Smisao života u Divnom životu (1946.) Franka Capre

This paper will analyze the concept of the meaning of life in Frank Capra’s film It’s a Wonderful Life (1946) from a logotherapy aspect and with the support of Catholic theory. Namely, the film depicts how George Bailey, faced with a major life difficulty, self-transcends himself and discovers meaning through work and deeds, love, and the attitude toward unavoidable suffering. The notions of the responsibility of every human being to their life and God, the uniqueness of every individual and the specific tasks life sets before them, and the acceptance of one’s own position will also be examined with regard to Bailey’s actualization of the meaning of life. The paper will conclude by identifying the effect this film has on its viewers due to the way it tackles the topic of the meaning of life, which makes it suitable for a therapeutic method cinematherapy, used in logotherapy.Ovaj članak analizira koncept smisla života u filmu Franka Capre Divan život (It’s a Wonderful Life) (1946.) s aspekta logoterapije te uz pomoć katoličke teorije. Naime film prikazuje kako George Bailey, suočen s velikom životnom poteškoćom, nadilazi sebe te otkriva smisao u poslu i djelima, ljubavi te u stavu prema neizbježnoj patnji. Pojmovi odgovornosti svakoga ljudskoga bića prema vlastitom životu i Bogu, jedinstvenost svakoga čovjeka i specifičnih zadataka koje život stavlja pred njega te prihvaćanje vlastite pozicije također će se proučiti u odnosu na Baileyjevu aktualizaciju smisla života. Članak naposljetku pokazuje kakav utjecaj taj film ima na gledatelje zahvaljujući načinu na koji se bavi temom smisla života, zbog čega je prikladan za terapijsku tehniku filmoterapije, koja se koristi u logoterapiji

Adapting the Adapted: The Black Rapist Myth in E.R. Burroughs' Tarzan of the Apes and Its Film Adaptations

Whether in art or science, adaptation does not refer to something original but to a mutated and permutated version of a pre-existing original. In literature, adaptation occurs first when real-life stories are adapted into fiction; these fictions then often undergo a second technological adaptation as literary works are adapted into theatrical productions for stage or film. This paper explores one such doubled adaptation; it examines how the black rapist myth, which grew out of the social and cultural realities of the Jim Crow South, was transformed in E.R. Burroughs’ portrayal of Terkoz in the popular adventure novel, Tarzan of the Apes (1914), and then how this fiction was adapted into multiple and varied films between 1918 and 2016

Moć perspektive u serijalu Raven

Beginning with the discussion of the terms narration and narrative, the paper asserts the difference between point of view, which is defined as “who” tells a story, and perspective, which shows “how” a narrator / a character perceives the events making up the story. To show the power of perspective in a literary work, the paper focuses on the young adult novel series The Raven Cycle by Maggie Stiefvater. The five main characters – Blue Sargent, Richard Gansey III, Adam Parrish, Ronan Lynch, and Noah Czerny – have been given unique perspectives that are unveiled through their separate character arcs. Blue’s perspective is clad with assumptions; Gansey’s is a clash between the perceived and the perceiving; Adam’s comes to light only when compared to other characters’ perspectives; Ronan’s is postponed and contrary to expectations; Noah’s is absent until the very end of the series.Nakon uvodnih zapažanja o pripovijedanju (engl. narration) i pripovjednom tekstu (engl. narrative), rad pojašnjava razliku između gledišta (engl. point of view), kojim se definira „tko” pripovijeda priču, i stajališta (engl. perspective), koje pokazuje „kako” pripovjedač/lik poima događaje koji čine priču. Da bi pokazao moć perspektive u književnom djelu, rad analizira serijal romana za mlade The Raven Cycle Maggie Stiefvater. Pet glavnih likova serijala – Blue Sargent, Richard Gansey III, Adam Parrish, Ronan Lynch i Noah Czerny – posjeduje jedinstvena stajališta koja se postupno otkrivaju tijekom serijala. Blueino je stajalište utemeljeno na pretpostavkama; Ganseyjevo na sukobu između shvaćenog i shvaćanja; Adamovo postaje vidljivo jedino u usporedbi sa stajalištima drugih likova; Ronanovo je odgođeno i suprotno očekivanjima; Noahino je neprisutno do samog kraja ciklusa

Edgar Allan Poe’s Chevalier Auguste Dupin: The use of ratiocination in fictional crime solving

Utjecaj Edgara Allana Poea na pisce detektivske proze toliko je velik da je njegov fikcionalni detektiv postao prototipom za mnoge kasnije detektive, poglavito Sherlocka Holmesa Arthura Conana Doylea i Hercula Poirota Agathe Christie. Lik detektiva amatera Chevaliera Augusta Dupina pojavljuje se u tri Poeove pripovijetke: „Umorstva u ulici Morgue” (1841), „Zagonetka Marie Rogêt” (1842-1843) i „Ukradeno pismo” (1844). U ovim pripovijetkama Dupin rješava različite zločine uz pomoć svoga neimenovanog pomoćnika. Prva je pripovijetka primjer zagonetke zaključane sobe, druga prikazuje Dupina kao detektiva koji rješava slučaj iz svoga naslonjača, a treća uvodi motiv neuobičajenoga počinitelja. Sve su tri pripovijetke utemeljene na Dupinovoj uporabi logičkoga zaključivanja kao metodi rješavanja zločina koja pokazuje da je rješenje uvijek rezultat čiste logike neovisno o tome koliko je zločin neobičan.Edgar Allan Poe’s influence on detective fiction writers has been so large that his fictional detective became the prototype for many later ones, most notably Arthur Conan Doyle’s Sherlock Holmes and Agatha Christie’s Hercule Poirot. The character of the amateur detective Chevalier Auguste Dupin is featured in three of his stories, also known as The Dupin Tales: “The Murders in the Rue Morgue” (1841), “The Mystery of Marie Rogêt” (1842-1843), and “The Purloined Letter” (1844). In these stories, Dupin solves various crime mysteries with the aid of his unnamed helper. The first tale is an example of a locked room mystery, the second portrays Dupin as an armchair detective, and the third introduces the motif of an unlikely perpetrator. All three stories show Dupin’s unique method of crime solving which strongly binds his observations and conclusions by the principle of ratiocination showing that no matter how extraordinary a crime is its solution always adheres to the principles of cold logic

Stereotypy in the Portrayal of Female Characters in Genealogical Cycles of William Faulkner and Miroslav Krleža : Eula Varner Snopes and Charlotta Castelli -Glembay

Defined as genealogies, Faulkner’s Snopes trilogy (The Hamlet, The Town, The Mansion) and Krleža’s Glembay trilogy (Gospoda Glembajevi, U agoniji, Leda), together with corresponding short stories and novels, share a whole array of common characteristics. One of them is the stereotypical characterization of women characters. This point of view is justified by the appearance of Eula Varner Snopes as the ravished Southern belle and the rehabilitated Dixie Madonna and Charlotta Castelli-Glembay as the Nietzschean cat woman and femme fatale

Stereotypy in the Portrayal of Female Characters in Genealogical Cycles of William Faulkner and Miroslav Krleža : Eula Varner Snopes and Charlotta Castelli -Glembay

Definirane kao genealogije, Faulknerova snopeska trilogija (The Hamlet, The Town, The Mansion) i Krležina glembajevska trilogija (Gospoda Glembajevi, U agoniji, Leda), zajedno s pripadajućim im pripovijetkama, novelama i romanima, dijele mnoštvo zajedničkih osobina. Jedna od njih je i stereotipija u prikazu ženskoga lika. Eula Varner Snopes kao posrnula južnjačka ljepotica i, kasnije, kao rehabilitirana južnjačka majka, te Charlotta Castelli-Glembay kao nietzscheanska žena-mačka i fatalna žena dokaz su stereotipije u prikazu ženskoga lika kao jedne od dominantnih osobina genealoškoga ciklusa kao književne (pod)vrste.Defined as genealogies, Faulkner’s Snopes trilogy (The Hamlet, The Town, The Mansion) and Krleža’s Glembay trilogy (Gospoda Glembajevi, U agoniji, Leda), together with corresponding short stories and novels, share a whole array of common characteristics. One of them is the stereotypical characterization of women characters. This point of view is justified by the appearance of Eula Varner Snopes as the ravished Southern belle and the rehabilitated Dixie Madonna and Charlotta Castelli-Glembay as the Nietzschean cat woman and femme fatale