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Brief Please, take a look :) MYTHIFICATION AND DEMYTHOLOGIZATION OF SAINT JAMES OF COMPOSTELA IN THE NOVEL TRECE BADALADAS The Galician writer Suso de Toro won the Spanish Narrative Award with the novel Trece badaladas [Thirteen Chimes]. The city of Saint James of Compostela has an essential element for the construction of the story line. Mainly the cathedral and also the streets boost the intrigue and mystery of a novel halfway between thriller, terror and detective story, since they create an unique atmosphere for the characters' concern and insecurity. Although the Spanish film adaptation, - Trece campanadas, directed by Xavier Villaverde, starring these days outstanding actors Juan Diego Botto, Luis Tosar and Marta Etura- is far from the original book, the doleful image of a a gloomy city is used and serves as a incomparable setting for a thriller which looks to frighten the spectator. The novel is narrated by different characters, who give different points of view of the city. The sum of all perspectives form a full image of Saint James. As an example, brother Ramírez is captivated by the Cathedral and the Old City, but he dislikes the tourist crowds that make the city looks like a theme park. His conservative ideology leads him to criticise the economic activities of the city, mainly tourism and the university sector, but also new structures like the City of the Culture of Galicia. There are not records of that in the film adaptation, which takes advantage of the darkness of the night and the chilling Spanish baroque sculptures to create a ghostly atmosphere. Our objective is to analyse how the city and the processes of mythification and demythologisation work in either the novel and film to discover the authors' intentions. In this way, we will compare both of them so as to study why and how they have results so different if they rise from the same idea.

Corrections · 6

1

Brief

Please, take a look :)
MYTHIFICATION AND DEMYTHOLOGIZATION OF SAINT JAMES OF COMPOSTELA IN THE NOVEL TRECE BADALADAS
The Galician writer Suso de Toro won the Spanish Narrative Award with the novel Trece badaladas [Thirteen Chimes]. The city of Saint James of Compostela has an essential elements [1] for the construction of the story line. Mainly the cathedral and also the streets boost the intrigue and mystery of a novel halfway between thriller, terror horror [2] and detective story, since they create an [3] unique atmosphere for the characters' concern and insecurity. Although the Spanish film adaptation,[4] -- Trece campanadas, directed by Xavier Villaverde, and which starreding these days outstanding contemporary actors [5] Juan Diego Botto, Luis Tosar and Marta Etura -- is far [=diverges] from the original book, the doleful [=somber] image of a a gloomy city is used and serves as a incomparable setting for a thriller which looks that seeks to frighten the spectator. [6]


The novel is narrated by different characters, who give different points of view [=perspectives] of the city. The sum of all perspectives form a full [=comprehensive] image of Saint James. As an example, brother Ramírez is captivated by the Cathedral and the Old City, but he dislikes the tourist crowds that make the city looks like a theme park. His conservative ideology leads him to criticise the economic activities of the city, mainly tourism and the university sector, but also new structures like the City of the Culture of Galicia. There are not any [="There aren't any", or "There are no"] records of that in the film adaptation, which takes advantage of the darkness of the night and the chilling Spanish baroque sculptures to create a ghostly [=spectral, ethereal] atmosphere.


Our objective is to analyse how the city and the processes of mythification and demythologisation work in either the novel and or [7] film to discover the authors' intentions. In this way, we will compare both of them so as to study why and how they have results so different if they rise arose [=originated] from the same idea.

 

[1] Since the next sentence expounds on the element(s) as being the cathedral and the streets, it should be plural.

[2] In English, we call this genre of literature "horror" instead of "terror".

[3] When the 'U' is pronounced like a "you", we use the article 'a'. For example: a university, a unit of measure, a unique perspective; an umbrella, an understanding, an ultrasound.

[4] When emdashes are used, a comma is not required. Also, emdashes are usually represented by two short dashes "--" when a proper elongated emdash is not available.

[5] Or "which starred outstanding actors working today..."

[6] This can be rewritten as follows to avoid the passive form: "Although the Spanish film adaptation -- Trece campanadas, directed by Xavier Villaverde, and which starred outstanding contemporary actors Juan Diego Botto, Luis Tosar and Marta Etura -- is far from the original book, the film [or Villaverde] retains the doleful image of a gloomy city, which serves as a incomparable setting for a thriller that seeks to frighten the spectator.

[7] The construction pair for "either" is "or". So it's either/or, neither/nor. If you are using "and" then it's "both", i.e.: ...mythification and demythologisation work in both the novel and the film...

 

Great job! By the way, in the US, we would say "criticize", "demythologization". :)

 

1

Brief

Please, take a look :)
MYTHIFICATION AND DEMYTHOLOGIZATION OF SAINT JAMES OF COMPOSTELA IN THE NOVEL TRECE BADALADAS
The Galician writer, Suso de Toro, won the Spanish Narrative Award with for the novel Trece badaladas [Thirteen Chimes].  The city of Saint James of Compostela has is an essential element for in the construction of the story line.  Mainly the cathedral, and but also the streets of the city boost the intrigue and the mystery of a this novel halfway between this novel that is part thriller, part terror and part detective story, since they create an creating a unique atmosphere for the characters' concerns and insecurities.  Although the Spanish film adaptation, - Trece campanadas, directed by Xavier Villaverde, starring these days the outstanding actors Juan Diego Botto, Luis Tosar and Marta Etura, is far departs greatly from the original book, the doleful image of a a gloomy city is used and serves as a incomparable setting for a thriller which looks attempts to frighten the viewer. spectator.
The novel is narrated by different characters, who give different points of view of the city. The sum of all of the perspectives forms a full image of Saint James.  As an example, Brother Ramírez is captivated by the Cathedral and the Old City, but he dislikes the tourist crowds that make the city looks like a theme park. His conservative ideology leads him to criticise the economic activities of the city, mainly tourism and the university sector, but also the new structures like the City of the Culture of Galicia. There are not records of that This is not covered in the film adaptation, which takes advantage of the darkness of the night and the chilling Spanish baroque sculptures to create a ghostly atmosphere.
Our objective is to analyse how the city and the processes of mythification and demythologisation work in either the novel and or the film to discover disclose the author's intentions.  In this way, we will compare both of them so as to study why and how they havethe are results so different if even though they arise from the same ideas.

 

Notes:

1. You can't be "halfway between" three different things. There are some famous American radio comedians who continually say. "coming up in the third half of our show," but they are telling a joke.

2. Usea not an before unique.  Even though the word starts with a vowel, it it pronounced with a consonant sound - yoo-NEEK.

3. Viewer not spectator at a film. At least in America.

4. Sum is a singular noun, so verb concordance demands forms. The sum of all things is (or forms)...

5. Brother is capitalized because it is a title, like Father Davis, Sister Frances, Mister Smith, Don Juan.  I know it is don Juan in Spanish.

 

Very good. I am wondering how I can get the movie.

 

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