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Copyright of Journal of Languages for Specific Purposes is the property of University of Oradea, Faculty of Economic Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Irony is a complex linguistic phenomenon that plays an important role in children’s literature. The use of irony in a children’s literary text opens up new possibilities for interpreting the text and also brings about an important change in the level of reception of the work, as it awakens not only the curiosity of the children but also the interest of the adults. The aim of this paper is to examine the forms of irony based on Erich Kästner’s fairy tale “Puss in Boots” and to discuss the role of morphology and syntax in generating irony. A detailed analysis of the morpho-syntactic elements of irony should show that Kästner’s text can be classified in the category of crosswriting. The paper also deals with the writing style of Kästner. Typical of the German author is that he has often made adaptations of famous works of children’s and young people’s literature. “Till Eulenspiegel”, “Münchhausen” and “Die Schildbürger” are adaptations that show that Kästner is interested in works that have the potential to be humorous. Earlier versions of the fairy tale “Puss in Boots” are also briefly mentioned in this paper to illustrate the popularity of the pre-text. Because Kästner’s text is an adaptation of the fairy tale of the Brothers Grimm, the following important terms are also to be explained: irony, humour and intertextuality. However, the article focuses mainly on the morpho-syntactic peculiarities of Kästner’s adaptation. Different grammatical categories such as modal particles, modal verbs, attributes and punctuation are examined in the paper and this analysis tries to determine to what extent they play a role in the manifestation of irony. Such an analysis opens up new perspectives and possibilities of interpretation of the fairy tale “Puss in Boots” by Kästner.

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Copyright of Gruppe. Interaktion. Organisation: Zeitschrift für Angewandte Organisationspsychologie (GIO) is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Neophilologica is the property of Acta Neophilologica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper focuses on the potential of linguistic capacity as one of the key adaptive mechanisms of a communicant in the Internet-mediated communication. The methodological platform of the research is the autopoiesis theory developed by Chilean scientists U. Maturana and Fr. Varela which allows to model communication as an interaction between a communicant and his/her niche. It seems that the process of adaptation, its orientation and nature are primarily determined by the adaptive mechanisms that a communicant employs such as linguistic capacity. Receiving stimuli from the niche, a communicant chooses a response strategy in terms of the hierarchy of factors, and then uses one or more adaptive mechanisms to implement it. Linguistic capacity of a communicant plays a significant role both in the process of perception and understanding of the original message, and in the formulation of a response. Within this format, it seems relevant to study the features of communicants’ behavior with a certain level of linguistic capacity and identify plausible patterns of their communicative behavior. This paper puts forward a hypothesis about the influence of linguistic capacity on the perception and further communicants’ behavior, dwells on an experimental research aimed at identifying the specifics of the influence of linguistic capacity on communicative behavior. The participants of this experimental study are Russian-speaking bilinguals and native English-speakers. The study has unveiled some features of the influence of the level of linguistic capacity on the perception and understanding of the original message as well as the choice of a strategy for a response. The revealed discrepancies appear to be culturally-based which confirms the hypothesis and acts as a basis for further investigation.

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Copyright of Psychotherapeut is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The addition/removal combination, related to translation, observed in the process of recreation constitutes the means of attenuation of the cultural, environmental and temporal differences between the audiences of the two plays. I propose to examine the process of adaptation and/or rewriting of the play (Na'im al-Shayatin), inspired by Tartuffe through the function of the translator as author. Given the highly evocative dimension of language, through the emanation of waves of expression of innuendo, new equations are observable for obtaining the meanings suggested in the target language and culture. Undoubtedly, an original way to reapprehend the latter. I raise questions about how the director works for re-creation in a different artistic environment using translation as a process. Due to the disparity in the audiences' environments and cultures of the two plays, the director resorted to adaptation and rewriting by combining addition and deletion. He negociated as a mediator to adapt the original work to the new audience and communicate the main ideas of the original play, which are hypocrisy and deceit through religious falsity, woman and marriage issues and family conflicts. To do so, he made changes to the playwriting in order to free the theatrical performance from its original terms. Indeed, Tartuffe is historically known as "The Impostor" or "The Hypocrite". The audience is aware of the latter’s blatant dishonesty. It is also ware that he is a clever and skilled hypocrite rather than a naive or illiterate fake. These ideas were reproduced as main themes in the Algerian play Na'im al-Shayatin. I analysed them in this paper using the Freytag pyramid through exposition, rising action, climax and denouement. Rewriting incorporates different levels and varieties of creativity in translation when removing boundaries between the source and target works. This process compeles the marriage of two extremely different environements into one mold. Eventhough worldwide communities represent many points of cultural disparity, they sometimes gather around some common socio-cultural traits and it is upon this very point that the researcher would shed focus in the current paper. In such contexts, the author can play a double-layered function that fluactautes between creating and translating. The latter is not an automatic literal process especially in literary domains where psychological factors like feelings and emotions are highly demanded. The factor of the human being in such contexts is not inveitable; literary translation is mainly a human endeavour. Consequently, the re-appearance of the same character in transcultural literature should not be considered a peculiar incidence. Instead of looking at literary works as unique and matcheless, one should reconsider this state of affairs to have the most of the teansuclutral literary experience. In Na'im al-Shayatin, the director, who was stuck between two extremes, was given the function of a secondary concept "recycler", propelling him toward a forthcoming narrative that is nothing less than the creative incarnation of his translation. On the one hand, he faces the challenge of staying authentic to the original play's vivacity, wit, and attractiveness. On the other hand, he is confronted by the difficult task of expressing the content autonomously in a hidden challenge of separating the act of translating from the creative process. Through this, Belkholdja re- tartuffed the original play by giving it a fresh perspective.

This paper presents an outline of the author’s doctoral thesis concerning an analysis of Czech and German translations of Dutch literature in the first half of the twentieth century. The essential issue is whether these texts should be called “translations” or “adaptations”. In the first part of this paper the latter terms are defined. Furthermore, two major Czech translators of Dutch literature from this period, Rudolf Jordan Vonka and Lída Faltová, are introduced, as well as the corpus. Finally, a case study of a Czech and German translation of Max Havelaar by Multatuli (1860) is presented.

Copyright of Report: Zeitschrift für Weiterbildungsforschung is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper focuses on J.G. Ballard’s various adaptations of his own material related to the issue of the sexual and sensual nature of an automobile crash, and suggests that adaptation is one of the key methods in art and literature which can be used as a means of contemplating and developing various aesthetic and political ideas. Ballard’s short story “Crash!” was first published in the ICA’s (Institute of Contemporary Arts) Eventsheet in February 1969, and later became a chapter of his experimental novel The Atrocity Exhibition (1970). At the same time, Ballard adapts the idea into the “Crashed Cars” exhibition (1970) in London. The short story was then adapted into a short film, Crash!, directed by Harley Cokeliss (1971) and starring Ballard himself, to be finally adapted into the novel Crash (1973). Ballard’s adaptation of his initial ideas across literary forms and media testifies to the importance of adaptation as a process and method of creating art. Thus, rather than suggesting that adaptations merely “breathe life” into the written word, the paper points to the conclusion that the form and content are mutually influential and that, in this case, the novel itself is an adaptation, rather than a hypotext (which it becomes in 1996 to David Cronenberg as he adapts it to film). The complexity of the relationship between the source text and its many adaptations has already contributed to the deconstruction, in Derrida’s terms, of the hierarchy (opposition) between the original and the copy. Rather, Ballard’s crossmedial and transmedial adaptations of his own ideas show how, as Ray would suggest, an adaptation cites the source and grafts it into a new context, giving it a new function, both aesthetic and political.

This work is centred on the judgment of the Constitutional Court in Blind SA v The Minister of Trade (CCT 320/21) [2022] ZACC 33 (21 September 2022), and the issues raised by this judgement. The main concern for this contribution is the overreliance on a non-ratified treaty – the Marrakesh Treaty –, which calls for the assessment of the place of international law in South Africa. The paper finds that while the issues raised in the Blind SA case – the rights of people with disability – are legitimate, the manner in which they were raised went beyond the prescripts of the Constitution.

Background: UV radiation can cause serious skin and eye diseases, especially cancers. UV-related skin cancer incidences have been increasing for decades. The determining factor for this development is the individual UV exposure. Climate change-induced changes in atmospheric factors can influence individual UV exposure. Methods: On the basis of a topic-specific literature research, a review paper was prepared and supplemented by as yet unpublished results of the authors’ own studies. The need for scientific research and development is formulated as well as primary prevention recommendations. Results: Climate change alters the factors influencing UV irradiance and annual UV dose in Germany. First evaluations of satellite data for Germany show an increase in mean peak UV irradiance and annual UV dose for the last decade compared to the last three decades. Conclusions: The climate change-related influences on individual UV exposure and the associated individual disease incidence cannot yet be reliably predicted due to considerable uncertainties. However, the current UV-related burden of disease already requires primary preventive measures to prevent UV-related diseases.

This paper puts forward the question of the correlation between the religiosity of Bosniaks and their identity, which has gone through numerous phases through the centuries-long process of evolution of ethnonational collective consciousness and very often reflexively influenced the content and manifestation of the phenomenon of religiosity. From a contemporary sociological perspective, through methodologically based research, it was necessary to redefine the phenomenon of the religiosity of Bosniaks and determine its real impact on identity construction. During the research, it was determined that Islam is not a key and dominant identity basis for Bosniaks, but is selectively accepted through the traditional aspect, subjected to the process of adaptation, and used (instrumentalized) only as a cohesive and identifying tool, provided Bosniaks with the substratum of collectivity and crucial specificity of their identity.

Listen to those silences: translating, communicating and reflecting Entendez-vous dans les montagnes…by Maïssa Bey, in Italian and English Maïssa Bey is a French-speaking Algerian writer whose first works were published in the 1990s, during the "black decade" of the civil war that ravaged Algeria. Algerian people, especially women, of whom the author is an integral part, are the protagonists of her stories and novels that aim to break the silences and censorship, to explore the small stories hidden behind the big story. This article aims to analyse the Italian and English translations of Entendez-vous dans les montagnes..., a novel published in France in 2002 and in Algeria in 2007. The Italian translation, published by Astarte in 2020, is by Barbara Sommovigo, who had already translated Bey’s Puisque mon coeur est mort in 2013, initiating an almost paradigmatic author-translator relationship that allows for an effective approach to a short but complex text like Entendez- vous dans les montagnes... The English translation is by the American Erin Lamm, and is the result of her doctoral thesis, with a clearly more academic intention than the Italian text, whose publishing house Astarte aims to communicate voices from the shores of the Mediterranean. In fact, Bey's work travels between two languages and therefore between two cultures, the French and the Algerian, which intersect in the pages of the story like the lives of the three protagonists. An Algerian woman, an elderly Frenchman and Marie, a young blond woman, meet in the same compartment of a train to evoke memories and thoughts, which lead them to the past and recent history of Algeria, through painful pages among which is evoked the loss of the author's father, killed in 1957 by French soldiers. It is a difficult task for the translators to render this multiplicity of themes and languages from the title: for a French-speaking reader, there is a strong reference to both a line from the Marseillaise and an Algerian patriotic song (Min Djibalina). The Italian title is therefore changed to Dietro quei silenzi…, while the English title is purely literal, Do You Hear in the Mountains... This is just one of the translation choices that will be analysed in this paper, in which the comparison between the strategies and techniques used in the two translation works will be constant, creating a perpetual dialogue with the original text, in the image of the friendship that now exists between the author Maïssa Bey and the two translators.

The paper focuses on the ability of Czech speakers to explicitly imitate native English realizations of the phoneme /t/ as [ʔ] (t-glottaling). In Czech, glottalization occurs as a boundary signal of wordinitial vocalic onsets. We hypothesize that this allows for a better imitative performance in the intervocalic context as compared to non-prevocalic contexts. However, an alternative hypothesis based on language-external facts (frequency in the learners’ English input) predicts the opposite pattern. Our experiment involves 30 participants in a shadowing task. In addition to words with /t/, words with /k/ are examined to establish if speakers can generalize to a phonologically similar category to which they have not been exposed. Speakers adapted their pronunciation after exposure to t-glottaling to some degree. Our hypothesis was confirmed for the shadowing task, while the alternative language-external hypothesis was confirmed for the post-test task, suggesting a different pattern of performance in terms of imitation versus learning.

The Divine Comedy is one of the most famous and timeless narrative poems, being still translated into several languages and inspiring movie adaptations (from Pasolini to Greenaway), pop and rock music, advertisement videogames and graphic novels.The transformations the text has gone through throughout the years reveal several different interpretations of Dante’s work and of its meaning. This essay aims at tracing a history of Dante-based graphic novels in the Anglo-American tradition. Particular attention is devoted to Birk and Sanders’ Dante’s Inferno (2004) and to Seymour Chwast’s graphic novel, Dante’s Divine Comedy (2010), which is the only ‘translation’ into a poster design style. This paper also examines how the Divine Comedy changes migrating from its original context to the contexts that characterized the different adaptations and remediations, and from its original poem form to new genres. It argues that the graphic novel is the genre better able to give to a contemporary reader a new Dante’s Divine Comedy keeping intact the delicate balance between words and imagines (the long history of the Divine Comedy’s illustration testifies it: from Botticelli to Joshua Reynolds, from Gustave Doré, to William Blake until Guttuso, see Battaglia Ricci 2018). Between losses and compensations, the graphic novel establishes a dialogue with its reader on several levels, depending on the expertise of source work and stimulating the reading (or the re-reading) of the classic; in this way they could be considered a strategy of survival of the classic.

This paper focuses on the management of scarce water resources in two metropolises of the arid West of the United States facing intensifying droughts and increased water stress. Located in the Sonoran Desert and built on the model of the oasis city, Phoenix and Tucson are great examples of the socio-ecological challenges linked to extreme water scarcity. This study considers these two cities as laboratories for urban adaptation to climate change and explores competing modalities of adaptation to water scarcity. Since the system of large hydraulic infrastructures underpinning urban growth is increasingly called into question, we observe and analyze the power relations between stakeholders involved in water resource management. Using an urban political ecology framework, this contribution shows that adaptation strategies are implemented by dominant actors in order to maintain the growth trajectory of particularly attractive cities. Yet, it also highlights the role that citizen empowerment plays in the emergence of potential environmental alternatives. The results show that environmental alternatives play an important role in regulating resource control strategies and in calling for socio-environmental transformations in the urban metabolism.

The author focuses on two modes of audiovisual translation – dubbing and voice-over. The aim of this paper is to dispel the myth of absolute cultural non-translatability, and excerpts from films about super heroes are examined to this purpose. An audiovisual translator faces many challenges, and translation strategies for texts characterised by cultural elements are not only helpful but indispensable in facilitating the translation process. One such strategy is adaptation, which proves to be highly effective and contributes to the positive reception of films by their intended viewers. The correct interpretation of the cultural fragments determines the accessibility of the language and can contribute to enhancing the humorous effect in the Polish language version. The analyzed movie excerpts demonstrate that the Polish versions contain creative and sometimes unexpected translational ideas for adapting the source-culture elements to the target culture, resulting in dialogue that is appreciated by Polish viewers.

The paper focuses on the animated adaptation of Edgar Poe’s short story “The Tell-Tale Heart” created by “United Productions of America” in 1953. The film is analyzed in the broad context of the studio’s aesthetical principles, its artist’s special affinity to the Bauhaus style and their interest towards Cubist and Surrealist experiments. “UPA”'s specific visual primitivism, or “limited animation”, is an experimental technique, closely related to the aesthetics of avant-garde, a quest for the new imagery and new rhythmic structure of a film. Making The TellTale Heart, its director Ted Parmelee and background artist Paul Julian created primarily a film about a madman, a split personality with distorted vision; this character perfectly matched the Cubist method and the idea of simultaneous “vision in motion” (L. Moholy-Nagy), actual for the artists of “UPA”. However, at the same time the studio was ready to meet the expectation of the mass audience, introducing the parallels with crime drama films. Parmelee and Julian strive to demonstrate multidimensionality and variability of psychic phenomena. The main visual images of the film are symbolically linked to the problems of power, control, time, and decay. The principles of collage, described by John Hubley, one of “UPA”'s leading artists, are employed in different techniques. First, the fusion of multiple emotions of Poe’s narrator is represented by sophisticated multi-layered images. Second, the eye of the obsessed narrator creates the chains of similar elements, which are successively combined through montage. The ending of the film visualizes the result of the crime, its reverse effect. It is impossible neither to hide nor to destroy the victim’s body, as it over and over returns in its reflections. The evil observer’s control is not overcome, but increases.

The State of Tabasco is vulnerable to the floods caused by Climate Change directly related to human intervention. The objective of this paper is to reflect how Climate Change is regulated by law in Tabasco. First: We review doctrinal concepts inherent in the topic: vulnerability, resilience, mitigation and adaptation; then systematically, we carry out a normative analysis of the legal framework of climate change that includes the development plan and public policies in this area. Results: Tabasco's municipal development plans do not contemplate clear, concrete or forceful actions for the proper management of this problem; mitigation, adaptation strategies including the risk atlas are null or vague. Conclusion: Tabasco has a vast legal order of climate change, however there are serious shortcomings in its implementation; therefore in Tabasco the right to a healthy environment is not guaranteed, because it violates the Constitution based on the principles of Human Rights.

This article consists in a thorough analysis of various Czech translations of the early poems of French Symbolist poet Stéphane Mallarmé. The main difficulties arise from Mallarmé’s omnipresence in Czech literary culture, together with a tendency to adapt his poetry to fit the mood of changing historical contexts and expectations. Many Czech poets — some of the most prominent — have dealt with Mallarmé’s poetry, and its influence cannot be limited to a simple matter of translation. Among other things, it has thoroughly permeated Czech poetry in a specifically political way, as we see for example with Hrubín’s historic address to the Convention of Writers in 1956. The overall aim of this paper however is to present a detailed examination of two Parnassian poems by Mallarmé as translated by F. Dohnal, E. Lešehrad, K. Čapek, V. Nezval, F. Hrubín, O. Nechutová, V. Mikeš and J. Pokorný. Based on a series of observations that have mainly to do with semantics, prosody and the translators’ overarching strategies, the authors come to the conclusion that the early Czech translations depend too much (if not word-for-word) on the French originals, and on Parnassian poetical principals. A sensible change comes with K. Čapek. It is, however, F. Hrubín, himself an acclaimed poet, who offers the most convincing translation, at least if we take into consideration such traditional or conservative criteria as precision and accuracy.

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1 Timothy 3:2 in its traditional reading is one of those Bible texts that have negatively challenged the Igbo style of marriage and family life. This is because the church’s ‘generalisation policy’ on the sacrament of matrimony, which has presented such passages as all inclusive, has left it an out-of-context hermeneutical text both in sermons and catechetical interpretations. Since the church is assumed to be an impartial umpire in cultural matters, then, understanding such passages for an average Igbo Christian would mean to interpret them in their contexts or to interpret them through Igbo lexicology, which is technically called adaptation. But if the biblical writers used the languages and the literary forms of the ancient Mediterranean world, then a re-view of such passages through the Igbo cultural lens is imperative considering that African scholars have become aware that neither the methodology used by the European scholars nor their theological conclusions reached reflected the reality of the African experience and its self-understanding. This paper, with an African contextual hermeneutical view drawn from deconstructionist criticism including textual and form critical methodology, critically examined this situation, and narrowed the study to the sacrament of marriage. Intradisciplinary and/or interdisciplinary implications: This study challenges the dogmatic theological position of the church in the sacrament of matrimony. Its potential result will be to emancipate the Igbo-African church from neo-colonialism in which it was enmeshed through dogmatic ambiguities, questioning the western opinion to godly marriage and instead, reinstating the African marriage in its place.

The increase in the number of international students at medical universities in Ukraine has made great demands for the quality of instruction in the first three years of study when adaptation of these students takes place. The aim of the paper is to analyse international students’ perceptions of teaching Microbiology, Virology and Immunology (MBVI) at Bogomolets National Medical University and outline the recommendations. A mixed research method was applied; the questionnaire with close-ended and open-ended questions grouped in nine sets was developed. Anonymous survey was conducted with the students (N=104) after completing the MBVI course with English as a medium of instruction. The survey has indicated general satisfaction of the respondents with the course. Insufficient proficiency in English often affects the quality of learning, and a low level of the Ukrainian or Russian language skills create difficulties in their communication and effective integration to the Ukrainian cultural environment. The survey results have shown the positive attitude of the respondents to the lectures with the requirement to have more interactive communication between the lecturer and students as well as have identified the difficulties concerning practical classes and self-study. The recommendations on how to improve academic performance of international medical students have been given. The focus is on increasing and maintaining language skills, consideration of ethnic and psychological features of students from different countries and implementing interactive teaching methods so that effective interaction in the learning environment could be achieved.

Whether in art or science, adaptation does not refer to something original but to a mutated and permutated version of a pre-existing original. In literature, adaptation occurs first when real-life stories are adapted into fiction; these fictions then often undergo a second technological adaptation as literary works are adapted into theatrical productions for stage or film. This paper explores one such doubled adaptation; it examines how the black rapist myth, which grew out of the social and cultural realities of the Jim Crow South, was transformed in E.R. Burroughs’ portrayal of Terkoz in the popular adventure novel, Tarzan of the Apes (1914), and then how this fiction was adapted into multiple and varied films between 1918 and 2016.

Abstract Susan Orlean’s The Orchid Thief has raised and defied questions about genre since its appearance in 1998. Though “research” and “facts” are at the foreground of the book, critics have described it by such terms as literary non-fiction, faction, personal journalism, and non-fiction novel because of its strong “literary,” that is narrative, characterological, thematic, and even philosophical, qualities. Struggling to make a faithful adaptation of this “simple” and “beautiful” book “about flowers” for film, Charlie Kaufman, the neurotic and anxious protagonist/screenwriter of Adaptation (2002), a fictionalized avatar of the real-life Charlie Kaufman, works through the wide range of possible generic and narrative adaptive possibilities that the book invites. The series of apparent false starts eventually get resolved, in a desperate attempt at creating closure, by way of the “Hollywood ending” that the screenwriter ostensibly despises and insists he will avoid. This paper engages the complex relationships between these two objects – The Orchid Thief and Adaptation – first, by providing some interpretive analysis of Orlean’s book and its potential adaptive possibilities, and second, by examining what happens to those possibilities in Adaptation. On my argument, the film refracts the book’s concerns into a meditation on the processes of reading, storytelling, and interpretation in the realm of explicit adaptation by way of metafiction, metalepsis, and other techniques associated with experimental narrative.

The article deals with the problem of adaptation of “internally displaced people” (for example, refugees from war zones in eastern Ukraine) to the university environment by means of students’ self-government. According to the survey among IDP students who were transferred from other higher education institutions, it was found that the most favourable field for the development of constructive relations between displaced students and “domestic” students of the academic community of the university could be created by a system of students’ self-government. The organizational and pedagogical conditions of adaptation of IDP students to the university environment were defined. The paper proves that students’ self-government in a variety of forms and organizational levels can ensure successful adaptation of displaced students at a new place of study.

The intermedial network of Little Nicholas is not limited to Jean-Jacques Sempé’s and René Goscinny’s illustrated short stories (1959-1965), which have become classics of children’s literature. Before that, they were born in cartoons and comics, and they have been brought to the big and small screen ever since, including an animated TV series, which is being novelized. This paper proposes a reading of some Little Nicholas’ short stories as direct novelizations – and some novels based on animated cartoons, as indirect novelizations – of the comics pages published in 1955-1956. Novelization will be considered both as a cultural practice and as a creative process.

This paper analyzes the interesting technique of adaptation of the film Becoming Jane, a biopic on the life of Jane Austen, released in 2007. Loosely based on Jon Spence's biography Becoming Jane Austen, the film faces the problem of the scarcity of information on Jane Austen's life through a technique that, if not original nor always satisfying, is nevertheless worth being studied. By recurring to the character descriptions and the anecdotes narrated in the novels, the film (and Spence's book too) "fills in the blanks" in Austen's life by adding touches of romance with questionable historical accuracy and fictionalizes the writer's biography in order to adapt it to the stereotype of modern romantic film heroines.

The present study focuses on the main types of Romanian-Hungarian bilingualism in the old epoch of Romanian language taking into account some of the causes which gave rise to them. Another concern of the paper refers to the consequences of this very biling ualism on the development of Romanian language in terms of its malleability towards the incorporation of Hungarian phonetic properties and lexical elements, on the one hand, and in terms of the borrowings‘ treatment and adaptive mechanisms, on the other hand.

Copyright of GENDER: Zeitschrift für Geschlecht, Kultur und Gesellschaft is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Within many practical, professional and political fields, resilience has become a normative, barely questioned orientation principle, yet it has not been the subject of explicit reflection. The following considerations aim to contribute to closing this gap without assuming a dichotomy between the functional and the normative levels. Resilience is understood as a process whose focus is the response to upheaval and problems. The ability to respond, then, is the starting point from which the normative aspects of resilience can be more clearly brought out and connected to conceptual differences (simple and reflective resilience; specific and general resilience) within resilience discourse. This is grounded in Bernhard Waldenfels' idea of responsive ethics. Our concept seeks to provide greater understanding of the term "responsible resilience" and bring up the normativity of resilience in a reflective, non-dichotomous way. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Internationale Beziehungen (ZIB) is the property of Nomos Verlagsgesellschaft mbH & Co. KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)