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The purpose of the present article is to study Tennessee Williams’s A Streetcar Named Desire (1947) and its movie adaptation, The Stranger (2014), directed by the Iranian director Bahram Tavakoli, in the light of adaptation theory particularly Linda Hutcheon’s theory of adaptation elaborated in her book titled A Theory of Adaptation (2013). In adapting a literary work for the big screen, certain adjustments are necessary due to the fundamental differences between these two mediums. In this reading of A Streetcar Named Desire and its movie adaptation, The Stranger, the central questions are: What changes did Tavakoli make to Williams’s play regarding indigenization? What purpose do these adjustments serve? To answer these questions, the present study offers an in-depth analysis of the play and its movie adaptation to find the differences and similarities in sociocultural and political contexts according to Hutcheon’s notions of indigenization and dehistoricization. This study shows that the process of transcultural adaptation results in inherent modifications to the adapted work. The Stranger has experienced changes in its setting, locations, musical elements, characters, and their names while also eliminating certain elements unsuitable for the target audience. Tavakoli has demonstrated the ability to adapt the material to suit his audience through modifications and omissions. However, he has been unable to preserve all the underlying ideas inherent in the original play.

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The modern technological situation of interaction and universal connectivity of intelligent systems, smart platforms and artificial intelligence puts humanity in front of new moral and existential problems that affect its future as a species and humane treatment as the basis of fundamental human values – justice, freedom, well-being. In this context, the authors offer their analysis of the human-data nexus, the mass digital practice of personal data expropriation and the hidden coercion behind it as a new kind of enslaving addiction – digital slavery. According to the authors, this slavery can be considered a result of the emergence and development of the so-called post-human capitalism – a term introduced by Y. Ibrahim to denote the use of technological possibilities for data processing in the service of extracting added value and capitalizing on new spheres of life. The main conclusion is that dealing with new technological threats cannot rely on legal regulation alone and needs a humanitarian reading and revision of the principles driving social, economic and societal progress. [ABSTRACT FROM AUTHOR]

This article aims to reflect on the circulation of discourses in society, taking to study the song "Sad, Crazy or Bad", authored and interpreted by Juliana Strassacapa. We use the Discourse Analysis theory, to understand the meanings present in the song, using Orlandi (2015) to think mainly about the functioning of ideology in the homogenizing discourse of women and, to discuss about the domination of the masculine, we bring Bourdieu (1999). We notice statements constituted in a feminist ideological formation, in which there is no overlap between genders, and others that retake meanings produced in a sexist position, predominant in our society. [ABSTRACT FROM AUTHOR]

Copyright of Image & Narrative is the property of Image & Narrative 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.)