Intersezioni 2 (1): 5–16.pl_PL
dc.referencesMarroni, Francesco (ed.) (2006). Great Expectations. Nel laboratorio di Charles Dickens. Roma: Aracne.pl_PL
dc.referencesMcCabe, Colin, Kathleen Murray, and Rick Warner (2011). True to the Spirit. Film Adaptation and the Question of Fidelity. Oxford: Oxford University Press.pl_PL
dc.referencesMcFarlane, Brian (2008). Screen Adaptations. Great Expectations: A Close Study of the Relationship Between Text and Film. London: Methuen.pl_PL
dc.referencesMonti, Alessandro (1996). “Introduction”. Great Expectations. By Charles Dickens. (v–xxxiv). Milano: Mondadori.pl_PL
dc.references“Pip” (2000). South Park. Created by Matt Stone and Trey Parker, performance by Malcolm McDowell. Season 4, episode 14. South Park Digital Studios, LLC, 2000.pl_PL
dc.referencesRosenberg, Edgar (ed.) (1999). Great Expectations. Authoritative Text. Backgrounds. Contexts. Criticism. New York: Norton and Company.pl_PL
dc.referencesSadrin, Anny (2010). Parentage and Inheritance in the Novels of Charles Dickens. Cambridge: Cambridge University Press.pl_PL
dc.referencesSconce, Jeffrey (2003). “Dickens, Selznick, and Southpark”. In: Dickens on Screen. Ed. John Glavin. (171–187). Cambridge: Cambridge University Press.pl_PL
dc.identifier.doi10.18778/8220-191-8.18


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