La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe

This paper analyzes the film Stonehearst Asylum (2014) directed by Brad Anderson (with screenplay by Joseph Gangemi) as a transmedia reanimation of Edgar Allan Poe’s tale “The system of Dr. Tarr and Professor Fether” (1845). The theoretical framework for this analysis has been constructed on the bas...

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Autor principal: González de Gatti, María Marcela
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2021
Materias:
after-witness
trauma
transposition
transmedia
postestimonial
transposición
transmedial
Acceso en línea:https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35757
Aporte de:
Revista de Culturas y Literaturas Comparadas de Universidad Nacional de Córdoba
id I10-R337-article-35757
record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-337
container_title_str Revista de Culturas y Literaturas Comparadas
language Español
format Artículo revista
topic after-witness
trauma
transposition
transmedia
postestimonial
trauma
transposición
transmedial
spellingShingle after-witness
trauma
transposition
transmedia
postestimonial
trauma
transposición
transmedial
González de Gatti, María Marcela
La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe
topic_facet after-witness
trauma
transposition
transmedia
postestimonial
trauma
transposición
transmedial
author González de Gatti, María Marcela
author_facet González de Gatti, María Marcela
author_sort González de Gatti, María Marcela
title La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe
title_short La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe
title_full La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe
title_fullStr La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe
title_full_unstemmed La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe
title_sort la apropiación postestimonial del trauma: stonehearst asylum (2014) como reanimación transmedial neovictoriana de un cuento de edgar allan poe
description This paper analyzes the film Stonehearst Asylum (2014) directed by Brad Anderson (with screenplay by Joseph Gangemi) as a transmedia reanimation of Edgar Allan Poe’s tale “The system of Dr. Tarr and Professor Fether” (1845). The theoretical framework for this analysis has been constructed on the basis of Linda Hutcheon’s theory of adaptation (2006), reflections by various authors on the issue of fidelity collected by Welsh and Lev (2007), and the model of analytical approaches devised by Snyder (2011). The analysis centers around the reformulations that the film proposes to resolve the adaptation difficulties inherent in the source text by means of certain permutations operated by the adapting text. The main adaptation issues lie in the short story’s main narrative strategy with its concomitant dramatic irony, the brevity of the uneventful tale itself, and the hypotext’s signifying polyvalence, which results from the fact that the tale can be read synchronously as a black humor tale, a satire against abolitionism, and an indictment of democracy, among other subtexts. With a theoretical framework also relying on Gutleben and Kohlke’s reflections on the role of bearing after-witness to human suffering (2010), the paper delves into the transformations that facilitate the construction of the film as a neo-Victorian text which censures institutions from the past –and, spectrally, from the present –from a culture of empathy towards psychological trauma. The paper also considers the ethical objections emerging from the graphic representation of the traumatized subject, or, in other words, the poethics of representation.
publisher Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar
publishDate 2021
url https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35757
work_keys_str_mv AT gonzalezdegattimariamarcela laapropiacionpostestimonialdeltraumastonehearstasylum2014comoreanimaciontransmedialneovictorianadeuncuentodeedgarallanpoe
first_indexed 2024-09-03T21:19:22Z
last_indexed 2024-09-03T21:19:22Z
_version_ 1809211313743724544
spelling I10-R337-article-357572021-11-30T15:55:51Z La apropiación postestimonial del trauma: Stonehearst Asylum (2014) como reanimación transmedial neovictoriana de un cuento de Edgar Allan Poe González de Gatti, María Marcela after-witness trauma transposition transmedia postestimonial trauma transposición transmedial This paper analyzes the film Stonehearst Asylum (2014) directed by Brad Anderson (with screenplay by Joseph Gangemi) as a transmedia reanimation of Edgar Allan Poe’s tale “The system of Dr. Tarr and Professor Fether” (1845). The theoretical framework for this analysis has been constructed on the basis of Linda Hutcheon’s theory of adaptation (2006), reflections by various authors on the issue of fidelity collected by Welsh and Lev (2007), and the model of analytical approaches devised by Snyder (2011). The analysis centers around the reformulations that the film proposes to resolve the adaptation difficulties inherent in the source text by means of certain permutations operated by the adapting text. The main adaptation issues lie in the short story’s main narrative strategy with its concomitant dramatic irony, the brevity of the uneventful tale itself, and the hypotext’s signifying polyvalence, which results from the fact that the tale can be read synchronously as a black humor tale, a satire against abolitionism, and an indictment of democracy, among other subtexts. With a theoretical framework also relying on Gutleben and Kohlke’s reflections on the role of bearing after-witness to human suffering (2010), the paper delves into the transformations that facilitate the construction of the film as a neo-Victorian text which censures institutions from the past –and, spectrally, from the present –from a culture of empathy towards psychological trauma. The paper also considers the ethical objections emerging from the graphic representation of the traumatized subject, or, in other words, the poethics of representation. El presente trabajo aborda el análisis del largometraje Stonehearst Asylum (2014), dirigido por Brad Anderson con guion de Joseph Gangemi como reanimación transmedial del cuento The system of Dr. Tarr and Professor Fether (1845) de Edgar Allan Poe. Con un marco que se apoya en la teoría de la adaptación de Hutcheon (2006), reflexiones de diversos autores sobre la cuestión de la fidelidad, reunidas por Welsh y Lev (2007), y el modelo de enfoques analíticos de Snyder (2011), el análisis se concentra en las reorientaciones que el texto fílmico, a través de las permutaciones que opera sobre el texto literario fuente, propone ante los problemas de adaptación inherentes a este último. Tales problemas se vinculan con la principal estrategia de escritura y la concomitante ironía dramática, la brevedad del cuento, cuya trama depende de escasos acontecimientos, y las múltiples capas de resonancia del hipotexto, cuyas pulsaciones provienen de su funcionamiento sincrónico como relato de humor negro, sátira sobre el abolicionismo y crítica de la democracia, entre otros subtextos. Con un marco teórico complementado por las reflexiones de Gutleben y Kohlke (2010) sobre la recreación postestimonial del sufrimiento, el trabajo se orienta a indagar sobre las transformaciones que vehiculizan la construcción del filme como un texto neovictoriano que interpela instituciones del pasado —y, espectralmente, del presente— desde una cultura de la empatía hacia el trauma psicológico, sin eludir, sin embargo, los cuestionamientos éticos que se suscitan en torno a la representación gráfica del sujeto traumatizado, es decir su po-ética. Centro de Investigaciones de la Facultad de Lenguas (CIFAL), Facultad de Lenguas, Universidad Nacional de Córdoba. Avenida Enrique Barros s/n, Ciudad Universitaria. Córdoba, Argentina. Correo electrónico: revistacylc@lenguas.unc.edu.ar 2021-11-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35757 Revista de Culturas y Literaturas Comparadas; Núm. 11 (2021): Número especial: Cruzando fronteras 2591-3883 1852-4737 spa https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35757/35887 https://revistas.unc.edu.ar/index.php/CultyLit/article/view/35757/35888 http://creativecommons.org/licenses/by-nc-nd/4.0

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