05_Juan Cerda.pdf

<font size="3"><span style="font-weight: bold;">Abstract</span>: This article starts off from a distinction between an Aristotelian and a semiotic<br>understanding of art to analyse the lines of continuity between a sourcetext and its adaptations. Thus,<br>it contrasts Shakespeare’s Macbeth to Ángel-Luis Pujante’s Spanish translation of the play, to<br>Welcome Msomi’s stage adaptation (uMabatha), and to two film adaptations by Akira Kurosawa<br>(Kumonos jô) and Billy Morrissette (Scotland, PA), to examine the persistence of the mythos (or<br>Aristotelian plot) in the adaptation process and question the extent to which the Shakespearean play<br>is still available if the sourcetext is effaced. It explores the mechanisms of repetition/reproduction and<br>difference/transformation of the adaptation process, and defends a relationship of cultural codependency<br>between sourcetext and adaptation.<br><br><span style="font-weight: bold;">Key words</span>: Shakespeare, Macbeth, Adaptation, Translation, Performance, Film</font>

Diary Pages In The Forbidden Forest. Mircea Eliade’s Detention In Miercurea

<P align=left><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>The novel</EM> </FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman">The Forbidden Forest </FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>comprises the main themes in Mircea Eliade’s </EM><EM>literature, but at the same time it may be considered an attempt of re-writing the author’s past. The </EM><EM>exiled Mircea Eliade, haunted by the shadows of his former political beliefs, wants to renounce his </EM><EM>old identity and to build up a new existence outside Romania. He lends his main character, his alter </EM><EM>ego </EM></FONT></FONT><FONT face=TimesNewRoman><FONT face=TimesNewRoman><EM>Ş</EM></FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>tefan Viziru, the key moments of his biography; one of the most significant episodes concerning </EM><EM>the concealment of his political convictions is represented by the incarceration in the legionary camp </EM><EM>in Miercurea Ciuc. If in </EM></FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>Memoirs </EM></FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>Mircea Eliade does not insist on this fragment of his past, he </EM><EM>chooses to reveal the ordeal he went through by means of this work of fiction, thus trying to </EM><EM>emphasize the main character’s and implicitly his own apolitical attitude. </EM></FONT></FONT><FONT face=TimesNewRoman><FONT face=TimesNewRoman><EM>Ş</EM></FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>tefan Viziru eludes any </EM><EM>political involvement and is unfairly condemned, exactly as Mircea Eliade used to claim. If the </EM><EM>character may even be considered a victim of history, Mircea Eliade’s interest in the Legionary </EM><EM>Movement cannot be completely overlooked. Even if we disapprove of the articles written in favor or </EM><EM>the Iron Guard, in interpreting them we must take into consideration the fact that Mircea Eliade was </EM><EM>drawn to the mysticism of this Movement, whose leader advocated the spiritual revolution which can </EM><EM>be accomplished only by the new man, about whom Mircea Eliade had written on countless </EM><EM>occasions.</EM></FONT></FONT></P>