transtextuality - group exercises

7/28/2019 Transtextuality - Group Exercises

1/4

Group APocahontas - Avatar

source: Boris. "Pocahontas = Avatar."The Next Web, 2010. Web.5th January 2010 .
http://thenextweb.com/shareables/2010/01/05/pocahontas-avatar/?fromcat=allhttp://thenextweb.com/shareables/2010/01/05/pocahontas-avatar/?fromcat=allhttp://thenextweb.com/shareables/2010/01/05/pocahontas-avatar/?fromcat=allhttp://thenextweb.com/shareables/2010/01/05/pocahontas-avatar/?fromcat=all


2/4

Group B Jane Austen - Twilight

I lay on my stomach, crossing my ankles in the air, flipping through thedifferent novels in the book, trying to decide which would occupy my mindmost thoroughly. My favorites were Pride and Prejudice and Sense and

Sensibility. Id read the first most recently, so I started into Sense andSensibility, only to remember after I began chapter three that the hero of thestory happened to be named Edward. Angrily, I turned toMansfield Park, butthe hero of that piece was named Edmund, and that was just too close.

Werent there any other names available in the late eighteenth century?

source: Vic. "Twilight and the Jane Austen Connection." Jane Austen'sWorld, 2008. Web. 28th September 2008 .

Group B James Bond - Alex Rider

sources:Fleming, Ian. Goldfinger. London: Penguin, 2009.Print.; Horowitz, Anthony.Scorpia Rising. London: WalkerBooks, 2011. Print.
http://janeaustensworld.wordpress.com/2008/09/28/twilight-and-the-jane-austen-connection/http://janeaustensworld.wordpress.com/2008/09/28/twilight-and-the-jane-austen-connection/http://janeaustensworld.wordpress.com/2008/09/28/twilight-and-the-jane-austen-connection/http://janeaustensworld.wordpress.com/2008/09/28/twilight-and-the-jane-austen-connection/http://janeaustensworld.wordpress.com/2008/09/28/twilight-and-the-jane-austen-connection/http://janeaustensworld.wordpress.com/2008/09/28/twilight-and-the-jane-austen-connection/


3/4

Group C Jane Austen - Bridget Jones

Heres Rebecca attempting to snare the unsuspecting Mr. Darcy, after he expressesfrustration with Bridgets self-help book collection:

Oh, I quite agree, she gushed. I have no time for all that stuff. If I decide I lovesomeone then nothing will stand in my way. Nothing. Not friends, not theories. I

just follow my instincts, follow my heart, she said in a new, simpery voice, like aflower girl-child of nature. I respect you for that, said Mark quietly.

Heres the original conversation between Captain Wentworth and his admirerLouisa Musgrove, regarding an inseparable couple of their acquaintance:

I should do just the same in her place. If I loved a man as she loves the Admiral, Iwould be always with him, nothing should ever separate us .... Had you? cried

he, catching the same tone: I honor you!

source: Pasley, Virginia. "Will Bridget Jones Remain the Modern Heiress to the JaneAusten Heroine?." The Atlantic, 2013. Web. 3rd January 2013 .
http://www.theatlantic.com/entertainment/archive/2013/01/will-bridget-jones-remain-the-modern-heiress-to-the-jane-austen-heroine/266786/http://www.theatlantic.com/entertainment/archive/2013/01/will-bridget-jones-remain-the-modern-heiress-to-the-jane-austen-heroine/266786/http://www.theatlantic.com/entertainment/archive/2013/01/will-bridget-jones-remain-the-modern-heiress-to-the-jane-austen-heroine/266786/http://www.theatlantic.com/entertainment/archive/2013/01/will-bridget-jones-remain-the-modern-heiress-to-the-jane-austen-heroine/266786/http://www.theatlantic.com/entertainment/archive/2013/01/will-bridget-jones-remain-the-modern-heiress-to-the-jane-austen-heroine/266786/http://www.theatlantic.com/entertainment/archive/2013/01/will-bridget-jones-remain-the-modern-heiress-to-the-jane-austen-heroine/266786/


4/4

Group D Wagner - TolkienA CRITIC AT LARGE

THE RING AND THE RINGSWagner vs. Tolkien.

BY ALEX ROSSDECEMBER 22, 2003

Early in The Fellowship of the Ring, the first film in Peter Jacksons monumental Lord ofthe Rings trilogy, the wizard Gandalf finds himself alone in a room with the trinket thatcould end the world. It lies gleaming on the floor, and Gandalf regards it with an attitude offascinated fear. The audience feels a chill that neither Jacksons vertiginous cameraangles nor Ian McKellens arching eyebrows can fully explain. The Ring of Power extendsits grip through the medium of music, which is the work of the gifted film composer HowardShore. In the preceding scenes, an overview of the habits of hobbits, Shores music hadan English-pastoral, dance-around-the-Maypole air, but when the ring begins to do its work

a Wagnerian tinge creeps infittingly, since The Lord of the Rings dwells in the shadowof Wagners even more monumental Ring of the Nibelung. J. R. R. Tolkiens fans havelong maintained a certain conspiracy of silence concerning Wagner, but there is no point indenying his influence, not when characters deliver lines like Ride to ruin and the worldsending!Brnnhilde condensed to seven []Tolkien refused to admit that his ring had anything to do with Wagners. Both rings wereround, and there the resemblance ceased, he said. But he certainly knew his Wagner, andmade an informal study of Die Walkre not long before writing the novels. The idea of theomnipotent ring must have come directly from Wagner; nothing quite like it appears in theold sagas. True, the Volsunga Saga features a ring from a cursed hoard, but it possessesno executive powers. In the Nibelungenlied saga, there is a magic rod that could be used

to rule all, but it just sits around. Wagner combined these two objects into the awful amuletthat is forged by Alberich from the gold of the Rhine. When Wotan steals the ring for hisown godly purposes, Alberich places a curse upon it, and in so doing he speaks of thelord of the ring as the slave of the ring. Such details make it hard to believe Tolkiensdisavowals. Admit it, J.R.R., you used to run around brandishing a walking stick andsinging Nothung! Nothung! like every other besotted Oxford lad. []Tolkien began The Lord of the Rings in the wake of the First World War, whose carnagehe experienced firsthand, and he finished it in the wake of the Second. In both wars, hewitnessed the wedding of Teutonic mythology to German military might. He bemoanedhow the Nazis had corrupted that noble northern spirit. You could see The Lord of theRings as a kind of rescue operation, saving the Nordic myths from misuseperhaps evensaving Wagner from himself. Tolkien tried, it seems, to create a kinder, gentler Ring, amythology without malice. The world-redeeming deed, in Wagners phrase, is done bythe little hobbits, who have no territorial demands to make in Middle-earth and wish simplyto resume their gardening. In the end, the elves give up their dominion, just as, in Wagner,the gods surrender theirs. Yet it is a peaceful transfer of power, not an apocalyptic one.The story ends not with the collapse of Valhalla but with the restoration of a wasted world.

source: Ross, Alex. "The Ring and the Rings: Wagner vs. Tolkien." The New Yorker, 2003.Web. 22th December 2003 .
http://www.newyorker.com/archive/2003/12/22/031222crat_atlargehttp://www.newyorker.com/archive/2003/12/22/031222crat_atlargehttp://www.newyorker.com/archive/2003/12/22/031222crat_atlargehttp://www.newyorker.com/archive/2003/12/22/031222crat_atlargehttp://www.newyorker.com/archive/2003/12/22/031222crat_atlargehttp://www.newyorker.com/archive/2003/12/22/031222crat_atlargehttp://www.newyorker.com/magazine/bios/alex_ross/search?contributorName=alex%20rosshttp://www.newyorker.com/magazine/bios/alex_ross/search?contributorName=alex%20ross

transtextuality - group exercises

Documents