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Ayra Laciste Quinn

Bio: Ayra Laciste Quinn is an academic researcher. The author has contributed to research in topics: Animation & Live action. The author has an hindex of 1, co-authored 1 publications receiving 3 citations.

Papers
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01 Jan 2014
TL;DR: Quinn et al. as discussed by the authors used reader and viewer disorientation as a means of linking 19th century literary texts to their modern-day animated adaptations, and argued that animated adaptations recursively reinscribe those difficultto-identify social and cultural tensions spilling out of their source literary texts.
Abstract: Author(s): Quinn, Ayra Laciste | Advisor(s): Zieger, Susan | Abstract: This project uses reader and viewer disorientation as a means of historically linking 19th century literary texts to their modern-day animated adaptations. Building on the premise that animated adaptations (as opposed to live action adaptations) recursively reinscribe those difficult-to-identify social and cultural tensions spilling out of their source literary texts, this project aims to move beyond the fidelity aesthetic in favor of a more historical framework to shape our understanding of how these texts disorient their audiences. The introduction explains the concept of disorientation as appropriated in this project and stakes a claim for animated adaptations as central to better understanding 19th century texts as well as modern-day adaptations in terms of disorientation. The first chapter pairs Charles Dickens's A Christmas Carol alongside Director Robert Zemeckis's A Christmas Carol with Victorian technologies (such as the railroad and the telegraph) and the cinematic technology of motion capture to demonstrate how technological disorientation becomes figured as unnatural speed and bodily movements in both texts. The second chapter examines Rudyard Kipling's The Jungle Books and Disney's The Jungle Book alongside photography and 2-D hand drawn animation to show how ideological identity differences and exclusion in terms of animated framing disorient both reader and viewer. Finally, the third and final chapter explores the idea of animation in terms of life-giving force and stop-motion cinematic technique using Mary Shelley's Frankenstein and Director Tim Burton's Frankenweenie to demonstrate how both form and content work together to disorient the audience. Ultimately, this project aims to move away from the idea that cinematic adaptations reflect only their historical moments of inception; rather, they extend 19th century disorientation by redeploying it through both narrative and animated technique.

3 citations


Cited by
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Journal Article
TL;DR: The bibliographies of the Keats-Shelley Journal as discussed by the authors provide a broad overview of the history of British Romanticism with an emphasis on second-generation writers, particularly John Keats, Percy Shelley, Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt.
Abstract: T he annual bibliography of the Keats-Shelley Journal catalogues recent scholarship related to British Romanticism, with emphasis on secondgeneration writers—particularly John Keats, Percy Shelley, Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt. The bibliography includes books, chapters in books, book reviews, articles in journals, other bibliographies, dissertations, and editions of Romantic-era literature and historical documents. The listings are compiled primarily from the catalogues of major British and American publishers and from the tables of contents of books and major journals in the field. The first section of the bibliography lists a wide range of scholarly work on Romanticism that might be of interest to the Journal’s readers, while the subsequent sections list items that deal more specifically with the six aforementioned authors. Because the length of the bibliography precludes my annotating every item, only some entries have annotations—primarily books dealing with the second-generation Romantics. The following bibliography catalogues scholarship for the year 2015, along with the occasional item that inadvertently may have been excluded from the annual bibliography in previous years or that may have arrived too late for inclusion. While I have made every attempt to keep the bibliography accurate and comprehensive, the occasional error or omission is inevitable. Please send corrections, additions, and citations for upcoming bibliographies to Ben P. Robertson at Troy University (ksjbiblio@troy.edu).

85 citations

Journal ArticleDOI
TL;DR: In this article, the authors of A Christmas Carol discuss the history of the book and discuss the role of the Ghost in the Garden Room in the development of the story of Scrooge.
Abstract: Primary Sources Chesterton, G. K. Charles Dickens. CreateSpace Independent Publishing Platform, 2013. ISBN: 978-1482722963. Dickens, Charles. A Christmas Carol. London: Puffin, 2014. ISBN: 978-0147512895. Dickens, Charles. David Copperfeld. London: Penguin Books, 2014. ISBN: 978-0141394640. Dickens, Charles. Oliver Twist. CreateSpace Independent Publishing Platform, 2014. ISBN: 978-1500648000. Dickens, Charles. The Mudfog Papers. Alma Books, 2014. ISBN: 978-1847493484. Secondary Sources Adams, Amanda. Performing Authorship in the Nineteenth-Century Transatlantic Lecture Tour. Farnham, Surrey: Ashgate, 2014. ISBN: 978-1-4724-1664-3. Baker, Fran. "The Double Life of' The Ghost in the Garden Room': Charles Dickens Edits Elizabeth Gaskell." The Boundaries of the Literary Archive: Reclamation and Representation. Eds. Carrie Smith and Lisa Stead. Farnham, Surrey: Ashgate, 2013. 75-90. ISBN: 978-1409443223. Barron, Alexander L. "Baked Nectar and Frosted Ambrosia: The Unifying Power of Cake in Great Expectations and Jane Eyre!' The Victorian 2.2 (2014): 1-11. [Online journal: http://journals.sfu.ca/vict/index.php/vict/article/view/102/49] Burstein, Miriam Elizabeth. Victorian Reformations: Elistorical Fiction and Religious Controversy, 1820-1900. Notre Dame, Indiana: U of Notre Dame P, 2014. ISBN: 978-0268022389. [BR] Carlson, Marvin. "Charles Dickens and the Invention of the Modern Stage Ghost." Theatre and Ghosts: Materiality, Performance and Modernity. Eds. Mary Luckhurst and Emilie Morin. Basingstoke: Palgrave Macmillan, 2014. 27-45. ISBN: 978-1137345066. Clarke, Jeremy. The Charles Dickens Miscellany. New York: The History Press, 2014. ISBN: 978-0752498881. Chase, Karen. Eros and Psyche (Routledge Revivals): The Representation of Personality in Charlotte Bronte, Charles Dickens, George Eliot. New York: Routledge, 2014. ISBN: 978-1-138-77922-8. Chittick, Kathryn. Critical Reception of Charles Dickens, 1833-1841 (Routledge Revivals). New York: Routledge, 2014. ISBN: 978-1138824720. DeSpain, Jessica. Nineteenth-Century Transatlantic Reprinting and the Embodied Book. Farnham, Surrey: Ashgate, 2014. ISBN: 978-1409432005. [AN] DeVito, Carlo. Inventing Scrooge: The Incredible True Story Behind Dickens' Legendary, "A Christmas Carol. "Maine: Cider Mill Press, 2014. ISBN 978-1604335002. Dickens Quarterly 31.3 (September 2014). [Contents: Nathalie Vanfasse, "Dickens's American Notes: the Literary Invention of a Single Monetary Currency": 189-205; Julianne Ruetz, "Spenlow's Spaniel: Voicing Dissent in David Coppetfteld"': 206-215; Brenda Welch, "Bentham, Illegitimate Children, and 'the evil of the law' in Bleak House": 216-28; Rodney Stenning Edgecombe, "Washington Irving, the 'Almighty Dollar' and Little Dorrit": 229-34; William F. Long and Paul Schlicke, "A Vision of Death's Destruction and The Fatalist, Two Early Dedications to Dickens": 235-58; Joel J. Brattin, (Rev. Charles Dickens's Our Mutual Friend: A Publishing History, 2014): 259-61; Ben Moore (Rev. Dickens and Benjamin: Moments of Revelation, Fragments of Modernity, 2012): 262-65; Nele Pollatschek (Rev. One Heroes, Hero-Worship, and the Heroic in History, 2013): 265-67; Jeffrey E. Jackson (Rev. The Afterlives of Walter Scott: Memory on the Move, 2012): 268-70; 'The Drood Inquiry': 272-73; 'The Dickens Quarterly Checklist': 275-80.] Downes, Daragh, "TU drown my book': Travels between the lines of Shakespeare's The Tempest and Dickens's A Christmas Carol!' Of What is Past, or Passing, or to Come: Travelling in Time and Space in Literature in English. Ed. Liliana Sikorska. Frankfurt: Peter Lang, 2014. 93-106. Fazli, Sabina, "'The token of some grief, which had been conquered, but not banished': Trauma, Things, and Domestic Interiors in Collins, Dickens, and Raabe." Of What is Past, or Passing, or to Come: Travelling in Time and Space in Literature in English. …

3 citations

Book ChapterDOI
01 Jan 2018
TL;DR: In this paper, the authors examine how magical realist and Gothic fantasy strategies are used in literature and film to blur distinctions between the real and the fantastic, thus creating a world of the quotidian surreal and raising questions about the nature of being and knowledge.
Abstract: The classic bildungsroman structure of many narratives for young people is apt to map transitional subjectivities onto a metanarrative that implies that childhood and adulthood are unified states of being that an adolescent transitions between. While grounded in a substantive ‘reality’, fantasies, in uncanny, Gothic and magical realist modes conjugate that reality with the fantastic and the surreal, and have the capacity to disrupt conventional metanarratives, render character subjectivity and the fictive world fluid, liminal and ambiguous, and offer a range of imaginative possibilities. Focussing on film adaptations of David Almond’s Clay (2005; directed by Andrew Gunn) and Skellig (1998; directed by Annabel Jankel), and Tim Burton’s Frankenweenie (2012), a loose reworking of the Frankenstein story and its filmic progeny, this chapter examines how magical realist and Gothic fantasy strategies are used in literature and film to blur distinctions between the real and the fantastic, thus creating a world of the quotidian surreal and raising questions about the nature of being and knowledge.