Literatură, Film și reprezentări culturale (Disertații 2025) http://arthra.ugal.ro/handle/20.500.14043/26726 2026-04-16T13:01:28Z 2026-04-16T13:01:28Z Neacșu, Cristina http://arthra.ugal.ro/handle/123456789/10708 2025-03-26T12:23:26Z 2022-01-01T00:00:00Z

Archetypes and the Hero Journey in Disney Animations Neacșu, Cristina Guided after the motto “create happiness”, Walt Disney managed to bring happiness, emotions and feelings in many hearts and houses. From Mickey Mouse to Frozen or to Chip and Dale - The Rescue Rangers (2022 Disney animation), Walt Disney and later the Disney Company knew how to create stories and characters that would attract a diverse audience regardless of its age, culture or religion. The Disney producers have brought in front of the viewer contemporary values as well as old values, being equally influenced by old traditional folk tales and by the new trends. In this way, the audience is attracted with something contemporary, but never forgets the importance of the past and traditions. The characters’ diversity as well as the dozens of stories in which these characters evolve managed to interfere and influence the evolution of many people who watched the Disney productions, as it happened in my own case. Growing up with the beauty of Disney classic animations had a positive impact on my tastes of choosing an animation. None of the other productions would make my heart vibrate as the Disney productions did and still do, even if I am not a child anymore. I have always been impressed by the inexhaustible source of imagination in the Disney productions and by the constant emotions that these animations confer even if I’ve seen some of theme several times. The tears and joy remain the same no matter the age. Taking into consideration these aspects I was interested in analysing the archetypes that the Disney characters embody, as well as the way in which the heroes evolve in three Disney animations that date from 1992, 1994 and 1996: Aladdin, The Lion King and The Hunchback of Notre Dame. Disertație Coordonator științific : Prof.univ.dr.Ioana MOHOR - IVAN

2022-01-01T00:00:00Z Iordache, Mihaela http://arthra.ugal.ro/handle/123456789/10707 2025-03-26T12:24:25Z 2022-01-01T00:00:00Z

Gothic Elements in “A Series of Unfortunate Events”. The novels vs. the Netflix TV series Iordache, Mihaela The Gothic emerged as a special literary genre undeniably fascinating the public through its catchy fiction sometimes synonymous with horror, flavoured with interesting characters and sensitive themes, bearing strong marks of the historical, cultural and social environments which produced it. Gradually, the genre infiltrated children’s literature as well, where it was initially received with controversial reactions, involving parents’ criticism and rejection, on the one hand, and children’s interest on the other, yet proving that the evolution of the genre is undeniable, expanding with works especially addressing non-adult readers. Furthermore, the screening of Gothic works increased the visibility of the genre especially among the young public who, in the last decades, has become less interested in reading. It appears that this intriguing fiction, with its surprising, often terrifying features, sparks even more interest for the fresh minds of children and teens. The adolescent becomes a specific literary target, having a typical role as a character, both in major canonical works of fiction and in esoteric texts, which targets a smaller audience, usually young, which serves as a subject to test the effect of how the Gothic literature influence them. The novel series entitled “A Series of Unfortunate Events” contains thirteen books written by the American writer Daniel Handler, known by the reader public under the penname of Lemony Snicket; it is one of the most intriguing and read, being translated into 41 languages and sold in more than 60 million copies. The books in the series have been classified in many ways, as belonging to the Gothic, to absurdist fiction, or being labelled as mystery, comedy drama and children’s fiction literature. Yet, as this paper attempts to prove, the series displays many characteristic tropes of Gothic fiction, hence it is best approached through the conventions of this genre. Centred on the hopeless story of three orphans, segmented in thirteen parts, full of symbols, mystery and terrifying fiction, the novel series encourages the adolescent to mature and break away with the inevitable fears all of us have. Their early age and lack of maturity, their sensitivity are tested to the extreme limit. More recently, the Netflix film series with the same name, developed by the novelist himself in collaboration with others, also received high attention from the TV public. In this context, I took up the challenge of identifying Gothic narrative elements, as well as highlighting differences between the first four novels and the first season of the film series and this thesis was accordingly developed Disertație Coordonator științific : Prof. univ. Dr Ioana MOHOR-IVAN

2022-01-01T00:00:00Z Mateescu, Violeta Cristina http://arthra.ugal.ro/handle/123456789/10706 2025-03-26T12:24:56Z 2022-01-01T00:00:00Z

The Gothic’s ‘Others’ on the Screen: Variants, mutations, connections Mateescu, Violeta Cristina This paper looks at some of the most famous and successful Gothic cinematic productions that belong to the horror genre, analyzing the work of several worldwide acknowledged directors, many of whom dared to take the challenge of adapting different types of written discourse, from comic books to great pieces of classic literature, into films. The research was carried out in order to study some of the most representative archetypes standing out from their environment as outsiders and the ways in which they are depicted as “the other”, not in the strict sense of social constructions of race, gender or others, but using this term in order to refer to the elements that originated from the Gothic style, i.e. supernatural entities (vampires, werewolves and zombies) and variants of them. Furthermore, the present article also presents the mutations and connections that are found between the variants chronologically, in order to underscore the evolution of the main templates. Taking the view that there is a lot of ground to be covered on this subject matter, the findings are presented in the light of various theoretical materials that range from reviews to encyclopedias. Disertație Coordonator științific : Prof. dr. Mohor-Ivan Ioana

2022-01-01T00:00:00Z Tatu, Simona http://arthra.ugal.ro/handle/123456789/10705 2025-03-26T12:26:18Z 2024-01-01T00:00:00Z

ECHOES OF DARKNESS: UNVEILING THE GOTHIC IN HOUSE OF SALT AND SORROWS AND CRIMSON PEAK Tatu, Simona In venturing into the mysterious lands of Gothic literature and cinematic representations, this paper provides a comparative analysis between an enchanting dark fantasy novel and an alluring Gothic romance film. Rather than a traditional comparison between a book and its adaptation this paper focuses on exploring Gothic conventions in two distinct art forms. The first is represented by a hauntingly beautiful novel, written by Erin A. Craig, “House of Salt and Sorrows,” and the other one is a film directed by Guillermo del Toro, named “Crimson Peak,” which is a masterpiece in the world of Gothic films. This literary and cinematic analysis digs deeply into the Gothic aspects found in both the novel and the film and explores the complicated connections between Gothic motifs, symbols, atmospheres, and themes in the two forms. The decision to analyse these two works assumes that there are certain parallels between them, on the one hand, and that both creations incorporate many different features, on the other hand. Thus, the analysis has the potential to provide the readership and viewership with a broad understanding of the Gothic genre. The thesis is divided into five chapters. For the first chapter of my work, I have considered creating a brief presentation of the beginning of Gothic art, starting with the origin of the term, and focusing on a short historical overview of Gothic art forms: in architecture, sculpture, and painting. I have included this artistic area in my work because I believe it is appropriate to provide context for what Gothic art meant in the history of mankind, which is why the chapter is very concise. To better understand Gothic literature, especially Gothic novels, the term itself, the historical and cultural context the circumstances in which Gothic was born in literature and the way it was manifested over time must be understood. Precisely for this reason, the second chapter of my work focuses on the presentation of the history and development of the Gothic novel. Since the genre is extremely complex and very well represented by many authors, I chose to focus on the best-known authors who contributed to the popularisation of the Gothic novel and the characteristics they included in their writings. Of course, I cannot include all the authors, or all the novels written, because it would be impossible to make such a broad introduction to the Gothic novel, but I choose to present the fearful and uncertain beginnings, continuing with its glorious evolution in the following centuries. The scope of this chapter is to provide a basic overview of the Gothic novel. 6 While the second chapter portrays how the genre has developed in general, the third chapter emphasizes the development of the on-screen Gothic. Similarly to the first chapter, this chapter presents the historical background to the readership. As the chapter continues, some of the most prominent film studios, directors and their works are to be listed in chronological order. The same as in the case of the literary Gothic, it is not the point to list all the authors but to familiarize the readers with the period in which the genre began to develop, how it has developed over time, and who are some of the key directors of the time. The fourth chapter focuses on providing the readership with some basic information about the works and life of the author Erin A. Craig and the director Guillermo del Toro. Here, I will briefly discuss their lives and early careers, and I have selected a few of their written and directed works to present their characteristics and what sets them apart from others. Additionally, in this chapter, I have included the extended presentations of the novel and the film. The final chapter of my work, arguably the most important, consists of a comparative analysis between the book and the film regarding Gothic elements. I will begin the analysis with the setting and specific symbols, while also delving into the atmosphere and overall tone. Following this, I proceed with an examination of the archetypal characters, highlighting both the similarities and differences between them. A crucial point of discussion is represented by the supernatural force and the theme of death associated with violence and the motif of ‘blood’. I will dedicate a few paragraphs to other important Gothic motifs such as isolation, mental issues, nightmares, nature, and preference for the past. A rather complex part will consist of the analysis of the relationships between the characters of each story, relationships of love, hate, conjugal and family relationships, of course highlighting Gothic features. Considering that the chosen Gothic stories belong to two different fields, I feel compelled to include in this chapter a small analysis of the techniques of rendering the Gothic in literature and film. Disertație Coordonator științific : Prof. univ. dr. Ioana MOHOR-IVAN

2024-01-01T00:00:00Z