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per__pdf. 2. Global Editora .. Pedreiros Street had a row of small houses on each side, each in the middle of .. Nacional do livro Infanto Juvenil), Brazil Xangô is one of the orixás, the god who governs thunder. after that first day, they met frequently: on the pavement, at the baker's, outside. ) and 's O Xangô de Baker Street, a Brazilian production adaptation of the blue line represents the search term “sherlock holmes livro” in Brazil, the . Mr. Reed is behind the scheme to pump fruit juice through the streets of Rio de [37] Soares's O Xangô de Baker Street concerns a fictionalized visit by Sherlock Holmes and Dr. . Rio de Janeiro: Instituto Nacional do Livro,


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O Xangô de Baker Street.,. romance de estréia do humorista e. apresentador Jô Soares. O livro poderia ser enquadrado em. diversas classificações: um. o jeitinho brasileiro de sherlock holmes o xango de baker street de jo soaresoxbridge entrance the real O Jeitinho Brasileiro (pdf) | por Livia Barbosa | Orelha. Download or Read Online O xangô de Baker Street Jô. Soares Free eBook PDF/ ePub/Mobi/Mp3/Txt, Neste livro hilariante, Jô Soares alia uma rigorosa.

Ler um poema. A Hora das Bruxas. Coelho, Victor. Certainly Sherlock faces that as well, and these dead walls are something that end up driving the narrative forward, opening more paths for the detective. Carl Sagan: DOYLE, , p. Danielle Steel.

The Nigel Bruce interpretation […] had much more body. Marion Crawford as Watson, was a huge success. Watson was an intelligent man, and Holmes was a brilliant eccentric. They worked as a team. The next year Germany aired a play of The Hound of the Baskervilles Der Hund von Baskerville ; it was a live performance that was never recorded. After this production, it would be only in that Sherlock and Watson would be back to the small screen, again in a show by the BBC, Detective: This episode was a success, leading to more episodes in a series entitled Sherlock Holmes that was released the next year.

Germany exhibited six teleplays the next year under the name Sherlock Holmes that are said to be based on episodes of the series aforementioned, with the main actor playing Holmes, Erich Schellow, wanting to portray the character emphasizing the drug addiction aspect, but the director wanted to stray from that BARNES, The first episode was The Hound of the Baskervilles, and, being a series of milestones, it is fitting that this was the first adaptation of the novel that is filmed in the actual site, Dartmoor.

The choice of actor for Holmes needed to be unerring, as he is the main character, but also due to the demand of an actor to suit the atmosphere and style of the new series, and Given that Sterling sought to retain the Holmesian credentials of the Wilmer series, albeit in a darker presentation style, there could scarcely be an actor better placed to play his Sherlock than Peter Cushing.

A new The Hound of the Baskervilles was produced, this time by the American studio Universal, their last foray into adapting the great detective being the features with Basil Rathbone. What was supposed to be a three-episode series, each episode with a different detective, ended up being one failed episode featuring Holmes and Watson. In , the BBC released an extremely interesting work, Dr. Watson and the Darkwater Hall Mystery: A Singular Adventure, written by the novelist Kingsley Amis.

In this telefilm, Holmes is away, and Watson is enlisted by Emily Fairfax in the place of the detective to solve her case. The episode was not strong enough to guarantee a follow-up, and the series never continued.

This Watson, it must be said, is shockingly poor; [ He exhibits an especially irritating form of Blimpish buffoonery too [ The year counts with two adaptations as well, both with well-known actors repeating their roles as Holmes and Watson.

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Hudson pretending to be a killer Watson. Of course, it is almost impossible not to compare or relate it to previous works released in other countries, especially the United States and the United Kingdom, but the episodes certainly are a refreshing way to watch the stories of the Great Detective, who is portrayed by Vasily Livanov, and his faithful companion by Vitaly Solomin.

In a later episode, Holmes will wound Watson again, laughing at the doctor for failing to see through one of his many disguises. The series was unknown to the rest of the world for more than two decades, especially in the West, due to lack of distribution of content and the language barrier. The series ended up reaching Western countries in the beginning of the new millennium, in DVD form with English subtitles. After being the fourth doctor in the British science-fiction show Doctor Who, Tom Baker was back to the small screen in , in a new adaptation of The Hound of the Baskervilles by the BBC, this time in three episodes.

Young Sherlock: The Mystery of the Manor House, released in , is made of eight episodes, and had the year-old Guy Henry as the famous detective. The company responsible for producing this series, Granada Television, decided not to make a second, opting instead for producing what would become The Adventures of Sherlock Holmes Holmes, portrayed by Roger Ostime, and a more paternalistic Watson, portrayed by Hubert Rees, do appear in the episodes, though not as their central characters.

David Healy plays the doctor with a soft Irish accent but little obvious effort. Due to the number of episodes in this series, the characters can be better constructed and developed over the course of time, something that is particularly enriching of television shows — and adaptations MITTELL, , Ebook. Suddenly, it was possible — desirable, even — for the independent companies to indulge themselves in literary, languidly paced and lavishly mounted evocations of a mostly mythical English past, and yet still make a profit from overseas sales.

Heritage TV was born. The companion to his detective was played by John Mills, also in his seventies, and since the character is not able to write the stories anymore, he hires a secretary so that the world is still able to read the great adventures of the Great Detective.

Two years later, Jeremy Brett would reappear as Holmes in the series The Return of Sherlock Holmes, a two-part series that released seven episodes in and four more in As his companion this time around, the actor Edward Hardwicke was chosen, and [.. In the first seven episodes, we see a more active character, which contrasts with the extreme opposite in the four later episodes; his personal life immensely influenced this adaptation, as his wife passed away in due to cancer and the actor suffered a breakdown in between filming the episodes, being admitted to a mental hospital BARNES, Watson is left to sigh unrequitedly at the window of the B while the unconcerned Holmes subsides into a post- investigative stupor.

Due to financial issues at the end of the series aforementioned, the last two episodes that would be featured in it were rethought into a feature-length telefilm adaptation of The Hound of the Baskervilles, released in The episode begins with a Hitchcock recording in color sitting in a chair wearing a deerstalker hat while blowing bubbles from a pipe, as a way to thematically introduce what was about to come. Also in , the adaptation of The Crucifer of Blood, a play, was released.

One of the most interesting facts about this play is that its second run in the stage, in , featured none other than Jeremy Brett, for the first time, in the role of the faithful doctor, and Holmes was portrayed by Charlton Heston, who came to play the same role in the telefilm adaptation.

But it is also in that Christopher Lee returns to his role as Holmes in two telefilms: Firstly thought as an eight-part series, it ended up being transformed into two films that were not extremely successful, but still marking due to the Watson-Holmes relationship. The writers working on the various Jeremy Brett series discovered this problem early on: No surprise there, and so no drama. In order to beef up the stories, they needed to introduce red herrings, suspects who have means, motive and opportunity but who, in the end, turn out to be innocent.

The series, however, proved to be troubling from the beginning of its design: On the other, [ It is no wonder that the final work of Brett and Hardwicke as the famous duo was not the great ending the characters deserved.

Sherlock Holmes Returns. The telefilm presented a recently defrosted Holmes in contemporary times, aided by Amy Wilmslow, a trauma doctor whose interest in buying an old property taken care by a Mrs. Hudson is what causes Sherlock to come back to the living world from deep freeze. Certainly not a coincidence. With an almost six-year hiatus — not considering an animation released in , to be mentioned in the next subchapter —, the next production would come to the small screen in the year , a Canadian telefilm adaptation entitled The Hound of the Baskervilles.

Having previous thirteen other adaptations of the same novel as a background, the producers needed to bring something new to entice the public to watch and enjoy the well-known story. It is a new era for the Great Detective and the doctor. He is the one responsible for the largest part of the progress of the plot, and while in other films and episodes Holmes would be present in most of the action, in this case, he only appears when Watson is in trouble and is not capable of escaping the situation unharmed by himself.

This also makes the doctor not only more active as a character, but as stronger as well, confronting Holmes about how the detective treats him. The next movie released in the same year was another adaptation of The Hound of the Baskervilles.

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As previously mentioned, a clear distinction between the two characters is necessary so that their relationship works; if they are just the same, there is no contrast, no need for Watson to be around the detective so much — even in programs where Watson has a bigger role in the investigation, he or she is not Holmes, as will become more relevant in an episode of Elementary, but that will be discussed more thoroughly in the fourth chapter. The telefilm, however, had a follow-up work, released in and entitled Sherlock Holmes and the Case of the Silk Stocking, featuring Ian Hart reprising his role as Watson, but with a new Holmes to complete the duo: The Great Detective is portrayed by Jonathan Pryce, and Watson by Bill Patterson, and their long personal friendship aids in the portrayal of the Holmes-Watson relationship.

In Russia is responsible for airing an eight-episode adaptation entitled Sherlok Kholmes, and there has been news of a completely different new series, this time produced in Finland, Sherlock North, to be released sometime between and This subchapter is meant to be more informative in regard to what has been produced up to this day, as there is a lack of material available on the titles hereby mentioned.

In , The New Scooby and Scrappy Doo Show presents an episode entitled Hound of the Scoobyvilles, a clear take on the famous novel beloved for adaptations. In the same year, two animated films are released, Sherlock Holmes and the Baskerville Curse — again adapting from the same source — and Sherlock Holmes and the Sign of the Four.

It is in that another animation is released, this time an eight-episode Japanese series entitled Sherlock Hound, directed by none other than Hayao Miyazaki, co-founder of the Studio Ghibli and responsible for innumerous animated films, a few of them award winners. In this series, all characters are dogs, each with a particular anthropomorphic breed; Sherlock actually resembles more a fox than a dog, and Watson is a Scottish Terrier that is overweight.

The next year, Slimer! And the Real Ghostbusters showcase an episode entitled Elementary My Dear Winston, featuring the ghosts of the famous characters. Some years later, in , Sherlock Holmes in the 22nd Century is released, a series of twenty-six animated episodes, fast-paced for the new generation of viewers. A b o u t T e x t u a l N a r r a t i v e s To begin our foray into analyzing the proposed works in this thesis, it is important that certain terms are defined — and discussed — beforehand so there are no doubts in the matter of concepts.

Having said this, her initial proposal is that any narrative can be divided into three layers: This division is not new; Barthes, Genette, and many other authors have theorized about it, with slightly different terms. The text is the layer in which the story is told by a narrator to a narratee, the story is the content of said work, and the fabula is the series of chronological events BAL, The most common categorization of the narrating agent is into first and third person, but Bal brings an interesting counterpoint to this: Considering our narrator is a CN, we will focus on that classification from now on.

Another consideration to be made is when [ It stands apart, observes the events, and relates the story according to its point of view. A narrator of this type is a witness.

The question whether the story it tells is invented can no longer be asked. As Herman and Vervaeck state in The Handbook of Narrative Analysis , Watson can be a witness for great part of the works of the Sherlock Holmes Canon, and is, in fact, in A Study in Scarlet, as will be seen in chapter 3 — the authors classify Watson as a witness narrator in general, not opening for other possibilities.

In A Study in Scarlet, however, the second part of the novel is narrated by an unknown external narrator to give the reader a background on the murderer and his victims. Because it is not narrated by Watson, this part will not be taken into consideration in the next chapter for further analysis, but it is still worth mentioning at this point to exemplify how the narrative situation can change.

In the meantime Ferrier having recovered from his privations, distinguished himself as a useful guide and an indefatigable hunter.

So rapidly did he gain the esteem of his new companions, that when they reached the end of their wanderings, it was unanimously agreed that he should be provided with as large and as fertile a tract of land as any of the settlers, with the exception of Young himself, and of Stangerson, Kemball, Johnston, and Drebber, who were the four principal Elders. DOYLE, , p. Or did he just insert a narrative written by someone else in the middle of his reminiscences?

It is important to remember that, in a text, not everything that is written can be considered narrative, that is, the narrator can present non-narrative comments throughout the work BAL, The argumentative writings can also show the ideology present in the text in a more explicit manner BAL, This aspect of attribution is the descriptive function.

Following her ideas, there are three possible types of motivation in a literary work. Motivation is also important in the audio visual media.

This, however, will be discussed more thoroughly shortly. Back to descriptions in the written literary works, according to Bal, writers turn themselves to rhetoric so that they can convey a natural and necessary state to them Descriptions consist of a theme e. Taken together, the sub-themes constitute the nomenclature. They may or may not be accompanied by predicates e. Metaphors and comparisons can occur on any level. A metaphor can replace the theme or accompany it. The same holds for the sub-themes.

BAL, p. Hamon proposes three general categories for characters3: The first category concerns historical, allegorical, mythological, and typified characters; those characters that belong to a cultural frame of reference and will have certain aspects fixed, such as the way they act and their appearance.

The third and last category, the anaphoric characters, concerns those that are related to the narrative itself; these characters will be responsible for moments of flashback, prediction, interpreting clues, remembering things from the past that are relevant, etc.

Of course, the characters are not limited to only one category, according to the author, they can be part of more than one simultaneously or at different moments in the work. This early description already contributes to the image we will have of a character, mainly considering their relationships with others. According to Philippe Hamon as well about the first image the reader can have of a character, it is important to take into consideration that [ This usually happens with what she refers to as historical and legendary characters that are part of the frame of reference — thus her use of the term referential characters —, the extratextual information that the reader refers to when reading.

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While Sherlock Holmes and John Watson are not historical nor really legendary characters, due to the amount of adaptations and references in other cultural works, the readers — and viewers — have certain expectations, sometimes strong, surrounding those characters when they get in touch with new material presenting them. The fact that [ Taking all of this into consideration, how does one construct the image and content of a character?

According to Bal , there are four principles to this construction: The first one, repetition, means that the relevant characteristics about a character are repeated throughout the narrative work, not always in the exact same form, but they still will mark appearance, behavior, or any other aspect. The last element, transformation, if actually done to a character, can alter its entire initial construction, and we can see that through its relations to others and new repeated information when in contrast with what was already known of the image of the character.

The information about a character can be present in the text in a number of ways: In the matter of characterization by other characters, this is called qualification, according to the author, and this can be explored in three different manners.

The reader then needs to pay attention to the events of the narrative in order to identify this less explicit characterization.

According to the author, this model of investigation will have the actors as actants, going deeper to explore the possible divisions of the classes of actors. The division that Bal considers to be the most important is between subjects and objects. The actors that have a goal, an aspiration, are the subject-actants, while the goal itself is the object-actant — the goal might or might not be a person, and in case it is not, it can be a state of being the subject-actant wants to achieve.

This shows that characters can be analyzed in two instances of the narrative work; in one, they are referred to as characters, and their construction will be seen as their representation — and traits — written about them; the other instance will look at their functions in the work, what roles they play in the portrayed events. They are, then, complementary, and not exclusive, so in order for us to have a better comprehensive understanding of a character, we must go through both paths of analysis.

The class of actors that is supportive of the subject-actant and act in aid is named power BAL, , and the class that receives it is the receiver, who is often the same character as the subject. When considering those who aid the subject-actant, Bal makes the distinction between power and helper. This aspect considers how the actors sometimes can apparently be something when, in truth, they are the complete opposite; we can consider an actor to be a helper at certain moment, but later on we may find that it was actually an opponent, and vice- versa, for example.

When an actor is what she appears, she is true. When she does not put up an appearance, or, in other words hides who she is, this identity is secret.

When he neither is nor puts up an appearance, he cannot exist as an actor; when he appears to be what he is not, this identity is a lie. This was one of the first attempts to bring into the light the "mosaic" nature of literary texts, emphasizing the polyphonic and "derivative" nature of original works that, in turn, can invalidate the thought that adaptations and translations are secondary works. And, as mentioned before, when we say text, we do not restrict that term to the written pages; it encompasses music, film, television, paintings, etc.

Our choice to refer to the television series here analyzed as adaptations has to do with the overall approach of this thesis: In the beginning of adaptation studies, as many others, there was a hierarchy between source text and adaptation, putting the usually literary work into a pedestal, so that the adaptation could properly pay it homage and the respect critics felt it deserved.

Scholars have, since then, in their theoretical works, proposed a rupture of this hierarchy, disestablishing literature as the primary and most important text, putting both works onto the same level of value.

Besides the matter of value, the matter of faithfulness is still very much present, even though adaptation scholars have refused the judgement for a long time. But what is to be faithful in an adaptation? Are there levels of faithfulness that the authors have to abide so that the adaptation is considered valid? How is this judgement of value being constructed in the minds of people?

Both of these matters are extremely subjective issues, as each person will have a different opinion on what should have been done so that it was a better experience.

Our rejection of the judgement of value here presented builds on the notion that [ The second peak chronologically is in August of , days after the release of the first episode of Sherlock. Since the release of the BBC series, for example, there are new books being released with the canon stories featuring images of the series on the front cover, so the editorial market has taken advantage of this new relevance of Sherlock Holmes.

What this means for the Holmes canon today is that the process of adapting to television resignifies the character and changes the dimension of the relations between Sherlock and John. It is most interesting to notice that even within adaptations themselves there is a strong hierarchy, especially with the two television shows chosen here.

The first thing that we notice is in the amount of studies published on both series: The series are set two years apart of difference, one began in and the other in , so it is definitely not a matter of the latter being too recent to have articles about it. As of news articles in general, the amount is similar, but it is clear the preference of the BBC series over the CBS one.

Adaptations being set in their contemporary time is actually a Sherlock Holmes tendency that is not new, as it was mentioned in the first chapter of this thesis. It was only in that the first adaptation set in the Victorian times was released, so to say it is a mere copy because of that makes no sense. And even though both series initially seem so different from one another in their premises, when one looks more in depth into both, it is possible to see that they actually have a lot of similarities, though still not a mere copy, including the fact that they can both be considered police procedurals, according to Tom Steward — which will be commented on the next subchapter and more thoroughly argued in chapter four.

A b o u t T e l e v i s i o n a n d G e n r e To begin our subchapter on the matter of television, it may seem obvious to some, but it is necessary that we define at this point in the thesis what a television series is. According to SEABRA, , it is a weekly scripted program that shows the story of a group of characters, with no ending in sight, usually broadcasted during the evening — the ones with the highest audience numbers are given prime timeslots, while smaller shows have worse timeslots to fight for their right to continue being exhibited —, also graced with a high production value, especially cable programs, they can either be episodic or serial or both, presenting higher narrative complexity MITTELL, Episodic series are the ones in which the episodes do not necessarily have a connection, that is, the viewer can turn on the television — or the chosen device — and watch a random episode without feeling the need for watching the previous one; this mode is more common in comedies.

It is useful for us to now make a brief stop and comment on the matter of the literary genre before continuing talking about the television one, because they are heavily connected, especially for us to consider the works by Doyle chosen for this thesis.

According to Albuquerque , the detective stories had their origin in adventure novels, due to the duality of good vs evil, and, throughout time, the genre was developed and it became what we know today as the famous mystery and investigative stories. The detective stories as a genre, like many others, has subdivisions with certain specificities that distinguish them from one another.

For Todorov , the classic detective stories had its golden age during the two great wars, and his nomenclature for it is whodunit; this kind of novel presents two narratives: In the contemporary noir novel — contemporary to Todorov in the s — what marked the genre was its themes.

There is a third subgenre, the suspense novel, that borrows elements from the previous two: Within each subgenre there are more divisions, and this shows how plural the genre can be. But these detectives are not on their own. Dupin had a roommate, who is the narrator of his stories, and so does Holmes. Most stories are then structured around this pattern, in a very similar way that procedural television series are constructed.

In an article about the structure of CSI and how it is a procedural show, Michael Allen presents a similar scheme considering how narratological terms can aid in a summary to talk about the story: The duty of the CSI team is to piece together this fabula through the gathering of evidence which will confirm its linear sequence.

The various dead ends of investigation, false testimonies by suspects and conflicting evidence are the efforts of the syuzhet to prevent this, or at least delay its inevitability.

The fabula is then eventually presented, [ While there is no doubt as to whether Elementary is a procedural, Sherlock certainly raises the question.

What exactly is quality television and what can fit into it? Who decides what is quality or not? Can genre shows be considered quality at the same time? Can quality shows not be fit into genre categories as well? If we consider Sherlock, Tom Steward argues that while Sherlock is indeed a heritage show — which is a genre with very defining characteristics on its own —, it is also a procedural, erasing the barrier between genre and quality as oppositions.

In terms of crime television, Sherlock adopts the aesthetics and narrative style of contemporaneous U. It also dictates the way shots are composed and edited: The centrality of technology in the detection process and the use of flashback in an alternate visual style.

However, Sherlock also has elements of the UK mystery drama Inspector Morse, —; Midsomer Murders with corresponding formats the minute drama , literary sources mystery novels and some form of anachronism, be that older periods or contemporary settings which refer to the past.

Besides that already mentioned, Elementary expands on the Doyle canon, creating cases so that it fits into the procedural formula while using elements from the source stories, and Sherlock oscillates between the fan-conscious and impartial TV adaptations of Holmes stories.

The first two episodes both demonstrate a close affinity with the narratives, characters, and often minor details of the Conan Doyle canon.

Because of these different codes, sometimes the terminology one uses to analyze a literary work does not translate or adapt well when applied to a different medium, such as the term focalization, which will be discussed shortly, therefore it is necessary to have the knowledge of medium-specific terms and codes to be able to analyze it and not be hindered by concepts, focusing here on the matter of narration and characters and their specificities. With that, the first more thorough distinction needed is between the literary and the audiovisual narrator.

Since images and sounds can each tell a different story, I propose to divide the filmic narrator on the visual track and a narrator on the auditive track. In the audiovisual medium, there are two ways, according to Peter Verstraten , that this implicit description happens. Implicit description is the general rule of the audiovisual, except for when there is use of the voice-over narration.

The actor chosen to portray Holmes was Robert Downey Jr, and we cannot ignore the action-hero baggage he brings to the character, fitting perfectly with the tone of the movie in that moment, when comic books were being adapted into blockbusters. With innumerous Marvel movies to be released in the next years, Sherlock Holmes as a more action-packed movie fits the blockbuster trend of the time. Of course, it is much trickier to talk about interior states of audiovisual characters; when one reads a literary work, especially the ones narrated by a character-bound narrator, we do have access to their emotions and thoughts in a much clear way — although some narrators can be unreliable or try to hide them, we still have access and can analyze and use their written words as evidence.

This resource is commonly used in cinematic adaptations, and though television series can also count with such narrator, it is generally less common. When that is the case, not having certainty through explicit written or spoken narration, the viewer — and mainly the scholar proposing to analyze such work — must take into consideration other factors that aid in the construction of the character, and matters of editing and camera movement can convey interior states, as will be seen shorty, but besides these, [ Viewers necessarily infer and construct interior states of characters, filling in internal thoughts through a process of reconstruction and hypothesizing.

To keep on the subject of camera related to characters and focalization for now, it is also necessary to consider the camera movements made in scenes. Camera movements might also primarily concern the level of focalization.

A much-used method is to have the camera move toward the face of a character dolly forward when he or she is looking intently at some object or when he or she has made a major discovery. The camera might also advance to draw attention to the internal object of focalization. According to Verstraten , [ A cut, however, marks the length of a shot and makes it possible to revise the order of shots. More than that, [ In the case of editing, a narrative agent intervenes visibly.

Both a change in camera positions and the shifting of a scene are examples of such undeniable interventions. The opposite of the representation of ellipsis is the overlapping editing, in which an event that was extremely fast is repeated in a way to slow things down.

One of the most common and at the same time important editing type is the reverse shot, because it is the one in which the character whose perspective we are able to watch works is the one who will be more relatable and identifiable to the viewer. The reverse shot is particularly worth mentioning because we have to consider that [ Reverse shots can show what is lacking from our current perspective. A subjective vision can nevertheless be neutralized, or overturned. They are intended primarily to position characters within a certain space.

On the matter of differentiating the change from one type of focalization to the other, it is possible to affirm that [ Internal focalization occurs in subjective shots: An over-the-shoulder shot distinguishes itself from a subjective shot because internal focalization has now become embedded in external focalization.

Jason Mittell develops a little on the subject using the terms first and third person , stating that [ When we see a character speak, the auditive narrator determines whether we also actually hear him or her. The auditive narrator is also responsible for the music, which can be either or both intradiegetic and extradiegetic — it is both when a music that appears to be extradiegetic is then shown as being listened to by the character s.

Victorian Holmes used state-of-the-art 19th century technology. For example, he sent telegrams so often that he had a stack of blanks at home for his convenience. In addition, Holmes had a thorough understanding of the latest advances in forensics and ballistics. One great example of color in television series is in Sherlock itself: Las Vegas as the object of her work.

This taxonomy is composed of six elements that are the key to understanding characters: Considering how characters relate to each other is important due to it showing how they behave, besides being able to show us varied aspects of their personality, especially with interactions where there is a hierarchy. Pearson affirms that this six-element taxonomy can work for analyzing characters in all audiovisual media, but what is going to differentiate them is the function of the elements.

The alignment can be divided into two, attachment and access. The first of them occurs when we follow the experiences of particular characters, therefore we can see ourselves attached to them in the sense that, as we follow their adventures, dramas, relationships, week after week — or during a whole day, thanks to binge-watching —, we develop a desire for knowing what is going on with their lives, especially because we usually have the access, the second division, to their subjective interior states and emotions, thought processes, and morality.

According to Jens Eder , p. Taking this into account, we can now proceed to the specificity of television characters that will be relevant to our analysis in the fourth chapter. In his work Complex TV, Jason Mittell dedicates a chapter entirely to the discussion of characters in television, especially how they are constructed and can be developed over the course of a series.

Differently from movies, the television system is dynamic and ongoing MITTELL, , therefore we need to talk about characters considering more than just one episode of a program. But how to define change, then, and identify when a character has truly done so? Another change that can occur is actually not pertaining to the characters, but to the viewers: Some characters, however, can go through changes, and Mittell proposes specific names to differentiate between the types of transformations that can occur.

Viewers invest themselves in the shifting web of relationships between fairly stable characters; focusing on character change does not belittle that dominant mode of television storytelling in either episodic or serial forms. Of course, we still consider relevant and true the idea that one character can fulfill more than one role, and that one role can be fulfilled by more than one character, but it felt necessary to create a more appropriate terminology to deal with the works here presented, with the possibly or further future development to encompass more similar works.

We already have then quite enough information about the character to start constructing its image: He did not have much success in it, ending with a bullet through his shoulder. Watson summarizes his life in three short paragraphs, not mentioning parents, family, nor previous relationships, as they are not relevant to the story at this initial moment, focusing instead on his professional career, which will be more important to his — still not known at this point — relationship with Holmes.

Worn with pain, and weak from the prolonged hardships which I had undergone, I was removed, with a great train of wounded sufferers, to the base hospital at Peshawar. Here I rallied, and had already improved so far as to be able to walk about the wards, and even to bask a little upon the verandah, when I was struck down by enteric fever, that curse of our Indian possessions.

For months my life was despaired of, and when at last I came to myself and became convalescent, I was so weak and emaciated that a medical board determined that not a day should be lost in sending me back to England.

The city is very expensive but neither getting a job nor moving to another place are even considerable options, as he is on leave for recovery, showing how he has preference for the urban setting, and going to the countryside could probably unsettle him. At first, he is settled at a hotel, but due to excessive spending, he needs to find some other cheaper accommodation. The solution to this problem arrives in the form of his old acquaintance, Stamford, who is the one who would introduce him to Sherlock Holmes.

They meet at the pub, which does not appear to be a good idea for someone who is having money issues, and, conveniently, Stamford has the solution to his problems: However, he already warns Watson and, consequently, the reader, that the person is not a usual character, influencing the view our narrator will have of him.

He is very enthusiastic by his own discovery, but not only that, all throughout the novel Watson will characterize Sherlock as very enthusiastic, excited and sometimes will even compare the detective to a dog.

So, the novel, more than A Study in Scarlet, is also a study in Holmes. Being out of a job recovering and not immediately looking for one, for the roommate deal would be enough to contain wasting money on accommodations by himself, Watson dedicates the initial weeks of their living together at B Baker Street to analyzing Sherlock Holmes.

Confirming his statement of laziness — as contrasted with Holmes — affirming that his roommate is already gone by the time he wakes up, he already puts themselves in a sort of opposition, which will be an important factor for the adaptations here studied and is a characteristic of the genre, as the detective and the companion must not be too similar, mainly for the matter of relatability.

His interest in the peculiar man who was now his roommate does not decrease as time passes. Feeling the need for a more straightforward justification, this time directly to the narratee and reader, he writes The reader may set me down as a hopeless busybody, when I confess how much this man stimulated my curiosity, and how often I endeavoured to break through the reticence which he showed on all that concerned himself.

Before pronouncing judgment, however, be it remembered, how objectless was my life, and how little there was to engage my attention. My health forbade me from venturing out unless the weather was exceptionally genial, and I had no friends who would call upon me and break the monotony of my daily existence.

Under these circumstances, I eagerly hailed the little mystery which hung around my companion, and spent much of my time in endeavouring to unravel it. It is through talking about Holmes that Watson will also tell us about himself, his own knowledges, and opinions.

Watson is a heavily judgmental character-narrator, not hesitating to use adjectives and adverbs to mark his speech while describing his reactions. Surely no man would work so hard or attain such precise information unless he had some definite end in view.

Desultory readers are seldom remarkable for the exactness of their learning. No man burdens his mind with small matters unless he has some very good reason for doing so. His ignorance was as remarkable as his knowledge. Of contemporary literature, philosophy and politics he appeared to know next to nothing. Upon my quoting Thomas Carlyle, he inquired in the naivest way who he might be and what he had done. My surprise reached a climax, however, when I found incidentally that he was ignorant of the Copernican Theory and of the composition of the Solar System.

That any civilized human being in this nineteenth century should not be aware that the earth travelled round the sun appeared to be to me such an extraordinary fact that I could hardly realize it. Interestingly, the first item on the list is literature, and in the aforementioned paragraph he mentioned Thomas Carlyle, a Scottish writer.

The order and the items themselves can say a lot about the character-narrator as well. Knowledge of Literature. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. Tells at a glance different soils from each other.

After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. Sensational Literature. He appears to know every detail of every horror perpetrated in the century. Plays the violin well. Is an expert singlestick player, boxer, and swordsman.

Has a good practical knowledge of British law. One of the reasons is probably the war, as he comes back a changed man with wounds on the outside and on the inside. We do not see him mention family, so we can imagine things might not be going well in this matter, or it is just not relevant for him. He says he is friendless, but he still knows how to be appropriate and polite, as he mentions in the excerpt that follows. He has the ability to distinguish what is acceptable in social situations, choosing not to press Holmes into talking about a certain subject, no matter how curious he might be.

Again I had an opportunity of asking him a point blank question, and again my delicacy prevented me from forcing another man to confide in me. I imagined at the time that he had some strong reason for not alluding to it, but he soon dispelled the idea by coming round to the subject of his own accord. He has strong ideas upon reading it, sharing it both with the reader and with Holmes. He feels strongly about it, even claiming it irritated him, but he seems not to have made the connection between the article and what transpired when they first met.

This is one of the main contrasts of the characters: It irritates me though. It is here that Watson shows more of his literary knowledge by bringing up Poe and Gaboriau. Holmes is offended by such comparisons, considering them inferior detectives: I had no idea that such individuals did exist outside of stories.

He had some analytical genius, no doubt; but he was by no means such a phenomenon as Poe appeared to imagine. I walked over to the window, and stood looking out into the busy street. Taking into consideration his list, it is possible that he felt such indignation he considered him to have no knowledge it literature. He mentions in the paragraph before the list Holmes had no knowledge of contemporary works, maybe in opposition of himself, indicating he was one that followed what was being published.

With this, the character-narrator also shows his inclination towards detective novels, as admiring such characters and Holmes saying he is better than them could be a strong indication that he would have adventures similar to those he has read. My respect for his powers of analysis increased wondrously. There still remained some lurking suspicion in my mind, however, that the whole thing was a pre-arranged episode, intended to dazzle me, though what earthly object he could have in taking me in was past my comprehension.

A little strong minded, Watson does not give in completely, still having some doubts if the whole ordeal could be a scam or not. The ultimate proof that convinces him is the case Sherlock is invited to consult on: The setting of the murder scene helps the mood of the scene itself, and our character- narrator spares no words to translate it, also translating how affected he was by it.

It appears as if the setting does have a direct influence on the character: More than the weather, though, was certainly the thought of seeing the dead body. My companion was in the best of spirits, and prattled away about Cremona fiddles, and the difference between a Stradivarius and an Amati.

As for myself, I was silent, for the dull weather and the melancholy business upon which we were engaged, depressed my spirits. He admits what he had pictured was wrong in relation to how Sherlock would react on the crime scene. He thought the detective would rush, not wasting any moment, but Sherlock was calm and had no hurry to start the investigation.

The presence of Lestrade and Gregson could be a factor that helps contradict his expectations, as Holmes could be more restrained due to them. Watson, observant, knows that even if Holmes is calm, he probably has already started putting his skills to use, and also admits that, although observant of others, he could not apply it to the crime scene.

This is only their first foray into detecting together, but this is a pattern that is going to repeat itself more times, including in The Hound of the Baskervilles, as we will in the following subchapter. I had imagined that Sherlock Holmes would at once have hurried into the house and plunged into a study of the mystery. Nothing appeared to be further from his intention.

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I was unable to see how my companion could hope to learn anything from it. Still I had had such extraordinary evidence of the quickness of his perceptive faculties, that I had no doubt that he could see a great deal which was hidden from me. Faced with death again, albeit in a slightly different form than he was used to, the character- narrator cannot pay attention to anything else; it seems that he is both fascinated with it and scared, and when he mentions London, it reads as if it has started to dawn on him that death was not reserved to the frontlines and the war itself, that it could happen any place in the world, including his beloved London.

All these details I observed afterwards. At present my attention was centred upon the single grim motionless figure which lay stretched upon the boards, with vacant sightless eyes staring up at the discoloured ceiling. With this usage of the word remarked with the present perfect to bring back an element of the narration makes the narratee and, therefore, the reader, more aware that they are reading a written text.

Arriving at the scene, Holmes was quiet, contained, but during the investigation, Watson writes the manner and excitement with which the detective goes about. So engrossed was he with his occupation that he appeared to have forgotten our presence, for he chattered away to himself under his breath the whole time, keeping up a running fire of exclamations, groans, whistles, and little cries suggestive of encouragement and of hope.

As I watched him I was irresistibly reminded of a pure- blooded well-trained foxhound as it dashes backwards and forwards through the covert, whining in its eagerness, until it comes across the lost scent. He cannot see what Holmes sees, and admits it, but it is not enough. Considering how adamant he is on getting to the truth to believe, it is possible that he starts to establish himself as a more reliable narrator, insisting on doubting until he is able to write out the proof to the narratee.

I had already observed that he was as sensitive to flattery on the score of his art as any girl could be of her beauty. Holmes also does not give much opening to that, preferring to stay as the higher intellectual, but we have also seen that Watson knows how to be appropriate and delicate, having chosen not to insist on a subject before, so he probably would not try and do such. He compliments Holmes, but also comments to the narratee that he has noticed the detective likes to be praised, making us wonder then if it is a heartfelt compliment he gives or if he just uttered it to keep on his good side due to all of his doubting.

He needed the solving of the case in order to be able to rest, his curiosity, already proven through his observation of the detective, speaking louder than his will to rest.

He brings up his being in war again, comparing his two reactions: As Lestrade talks of the pills that were found at the scene, Holmes exclaims that it was the last link in the case, while the two police detectives look at him amazed.

It is then that Watson's medical knowledge comes into play, as Holmes asks about them: They were of a pearly grey colour, small, round, and almost transparent against the light. Having noticed before how much the detective enjoyed being praised, it feels as if Watson is trying to maintain the status quo, not messing with the natural arrangement so far.

It turns out that the murderer has a heart condition, and Watson is asked to assess the situation so they can decide on how to proceed. I did so; and became at once conscious of an extraordinary throbbing and commotion which was going on inside. The walls of his chest seemed to thrill and quiver as a frail building would do inside when some powerful engine was at work. In the silence of the room I could hear a dull humming and buzzing noise which proceeded from the same source.

You should publish an account of the case. Watson then begins examining the cane more closely, and tells his deductions, interrupted by praises of Holmes encouraging him. Mortimer is a successful, elderly medical man, well-esteemed since those who know him give him this mark of their appreciation. The thick- iron ferrule is worn down, so it is evident that he has done a great amount of walking with it. He is observing, but he still does not see the object in the exact same way Holmes does, without guessing or second-guessing himself much.

It may be that you are not yourself luminous, but you are a conductor of light. Some people without possessing genius have a remarkable power of stimulating it. I confess, my dear fellow, that I am very much in your debt. He has given Watson a chance to deduce, and by his comment, it is possible to understand that Watson failed, at least partially, with that which he intended. Our character-narrator, however, takes what the detective said as a compliment, as he was being encouraged to speak his mind.

He does not say it to Holmes, choosing instead to confess to the reader, to the narratee, especially because he felt proud of being able to put to use everything he has observed Sherlock doing so far. He had never said as much before, and I must admit that his words gave me keen pleasure, for I had often been piqued by his indifference to my admiration and to the attempts which I had made to give publicity to his methods.

I was proud, too, to think that I had so far mastered his system as to apply it in a way which earned his approval. Our clients were punctual to their appointment, for the clock had just struck ten when Dr. Mortimer was shown up, followed by the young baronet. The latter was a small, alert, dark-eyed man about thirty years of age, very sturdily built, with thick black eyebrows and a strong, pugnacious face. He wore a ruddy-tinted tweed suit and had the weather-beaten appearance of one who has spent most of his time in the open air, and yet there was something in his steady eye and the quiet assurance of his bearing which indicated the gentleman.

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