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Magie
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Dépouillement du document :
REINCARNATED TEXTS AND CONCEPTS : TOWARDS FAITHFUL AND FREE ADAPTATIONS

1- DEATHS AND REINCARNATIONS OF RECEPTION THEORY

1. A genealogy of rebirths : from theories of reception to theories of adaptation
1.1. Rezeptionsasthetik : origins, critiques and international travels
1.2. Deaths - post structuralism, polemics and passing away

2. Reincarnation - intertextuality, semiotics and performance studies
2.1. Barthes, inter-texte-ualité, and the scriptible/lisible in s/z
2.2. Eco's open text, the model reader, and the double-model reader
2.3. Performance studies I : disbelief, dénégation and defamiliarization
2.4. Performance studies II : performative language and interpretive communities

3. From theoretical underpinnings to a practice of fantastic litterature

2- BORGES : THE AUTHORS AS MAGICIAN, THE READER OF SPECTATOR

1. Dazzling the reader : suspension of disbelief in fantastic literature and "El Aleph" ("the Aleph")

2. Exploding todorov's model : "La muerte y la brujula" ("death in the compass") and "El disco" ("The disk")

3. Conjuring objects of proof : Tlon, Uqbar, Orbis Tertius

4. Playing god : the detective story, smoke and political trickery

5. From authenticity to legitimacy

3- CRIMINAL ADAPTATIONS : HIDDEN INTERTEXTS IN THE MURDER MYSTERY AND THE CON GAME

1. Free adaptations : successfull aesthetic and cultural infidelities
1.1. Various incarnations of Dahl's "Lamb to the slaughter"
1.2. Sleight of screen vs. sleight of pen as leight of hand
1.3. Cross-cultural and cross-media adaptation and reception
1.4. Is an ethics of adaptation and citation possible ?

2. Ethical and unethical adaptations - Mamet, Jay and the con game
2.1. Putting the "con" in "lexicon" : Jay and Mamet
2.2. The spectator as victim : mark-focused reception theory
2.3. Adapting psychological principles of the con game to film

3. Seeing like criminals, seeing like victims, seeing like magicians

4- "THE SPHYNX" AND "THE SAGE" : RECEPTION AND ADAPTATION IN PRACTICE

1. "The sphynx" : written and embodied research

2. Egyptian hall : imaginative geographies, colonialis collector and reality-slippage

3. "The sage Duban" : narrative adaptation as critical and aesthetic response

4. Thoughts on magic adaptation : a call for critical imaginative geographies and writerly spectators

Résumé :

This study of the reception and adaptation of magic tricks, murder mysteries, and con games calls for magic adaptations that create critical imaginative geographies (Said) and writerly (Barthes) spectators. Its argument begins in the cave of the magician, Alicandre, where a mystical incantation is heard: "Not in this life, but in the next." These words, and the scene from which they come in Tony Kushner's The Illusion, provide the guiding metaphor for the conceptual journey of this dissertation: the process of reincarnation. The first chapter investigates the deaths of powerful concepts in reader-response theory, rediscovers their existence in other fields such as speech-act theory, and then applies them in modified forms to the emergent field of performance studies. Chapter two analyzes the author as a magician who employs principles of deception by reading vertiginous short stories written by Jorge Luis Borges. I argue that his techniques for manipulating the willing suspension of disbelief (Coleridge) and for creating ineffable oggetti mediatori (impossible objects of proof) suggest that fantastic literature (not magical realism) is the nearest literary equivalent to experiencing magic performed live. With this Borgesian quality of magic's reality-slippage in mind, cross-cultural and cross-media comparisons of murder mysteries and con games are made in chapter three. Crime adaptations by Roald Dahl, Alfred Hitchcock, Pedro Almodóvar, David Mamet and Ricky Jay are analyzed as different incarnations of specific source texts to compare techniques of deception across multiple media and to gauge whether these stories produce critical readers/spectators or naive ones. Chapter four accepts the challenge of performing magic that produces writerly spectators by physically reconstructing, narratively adapting and socio-historically questioning a nineteenth century stage illusion through practice-based research. The scholarly praxis of magic as a performing art is further articulated in the experimental manifesto with which this dissertation concludes. [author summary]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Traitement documentaire B

Cote : 793,807 117 135 41 C9681r 2014

• Ex. 1 — Consultation sur place