Academic literature on the topic 'Arthur (Fictitious character : Stimson)'

Abstract In the psychological thriller film Joker, released in 2019 and starring Joaquin Phoenix in the first role, another possible origin story for this iconic character is reported. Above all, it brings us medical elements for the understanding of the development of this complex character. Contrary to other interpretations, we discover a lonely, timid and uncharismatic man (Arthur Fleck). He seems to be suffering from psychobehavioral disorders and seems depressed. There is a strangeness in his behavior along with social withdrawal. He suffers from fits of laughter that occur at socially inappropriate times. He also suffers from psychotic symptoms with visual delusions. We learn through the film that he was a beaten child, psychologically and physically abused with severe traumatic brain injury (TBI). The uncontrollable outbursts of laughter, behavioral and psychotic disorders followed these elements. As a neurologist, I was intrigued by these symptoms. I have explored the neuropsychiatric symptoms complicating TBI from which he seems to suffer and which have been reported in the literature. We can assume that the Joker is suffering from neuropsychiatric sequelae related to childhood TBI involving the frontotemporal regions and, in particular, the lateral aspect of the left frontal lobe. The movie Joker has medical significance and covers social aspects of medicine and health care. First, it allows us to discuss whether psychotic disorder due to TBI should be considered a neurobiological syndrome. More broadly, albeit fictitious, it asks us about the management of patients with neuropsychiatric illness, which is a public health problem. It also reminds us that semiological descriptions of patients with neuropsychiatric disorders have served as inspiration for many authors.

The aim of this thesis is to introduce, justify, and apply a better framework for analysing Sherlock Holmes, one of the most adapted characters of all time. The project works to resituate the focus of those involved in studying adaptations of Sherlock Holmes from an examination of the discrete transition of a text from page to screen, to the evolution of the character as it changes across various intertexts and through time. The purpose is to show that it is the character specifically, and not the literary text with its narrative, genric, and aesthetic qualifications, that is being adapted, and that with this in mind, studying adaptations of Sherlock Holmes should involve a study of the various processes, pressures, and mechanisms that shape, change, and define the character throughout its hundreds of screen afterlives. This thesis then analyses many of these processes with the aim of contributing to our understanding of how a character like Holmes is moulded through remediation. It takes into account how the character’s indices shift and accumulate as they are variously performed. It also considers how the mechanisms of selection function to privilege certain incarnations of the character, and how that privileging becomes a part of future readings. Finally, it addresses how reception and perception by audiences influence how the character is read, and thus how it is understood. By considering all of these aspects of the evolutionary process, and by avoiding a chronological or even a linear organization of the texts under scrutiny, this work seeks to offer a more complete answer to the question of how a single source can support a multitude of varied, even contradictory adaptations and remain relevant and interesting through the years.