CEAUL/ULICES - AS - Série III - nº 9 – 2015
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- A Voyage to Cacklogallinia by Captain Samuel Brunt: investing in (or against) the empirePublication . Serras, Adelaide Meira, 1955-A Voyage to Cacklogallinia with a Description of the Religion,Policy,Customs and Manners, of that Country came to print in 1727, in London, authored by a certain “Captain Samuel Brunt”, a pseudonym of a writer whose identity, willingly or not, is still a mystery. It describes a hazardous voyage by sea, very much in tune with the usual travel writing descriptions of the beauties and perils that awaited the seamen in their cross Atlantic routes. As usual in this kind of fictional works, the encounter with another community peopled by an intelligent species, the Cacklogallians, is here enhanced by the relativist notion of man’s position within the frame of God’s creation. The narrative further expands to a flight to the moon with the help of particularly powerful birds. However, the utopian factor here intertwined with fantastical travel devices just paves the way to a rather critical view of British society under the spell of imperial ideology. This paper plays on the double and ambiguous meaning of the verb “to invest”. According to its current sense it means to put one’s money in some industrial or commercial project. The older use of the word, up to the seventeenth century, also signified to attack. Investment, one of the main topics of Brunt’s ironic narration, makes the reader wonder how far greed, speculation, and all the economic tools of eighteenth-century British capitalism did hamper the white man’s ethos and political hegemony.
- The construction of the supernatural in two screen adaptations of Emily Brontë’s Wuthering HeightsPublication . Barbudo, Maria Isabel, 1950-Wuthering Heights by Emily Brontë is one of the favourite Victorian novels for screen adaptation, with a long list of versions that started in 1920 with a British silent film directed by A. V. Bramble, and includes several recent adaptations. With both British and American productions, the list alternates between cinema and television films or serials, this being a reason why I have chosen one adaptation made for the cinema — the classic Hollywood version directed by William Wyler and released in 1939 — and one British TV film, directed by David Skynner and released in 1998. The long time span between these versions — of about sixty years — as well as the fact that one was made in the United States and the other in Britain, one for the cinema and the other for television, may allow for a cultural critique based on the acknowledgement of different temporal, social and geographic contexts of production. The presence of the supernatural is one feature which, being central in the novel, has notwithstanding been mostly neglected in the analysis of film adaptations. This paper will, therefore, focus on the construction of the supernatural in both films, relating the different approaches to their respective cultural contexts.
- Acting the prince: Giacomo Joyce and HamletPublication . Greer, MickBetween November 1912 and February 1913, Joyce gave a series of 12 lectures on Hamletat the Università del Popolo, Trieste. Although these lectures are now lost, his extensive surviving notes suggest that the play was very much in his mind when he came to write Giacomo Joyce in 1914. Giacomo Joycesketches the obsession of an English teacher (who may or may not be entirely Joyce) for an unnamed female student in Trieste. Full of literary and, especially, theatrical allusions, Joyce’s last published work draws us into a search for the theatrical within the narrative as the nature of the protagonist’s relationship with his girl student is explored through juxtaposition with a range of allusions from the world stage. No textual “ghosts in the mirror”, however, are reflected more significantly in Giacomo Joyce than Hamlet. This article argues that Shakespeare not only provides Joyce with distorted verbal echoes and parallel events, but actually furnishes an underlying structure for Giacomo Joyce as a whole, through the Elizabethan 5 act structure. This structural adoption of a classic text to examine contemporary experience can be seen as paving the way for Ulysses, which had been in preparation for some time and on which Joyce was about to embark.
- Nineteen eighty-four, de George Orwell: Winston Smith no divãPublication . Stefaisk, Stéfanie AlvesO presente artigo alia a obra Nineteen Eighty-Four, de George Orwell, a A Interpretação dos Sonhos,de Sigmund Freud, entre outras, a fim de interpretar os diversos sonhos descritos pela personagem principal na distopia inglesa com recurso à óptica psicanalítica. Ao aplicar a metodologia terapêutica desenvolvida pelo pai da psicanálise na análise dos sonhos descritos na narrativa, pretende-se extrair os desejos recalcados no inconsciente de Winston Smith, a fim de com preender seus mecanismos de repressão e as origens de suas neuroses, traumas, fobias e angústias. A partir desta interpretação, torna-se possível compreender a personagem principal mais profundamente — e de acordo com uma perspectiva incomum. Ao descobrir os conteúdos recalcados no inconsciente de Winston, não só a personagem ganha uma nova dimensão, mas toda a obra adquire novos contornos. A partir das descobertas feitas através da interpretação dos sonhos da personagem, é possível lançar uma nova luz sobre Nineteen Eighty-Four, para que a obra possa ser analisada não somente pela sua perspectiva mais comum, a política e ideológica, mas por outra mais original: a psicanalítica.