EXPROPRIATIONS. Literary Confidences between Life and Death
This paper proposes the delimitation of a literary territory, or of certain speech acts as a form of expression specifically dissociated from religious and philosophical discourses, and the corresponding adaptation of such acts to the small and big screens. Expropriations, or confidences by characte...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2019 |
| País: | España |
| Institución: | Universidad de Navarra |
| Repositorio: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Idioma: | inglés |
| OAI Identifier: | oai:dadun.unav.edu:10171/58279 |
| Acceso en línea: | https://hdl.handle.net/10171/58279 |
| Access Level: | acceso abierto |
| Palabra clave: | Expropriation pedagogy of fragments testamentary speech death ethics film adaptation film and literature Expropiación pedagogía del fragmento discurso testamentario muerte ética adaptación cinematográfica cine y literatura |
| Sumario: | This paper proposes the delimitation of a literary territory, or of certain speech acts as a form of expression specifically dissociated from religious and philosophical discourses, and the corresponding adaptation of such acts to the small and big screens. Expropriations, or confidences by characters on the verge of death, are used as a trope to convey this specific idea. They refer to a kind of speech that no longer bears the weight of worldly events, but that does not attempt to ignore the consequences of having been in the world. With this reconceptualization of the term, this article seeks to identify an ethics of the human intensity in three specific sequences: two stories for cinema and television –Visconti’s The Leopard, and the final episode of Brideshead Revisited– and André Gide’s “literary testament,” Et nunc manet in te. |
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