TRANSFORMATIONS IN A LITTLE PRINCESS MOVIE: AN ADAPTATION ANALYSIS

A Little Princess is a novel written by Frances Hodgson Burnett (1905). This novel has been adapted several times into film, one of which is Alfonso Cuaron's (1995) work produced by Warner Bross Picture. This film was released in 1995 with the same title, "A Little Princess". This article focuses on the motives and ideologies of the adaptation process from novel to film. The changes that occur are a consequence of using media that change from text to screen scenes. This study will compare the intrinsic elements contained in novels and films. This research will also discuss how the transformation from novel adaptation to film and the motives. The adaptation theory by Linda Hutcheon (2006) was used to analyze the motives of adapting novels to films and will be supported by the theory of Mythology by Roland Barthes' (1957) to find ideology. Barthes' semiotic analysis helps the writer find the hidden ideology in the adaptation work, leading us to find the motive of the transformation process. As a result, the adaptation work of Alfonso Cuaron shows the existence of an ideology of feminism and American values. This ideology exists because of the cultural and political motives of the filmmaker to gain benefit from the process of adaptation. Keywords : adaptation, ideology, myth, motives.

Unhappy Birthdays in the Novels by F. H. Burnett (A Little Princess) and Charles Dickens (David Copperfield)

This article deals with “unhappy birthdays” in the novels of Charles Dickens and Frances Hodgson Burnett. Both writers follow the folklore tradition of depicting young characters who have to take care of themselves after a parent’s death. In the novels David Copperfield and A Little Princess, the news of their parent’s death comes on the child’s birthday. This article studies why this particular day is chosen, under what circumstances the children survive their trauma and what makes them capable of moving on. The news of the parent’s death on the child’s birthday seems to mark the start of a new period in each character’s life, a test that has to be passed. Having passed the test and won a moral victory over the circumstances, the child gets an opportunity to move on and be happy again.

The AS NARRATIVAS FAMILIARES DE FRANCES HODGSON BURNETT NA LITERATURA, NO CINEMA E NA ESCOLA

A tradução intersemiótica que caracteriza a adaptação de uma obra literária para ocinema envolve uma série de desafios que vão muito além dos julgamentos superficiais pautadospela maior ou menor fidelidade da obra fílmica em relação à obra escrita. O Jardim Secreto(1911) e A Princesinha (1905), clássicos da literatura inglesa de autoria de Frances HodgsonBurnett, são duas das obras mais populares no tocante à chamada “literatura familiar” emorigerante que marcou a literatura infantil e juvenil do início do século XX. Ambas foramadaptadas para o cinema e, sob esse novo suporte, alcançaram milhares de novos interlocutores.O presente artigo apresenta reflexões relativas aos referidos títulos e suas respectivas adaptaçõescinematográficas, além de contar com o relato de uma experiência realizada junto a alunos darede pública que tiveram contato com as obras em ambos os suportes.

Reading Dress: Fashion And Friendship In A Little Princess And Anne Of Green Gables

This Major Research Project (MRP) argues that fashion is a key tool for the critical examination of textual and visual works. Specifically, this research illustrates fashion’s impact on the social identities of young female protagonists in early-twentieth-century adolescent literature, through a comparative literary study of A Little Princess by Frances Hodgson Burnett and Anne of Green Gables by L.M. Montgomery. Engaging theories of fashion, literature, and girl culture, as well as theories of semiotics and fashion diffusion, dress is shown to be instrumental in developing episodes of closeness and friendship for the protagonists in these novels, along with moments that may isolate them. This MRP examines the illustrations and accompanying textual descriptions found in the 1905 (London) and 1908 (Boston) editions of each work in order to expose fashion’s mirroring and shaping of social identity; ultimately, this study reveals the tension between fashion’s ability to both cement and subvert dominant cultural norms and ideals at the turn of the century.

Reading Dress: Fashion And Friendship In A Little Princess And Anne Of Green Gables

This Major Research Project (MRP) argues that fashion is a key tool for the critical examination of textual and visual works. Specifically, this research illustrates fashion’s impact on the social identities of young female protagonists in early-twentieth-century adolescent literature, through a comparative literary study of A Little Princess by Frances Hodgson Burnett and Anne of Green Gables by L.M. Montgomery. Engaging theories of fashion, literature, and girl culture, as well as theories of semiotics and fashion diffusion, dress is shown to be instrumental in developing episodes of closeness and friendship for the protagonists in these novels, along with moments that may isolate them. This MRP examines the illustrations and accompanying textual descriptions found in the 1905 (London) and 1908 (Boston) editions of each work in order to expose fashion’s mirroring and shaping of social identity; ultimately, this study reveals the tension between fashion’s ability to both cement and subvert dominant cultural norms and ideals at the turn of the century.

ADJECTIVE CLAUSES AND ADVERBIAL CLAUSES IN “THE SECRET GARDEN” BY FRANCES HODGSON BURNETT

This research aims to analyze the adjective and adverbial clauses in “The Secret Garden” by Frances Hodgson Burnett. The method used in this research is a content analysis which is to describes the adjective clause and adverbial clause in the novel. Data are obtained, analyzed, and described based on the sentences in the novel. The relative pronoun's adjective shows the highest percentage of 130 or 86%, while relative adverbs show 22 or 14%. The adjective clause in relative pronouns shows the highest percentage caused by the complex sentences, mostly describing someone or things in most sentences in the novel. Meanwhile, adjective clause in time shows 154 or 63%, manner 46 or 19%, reason 35 or 14%, condition 6 or 2%, and concession 4 2%. Adverbial clause in time shows the highest percentage caused by most sentences tell about the time in almost every page.<p> </p>

Tudo acontece no jardim secreto

Resumo: Neste texto discutimos, a partir da Sociologia da Infância, como a infância e a inclusão dialogam no contexto do filme “O jardim secreto”, produzido em 1993, a partir de uma adaptação do clássico conto de fadas “The Secret Garden” do Frances Hodgson Burnett (1911). A discussão teórica ancora-se nos estudos de Plaisance (2004; 2005; 2006; 2010; 2015), Corsaro (2011), Sarmento (2004; 2005), Ferreira (2004) e Fernandes (2004). Ao olharmos para as infâncias e a inclusão na perspectiva da Sociologia da Infância visualizamos diálogos interdisciplinares no que diz respeito às tendências teóricas e conceituais que se complementam e causam possibilidades de mestiçagem na construção de novos conhecimentos, principalmente quando a inclusão, a infância e a imaginação, numa relação de interdependência, provocam a quimera e a superação do modelo tradicional dos processos de socialização a partir da cultura de pares. Palavras-chave: Inclusão. Infância. Processos de socialização. Cultura de pares.

American Literature in Japanese Shojo Comics

In the Meiji era, the modernization of Japan was achieved through the process of the westernization of political, military, and educational systems. Accordingly, the Japanese willingly acquired and learned Western thought by translating literary resources for Japanese readers: the works of writers such as Ralph Waldo Emerson, Edgar Allan Poe, and Nathaniel Hawthorne were frequently translated and introduced at this time. Concurrently, Japanese girls belonging to the urban middle class began to form their own institutionalized culture called shojo, through which they could communicate their interests in literature or art, and/or share aspects of their ordinary school lives. Shojo culture was supported by newly founded magazines targeting schoolgirls with names like Shojo Sekai, Shojo-kai, Shojo-no-tomo, and Jogaku Zasshi. In Japanese shojo, articles on American women and translated literary pieces written by American and European authors, including Frances Hodgson Burnett, were popular. The work of female American writers like Harriet Beecher Stowe, Louisa May Alcott, and Jean Webster was also translated as juvenile literature for Japanese children. Thus, American culture and literature significantly influenced the Japanese shojo culture. Nobuko Yoshiya, a well-known Japanese author of so-called girls’ novels, stated that she followed Western female writers such as Alcott, Burnett, and George Eliot. The Japanese translations of American literature decreased considerably during World War II. After the war, this literary corpus was rediscovered and was widely translated for Japanese audiences under the supervision of the General Headquarters (GHQ) or the Supreme Commander for the Allied Powers (SCAP). In addition to novels for girls, comics for young female readers (shojo manga) also aroused readers’ interest and became immensely popular. Some manga writers depicted Western settings in their narratives and innumerable “American girls” whose exotic and fashionable aura fascinated Japanese girls. These made-in-Japan “American girls” primarily represented the concept of liberty, autonomy, and abundance: qualities desired by Japanese schoolgirls. At the end of the 20th century, however, the representation of America in the genre of shojo manga gradually became more realistic and less enraptured.

Fauntleroy’s Suit

This chapter explores claimants in a variety of fiction, especially the multiple claimants created by Frances Hodgson Burnett, and notes that a recurring feature is a recognition scene in a picture gallery. It argues that in Little Lord Fauntleroy Burnett is inverting the convention of the Yankee claimant, creating a conciliatory version of a form predicated on culture clash and the possibility of revolution. It suggests an analogue in Emily Dickinson’s ‘No matter—now—Sweet’, a possible influence in Captain Marryat’s The Children of the New Forest, and multiple heirs, including novels by Nancy Mitford, and The Hound of the Baskervilles.