Intermedial Performance: Staging Anna Karenina in Tolstoy’s Novel and Wright’s Film

In the following thesis Anna Karenina, the novel by Lev Tolstoy and the literary film adaptation by Joe Wright, are discussed. The theatricalization of the upper class society in the novel was developed in the film narrative, and became a key for the analyses. The diegetic discourse of Wright’s new film appeared as an inspiration to re-inverstigate Anna’s character and her microcosm. As a result, my interpretation of Anna, different from the ‘traditional’ readings, is offered. I state that Anna is playing the role of a ‘diva’ within an artificial and staged society. The intermedial approach provided in this thesis involves visual, verbal and musical representations in the literary adaptation, which defines the relevancy of this thesis in both literary and film studies fields

Electron elastic scattering off a spin-polarized Cr atom

Electron elastic scattering off a spin-polarized Cr(...$3d^{5}4s^{1}$, $^{7}S$) atom is theoretically studied in the region of electron energies up to $15$ eV using both a one-electron "spin-polarized" Hartree-Fock and multielectron "spin-polarized" random phase approximation with exchange. It is found that scattering phase shifts of oppositely spin-polarized incoming electrons and corresponding cross sections of the scattering reactions significantly differ from each other, in general, even without accounting for spin-orbit interaction. This is shown to be associated with the presence of two semifilled $3d^{5}$ and $4s^{1}$ subshells in the Cr's configuration which induce considerably different exchange in the interaction of oppositely spin-polarized incoming electrons with the atom-target. The importance of electron correlation in $e^{-}+\rm Cr$ elastic scattering process is revealed. Moreover, correlation is shown to induce strong differences between scattering of oppositely spin-polarized electrons off Cr. A physically transparent interpretation for the latter is provided.Comment: 6 pages, 7 figures, submitted to Phys. Rev.

Translating the poetry of Cécile Sauvage: love and creativity in practice

This project is composed of a critical discussion about translating the French writer Cécile Sauvage (1883-1927) and a creative translation of selected Sauvage poems into English. Informed by creative critical theories, this project examines the personal stakes residing within this academic framework. Chapter 1 takes up the concept of fannishness as a method of participating in a cultural product. I define fannishness as love for a text, imagine the translator as a fan, and analyze metaphors of spatial distance used to describe creation and criticism. In Chapter 2, I examine the reception of Sauvage’s poetry, arguing that the historical treatment of Sauvage as a ‘woman poet’ has implications for translation. In Chapter 3, I examine how feminist theorists have dealt with Sauvage; drawing upon feminist and queer theories of translation, I connect translation to violence and love. In Chapter 4, I describe my approach to translating Sauvage on the formal level, drawing upon Jean Boase-Beier and Clive Scott to argue that a successful translation is one that embraces the translator’s positioning and extends the source text’s existence in a new way. In Chapter 5, I suggest that anthologizing or editing Sauvage means rewriting her. As I recount my trip to Sauvage’s archives, I bridge translation and editing, arguing that a translation is an extension of a text’s genesis. Chapter 6 discusses the reasoning behind the form, content and presentation of my translated collection, A Sauvage Reader. The Reader follows, interspersed with poetic commentary and quoted intertexts. The six themes that organize the Reader connect to creative critical vocabulary and to metaphors of translation. I conclude that my translation has given Sauvage’s work a new narrative, chronicled a translator’s experience, and brought to Translation Studies a novel articulation of how translators, like scholars, acknowledge relations of partiality, or what I call love