Adaptation and Appropriation
Abstract
From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores: multiple definitions and practices of adaptation and appropriation. the cultural and aesthetic politics behind the impulse to adapt the global and local dimensions of adaptation the impact of new digital technologies on ideas of making, originality and customization diverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of art the impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studies the appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.
... The present paper applies the theory of motivation by Maslow's (1943), Skrzypińska's (2014) concept of spirituality, Hutcheon's (2013) and Sanders (2006 ) theories of adaptation. ...
... (2) Analysing selected verses by applying Maslow's (1943), Skrzypińska (2014), Hutcheon's (2013) and Sanders (2006 ) theoretical concepts. ...
... Adaptations are intertextual and form part of a story's public history. As a result, all prior adaptations are incorporated into our comprehension of all subsequent adaptations (Hutcheon, 2006, pp.78-89) Julie Sanders (2006) wrote on adaptations and appropriations in her book "Adaptation and Appropriation," arguing that both "sub-sections of the broader practice of intertextuality" (p. ...
In the broadest sense, spirituality refers to the quality or state of being spiritual or to one's attachment to religious concepts and ideas. A non- religious use of the term refers to one's ability to comprehend the soul's fundamental moral and existential questions. People are motivated by a mental state full of energy and enthusiasm, which drives them toward achieving their desired outcomes. Their level of motivation influences a person's actions. A person's actions are motivated by their desire to succeed. Therefore, according to Skrzypiska (2014), spirituality motivates people to look for deeper meaning in their lives (p. 298). The present paper deals with how the Quran motivates its followers to behave while appropriately fulfilling their spiritual needs and desires. It faces some selected short verses and compares them to their adaptation for children. The selected verses are Sura Al-Alaq (The Clot, Read), Sura Al-Qadr (Power, Fate) and Sura At- Takathur (Rivalry In World Increase, Competition).
... This dialogic nature of adaptation, discussed, among others, by Robert Stam (2005) and Linda Hutcheon (2006), popularised the metaphor of 'palimpsest', which shows great explanatory potential for the field. Other important metaphors of 'appropriation' of the literary past for the sake of the filmic present (Sanders 2015) and the exploitation of literature on screen (Cartmell 2017) elaborate on this palimpsestic interplay of the filmic and the literary, the visual and the verbal. ...
... In contemporary criticism too adapta- tions are widely discussed through an aggressive vocabulary, partly due to the Neo-Marxist stance and terminology of scholars, e.g. 'exploitation' (used by Cartmell 2017), or 'appropriation' (used by Sanders 2015). 2 In this article I shall employ the term 'art of expansion'. ...
his article discusses changes in central metaphors through which contemporary adaptation studies strive to chart the enormous territory of film adaptations that exists today. Previously concerned with privileging literary texts over their media ‘replays’, these ‘new wave’ studies tend to prioritize other aspects of the adaptation process: intertextual overwriting (Stam 2005), reappropriation of the literary past for the sake of the present (Sanders 2015), exploitation of literature (Cartmell 2017), etc. Departing from the metaphor of ‘competition’ between media (Jameson 2011), we suggest that the adaptation process be discussed as the art of expansion. The key issue in this research lies in bringing to the forefront the filmmaker’s visual poetics and the place his/her adaptation has among other cinematic works of the same period. This article shows how Marleen Gorris’s Mrs. Dalloway (1997) reveals its ‘expansive’ potential when read both through the lens of the heritage film style and the previous filmmaker’s work, Antonia’s Line (1995).
... El Ministerio del Tiempo) y casos como Pedro e Inês (Francisco Moita Flores, 2005) indican que la serie puede ser un terreno fértil para la adaptación del teatro moderno. 21. Sanders, 2006, p. 126. 22. Hutcheon, 2013, pp. ...
... .Sanders, 2006, p. 36. 29. ...
Explicaremos la estructura de la base de datos «CIRCE: Early Modern Theatre on Screen». Dicha base de datos recoge información relevante sobre adaptaciones a cine y televisión de obras teatrales de las tradiciones española, inglesa, francesa, portuguesa e italiana de la Edad Moderna. Basada en las bases de datos de EMOTHE y de ARTELOPE, CIRCE se propone facilitar el establecimiento de patrones de conexión entre adaptaciones audiovisuales de las cinco tradiciones teatrales del periodo. Sirviéndonos de los principios teóricos de las humanidades digitales y de la teoría de la adaptación, explicaremos los cuatro campos principales con los que esperamos que la base de datos sea robusta a la par que flexible: (1) «Basic Information», (2) «Creatives», (3) «Adaptational Strategies and Procedures» y (4) «Related Texts». Explicaremos la información contenida en cada uno de dichos campos y aportaremos algunos ejemplos que nos permitirán entender su utilidad.
... Filmul lui Cristian Mungiu este un exemplu de adaptare, deoarece are loc o interpretare regizorală a unor evenimente descrise de autoare, împreună cu translatarea unor teme conexe cu subiectul prezentat. 22 De asemenea, mai mult ca sigur, viziunea regizorală a fost completată de elemente ce provin de sfera de investigație a cazului de omor. Subiectul extrem de sensibil pe care filmul îl abordează, păstrând aproape intactă modalitatea de desfășurare a evenimentelor din roman și amplificarea lor prin accentuarea estetică a unor realități socio-culturale, a transformat producția într-un dintre cele mai bune filme ale cinematografiei moderne. ...
The paper proposes an analysis of literature’s role in the current Romanian cinematographic context, starting from two case studies: After the Hills (2012) by Cristian Mungiu, based on the novel Spovedanie la Tanacu by Tatiana Niculescu Bran and Moromeții 2 (2018) by Stere Gulea, based on the novels Moromeții vol. II and Viața ca o pradă… by Marin Preda. The approach aims to carry out a comparative analysis regarding both the role played by the literary work in the cinematographic production as well as the valorization of the literary work through the film. In the current socio-cultural context, the artistic impact of a film creates the cultural premises for the propagation of a literary work to several types of audiences. Artistic products derived from literary works develop a series of issues regarding adaptation methods, aesthetic interpretation, and even artistic interference regarding the assimilation of a literary piece in relation to the cinematographic production. The paper presents two case studies to analyze how the literary work appears either as an adjunct to the cinematographic production or as a central element of the filmographic artistic exposition. These case studies are used to determine the role that the film industry has in the processes of internationalization, propagation, and even popularization of a literary work in a Romanian consumer society, which is dangerously far removed from the book industry. Thus, the scientific approach proposes an exploration of literary valorization through cinematographic artistic products in order to popularize and mediate literature in today’s society.
... Adaptação frequentemente envolve oferecer comentário sobre um texto de origem. No entanto, a adaptação também pode constituir uma tentativa mais simples para tornar textos "relevantes" ou facilmente compreensíveis para novas audiências e leitores através do processo de aproximação e atualização (SANDERS, 2006(SANDERS, , p. 1819). ...
O presente trabalho visa analisar o processo de montagem realizado pela equipe de adaptadores do vlog The Lizzie Bennet Diaries, uma adaptação feminista do romance Pride and Prejudice (1813) em forma de vídeos serializados publicados no YouTube entre 2012 e 2013, sob a ótica das teorias de montagem de Sergei Eisenstein (1979/1983) e André Bazin (1985). A montagem analisada emerge como uma apropriação criativa de elementos das duas correntes teóricas. [Recebido: 08 de ago de 2016 – Aceito: 01 set de 2016]
... Primeiramente, para a análise de como as representações do gótico feminino foram traduzidas no cinema, discutiu-se acerca da adaptação enquanto uma produção inevitavelmente responsável pela criação de novos sentidos. Para tal, associamos estudos que discutem a tradução em uma perspectiva descritiva e pós-moderna, entre os quais estão os de Arrojo (1996), Derrida (1973) e Ribeiro (2007), a estudos que abordam a adaptação cinematográfica enquanto uma obra autônoma e que não se limita a referendar narrativas literárias, como os de Stam (2000), Sanders (2006) e Hutcheon (2011. ...
O presente trabalho se debruça sobre a análise do gótico feminino, em especial, as memórias, a maternidade e a monstruosidade, no romance Beloved (1987), da escritora Toni Morrison, e na adaptação fílmica homônima, dirigida por Jonathan Demme em 1998. Em seu romance, Morrison aborda padrões hegemônicos e opressores cujas vítimas são mulheres negras e destaca o fantasma do passado, ligado aos terrores da escravidão e discriminação racial, com destaque para a opressão, a violação ou o encarceramento de mulheres por vilões em espaços domésticos aristocratas, a ansiedade que envolve suas gestações e a restauração ou a perda de suas identidades. Investiga-se como o filme Beloved (1998) traduz o gótico feminino e as questões raciais da obra de Morrison para as telas do cinema. Este estudo analisa como as memórias e o passado, a maternidade e a monstruosidade feminina se constituem em aspectos importantes na construção do gótico feminino no romance, além de discutir como as questões raciais do gótico pós-colonial se relacionam na concepção das memórias, da maternidade e da monstruosidade feminina. Não obstante, investiga como a adaptação fílmica Beloved (1998) reescreve as particularidades do estilo gótico, trazendo à tona as questões raciais da obra de Morrison, do mesmo modo que investiga como a construção da relação entre a vertente feminina e pós-colonial no romance e em sua adaptação fílmica está vinculada à contemporaneidade. A partir das análises realizadas, constata-se que, como elementos característicos do gótico pós-colonial somados ao gótico feminino, as memórias traumáticas de Sethe permitem que a sua identidade seja desvelada e que suas ações sejam, de certa forma, justificadas. A privação ao amor materno e à maternidade, somada às violências enfrentadas na Doce Lar, fazenda em que laborava, permite que sua monstruosidade seja constituída. A partir disso, tem-se uma Sethe que, desapropriada da maternidade e amando incondicionalmente seus filhos, busca, incessantemente, protegê-los do perigo iminente de uma sociedade racista e escravocrata. Com isso, ao cometer o infanticídio como forma de proteção, Sethe é assombrada pelo espírito de sua filha do meio e forçada a viver o resto de sua vida carregando a culpa de tê-la amado demais, quando era esperado que servisse aos brancos.
... SD!MI's engagement with Lovecraftian themes moves beyond citational "textual echo" (Sanders 2016, 6) to mobilise the discursive potential of the adaptive process as critical literary praxis. More than simple revision of a source text to provide commentary or to make the source "relevant" to new audiences (Sanders 2016), adaptation fundamentally operates as a rhetorical tool for its wielder; adaptation can house "as many opportunities for divergence as adherence, for assault [on] as well as homage" (6) to a source text and the conditions that led to its production. While SD!MI's point of entry to the "tradition" of Lovecraftian horror is not quite so oppositional, it is subversive by virtue of its unusual operation in short-form horror animation and its targeted youth audience. ...
... No creo que nuestro entendimiento del concepto de adaptación diste mucho de las definiciones que se suelen dar en otros textos, incluida la de Pardo García. Aunque las investigaciones canónicas que se han ocupado del concepto de adaptación, como la de Linda Hutcheon (2006) o la de Julie Sanders (2006), no trazan una línea clara entre lo que es una adaptación y otra clase de intertextos, en la práctica, podemos decir que tenemos consciencia de la adaptación en la medida en que seamos capaces de identificar la sustitución de una parte significativa de las funciones narrativas de un texto, de los eventos concretos narrados, en una o más versiones nuevas de una misma historia. Por esta razón, la estrategia retórica de todo proyecto de adaptación de poner en relación los valores de un medio con los de otro proyectándolos en una misma historia, puede -o debe-ser entendida como una operación metafórica, esto es, unas propiedades artísticas que toman el lugar de otras para transmitir un mismo mensaje narrativo, de modo tal que sus resultados tienden a destacar cualidades excluyentes del relato que cuentan. ...
Este volumen doble, que circunscribe investigaciones sobre el cine como problema intermedial, forma parte de la producción editorial colectiva emanada del Seminario de Estudios Cinematográficos (SEC) vinculado al Posgrado en Ciencias del Lenguaje del Instituto de Ciencias Sociales y Humanidades “Alfonso Vélez Pliego” de la Benemérita Universidad Autónoma de Puebla. Interesados en el amplio paradigma-sombrilla de los estudios intermediales, en el SEC iniciamos la exploración de teorías y análisis de la intermedialidad relacionadas con el fenómeno fílmico a partir de las sesiones ordinarias de 2017 y la hemos continuado hasta la actualidad. Por esta razón, en la Cuarta (2018) y la Quinta (2021) Jornadas de Estudios Cinematográficos del SEC hemos convocado a académicos nacionales e internacionales a presentar sus pesquisas sobre temas como autorreferencialidad, intertextualidad, transposición, transmedialidad, interactividad, interarte, hibridaciones genéricas, revolución digital, entre otros.
This article argues that Videodrome and the film’s novelization can both be said to adapt McLuhan’s account of television in Understanding Media. Cronenberg’s film adopts McLuhan’s style of thought by rendering figurative language as visceral cinematic image; Martin’s novelization, in turn, uses the literary device of ekphrasis to depict the protagonist’s TV-possessed inner world. Videodrome the film and Videodrome the novel express, respectively, the cinematic imaging and the synesthetic verbal description of media as «the extensions of man». The essay concludes that attending to the ways in which both the film and the novel adapt McLuhan’s writing not only attests to the intermedial nature of the interpretive act, but helps delineate the contours of the contemporary media landscape.
This article explores the intersection of fairy tales and Holocaust narratives, exploring the emerging trend of presenting Holocaust tales within the fairy-tale genre as a societal response to grappling with Holocaust trauma. Examining linguistic and ethical approaches in works by authors Liz Braswell, Louise Murphy, and Jane Yolen, it poses a central question: does merging Holocaust and fairy-tale narratives enhance understanding or hinder respectful remembrance? The article scrutinises subliminal storytelling in Holocaust tales, highlighting varied authorial approaches, from Braswell's cryptic social conflict to Murphy's and Yolen's use of vague references within a Holocaust-aware context. Exploring how Holocaust tales navigate the balance between fantasy and historical context, it analyses recontextualisation in the works of Braswell and Murphy. Braswell's ‘Beauty and the Beast’ engages with social conflict and history by transforming the curse, while Murphy's ‘Hansel and Gretel’ reframes the oven as a symbol of safety. Additionally, the article addresses the ethical dimensions of representing the Holocaust in children's fiction, emphasising the use of fantasy to enhance accessibility and emotional engagement. Analysing works like Yolen's ‘Briar Rose’ and Braswell's ‘Beauty and the Beast’ illustrates how these narratives navigate historical representation complexities, aiming to preserve awareness and prompt moral reflections. The article argues that fantasy elements not only render the Holocaust accessible to contemporary readers but also provide a unique avenue for emotional engagement, transcending the limitations of historical facts.
Chris Bush’s Faustus: That Damned Woman (first performed in 2020) is a feminist and contemporary adaptation of Christopher Marlowe’s Doctor Faustus. The magus is a woman who travels through time from the seventeenth century to the far distant future. In the process, Johanna Faustus becomes a brilliant scientist who attempts to create digital immortality by uploading the minds of billions of human beings to the Cloud. When a power failure destroys almost all of humanity, it is uncertain whether the universal outage is caused by Mephistopheles (in accordance with the expectations of Faustian fantasy) or is simply an unforeseen but predictable accident (in accordance with the expectations of technophobic versions of science fiction). I argue that Bush’s play traces the chronological and generic arc from magic/fantasy to science/science fiction, blending the two so that the age-old monster, the Devil, enabled by Faustian arrogance, is reimagined as an avatar for an unreliable technology that destroys what it is designed to preserve.
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.
In the digital age, the relationship between film and literature demonstrates how different forms of art can collaborate to improve the storytelling experience. Rather than competing, these mediums complement one another, each bringing their own strengths to the storytelling process. This mutual relationship not only enhances the audience's experience but also fosters a greater appreciation for both film and literature (Hutcheon, 2006; Sanders, 2016). The various film adaptations of Chris Van Allsburg’s picturebook Jumanji (1981) are excellent examples of how literature and film can complement and improve one another over time. The first major adaptation of Jumanji was released in 1995 starring Robin Williams and directed by Joe Johnston. Decades later, the story of Jumanji was revitalized with the releases of Jumanji: Welcome to the Jungle (2017) and Jumanji: The Next Level (2019) both directed by Jake Kasdan. These adaptations illustrate the changing nature of storytelling across mediums and how each new iteration introduces new perspectives and engages contemporary audiences in novel ways. Mikhail Bakhtin’s concepts of heteroglossia and dialogic relationship (1981) are great tools for understanding how different voices and cultural contexts interact within and between texts, thereby revealing the dynamic nature of storytelling and interpretation. Thus, this paper aims to investigate how Bakhtin's concepts of heteroglossia and dialogic relationship function in Jake Kasdan's 2017 sequel, focusing on how the film adaptation evolves in response to its contemporary context.
In one of his most frequently reproduced portraits, John Milton appears as a young man, depicted in a three-quarter view, looking sideways, not directly at but rather beyond the beholder. His small mouth and undereye lids hint at a faint smile. He has rather thick eyebrows, a straight nose, and the full cheeks and round chin of a youth. His long hair parted in curtains falls in graceful curls far below his shoulders, over his white collar and black robe. This familiar image that the general public associates with the name of John Milton differs however from authenticated portraits of the poet, and results from a series of alterations that started in the 19th century. The purpose of this essay is twofold: firstly, to trace the modifications made on portraits of the author of Paradise Lost, and to study them in the context of changing aesthetic preferences and psychological debates; secondly, to initiate a theoretical reflection on historical portraits. Drawing on recent scholarship on biofiction, this article will suggest that distorted images affect the portraits of “great men” by fictionalizing historical figures and presenting “iconofictions” that pass as portraits. Located at the intersection of art, history, and biography, this paper intends to discover how a modified portrait of John Milton became iconic even while it lost its status as a documentary piece.
This article examines Lady Sunrise, Canadian playwright Marjorie Chan’s localized and contemporary rewriting of Sunrise (1936), a modern Chinese spoken drama classic, which premiered in February–March 2020 at Toronto’s Factory Theatre under the direction of Nina Lee Aquino. Chan has condensed the massive dialogue play of fifteen male and female characters in a modern Chinese city to mostly monologues by six Asian Canadian women in present-day Vancouver and Richmond. The author focuses on the play’s transformation in both content—from clash of the haves and have-nots of the 1930s’ China to contemporary racial, gender, and class conflicts in contemporary Canada—and form—from realistic dialogue drama to one relying predominantly on the monologue format, together with the implications of its all-female Asian cast and predominantly female creative team.
Memory is the topic of many modern engagements with antiquity, and it is also the modus operandi of many modern adaptations of antiquity, driven and shaped by the ever-changing ways in which ‘the classics’ are conceptualised within different time-periods and socio-cultural contexts. Popular awareness of classical materials, their socio-economic status, how famous characters and stories are perpetuated through mnemonic adaptation – these are important factors of memory-driven reception that deserve to be investigated as part of classical reception studies. In this article, we thus propose ways in which interdisciplinary connections between memory studies and classical reception studies can be established.
This article proposes to consider the notion of transmission in relation to the process of adaptation since adaptations, whatever form they take, bring a text—transmit a text—to a new audience while submitting the text to a process of transformation and appropriation. Jane Austen’s relatively small body of work has given rise to countless television or film adaptations, stage adaptations but also narrative expansions and continuations that all revisit Austen’s characters and plots. The intermedial adaptation under consideration here is that of a fragment written by Austen in 1805, The Watsons, by English playwright and screenwriter Laura Wade in 2018. The aim of this article is to examine how Wade’s play establishes and reflects on its own status as an adaptation in the twenty-first century while tackling the issue of authenticity inevitably raised by adaptation and continuation. Following a few remarks on the adaptation of unfinished texts, I will examine the metafiction and metatheatricality at work before focusing on the issue of the ending.
The paper is devoted to the study of three post-2000 novels appropriating Beowulf, whose common denominator is the amplification and humanization of the figure of Grendel’s mother and the reconstruction of her potential personal history. The paper argues that multiple ambiguities concerning Grendel’s mother in the poem render her a perfect vehicle for exploring modern assumptions concerning monstrosity, humanity, and femininity. By foregrounding the fact that the canonicity of Beowulf legitimizes the status quo that it represents, the paper elucidates the reasons for which modern female writers look to such an old and culturally remote text. They seem to recognize Beowulf as a carrier of cultural memory and, in their herstories, they often attempt to present the values that it espouses as the foundations of persistent objectification and oppression of women. The female authors also strive to point to the male appropriation of history and memory by presenting mechanisms leading to the dehumanization of Grendel’s mother such as defamation, exile, and oblivion. Identifying Beowulf as a text written by a man, for men, and about men, they offer its feminist reclamations written by women, for women, and about women. The paper also discusses the alternative morality and wisdom represented by women in these modern novels as well as their criticism of traditional gender roles as social constructs which fail to appreciate female self-efficiency, resourcefulness, individualism, psychological strength, and stamina.
La adaptación de cuentos de hadas permite mantener vivas las historias a lo largo del tiempo. En la actualidad también puede servir como una herramienta de japonización al permitir introducir elementos propios de la cultura nipona en historias originariamente occidentales. Esta investigación explora ese uso de la adaptación de los cuentos de hadas a través del análisis del anime Belle, basado en la clásica historia de La Bella y la Bestia. Mediante un análisis comparativo con la popular versión animada de Disney, se han identificado las divergencias más relevantes entre las dos obras. De esta manera, se ha comprobado cómo Belle introduce conceptos e ideas concretos que permiten acercar un imaginario concreto sobre Japón y su cultura.
The adaptation of fairy tales allows stories to be kept alive over time. Nowadays, it can also be a tool of Japanization by allowing elements of Japanese culture to be introduced into originally Western stories. This research explores that use of fairy tale adaptation through an analysis of the anime Belle, based on the classic story Beauty and the Beast. Through a comparative analysis with Disney's popular animated version, the most relevant divergences between the two works have been identified. Thus, it has been shown how Belle introduces specific concepts and ideas that allow us to approach a specific imaginary about Japan and its culture.
The purpose of this paper is to investigate how Kuwaiti British playwright Sulayman Al Bassam’s Petrol Station (2017) draws on themes, tropes, and motifs from Shakespeare’s King Lear (1606) to dramatize the plight of stateless people worldwide. Al Bassam’s use of King Lear hinges on the fact that it is a play that depicts fraught family bonds against the backdrop of national concerns, a question that Petrol Station vividly dramatizes. First, both plays open with an old patriarch making an important decision. Although the two patriarchs propose that their decisions will ensure justice and integrity, ironically, the decision taken by each patriarch wreaks havoc, augments sibling rivalry, and eventually creates a chaotic situation that exacerbates divisions and frictions. Second, in both plays a patriarch has a legitimate son and an illegitimate one whose relationships are marred by continual conflicts and clashes. However, while in Shakespeare’s play, the illegitimate son is Machiavellian and malevolent, in Al Bassam’s play, the illegitimate son is helpless and even naïve. Furthermore, some characters in Al Bassam’s play can be viewed to have traces of Shakespeare’s characters, particularly the Fool, who critically comments on the course of actions. Finally, both plays end tragically with people committing suicide or being killed and carried to the stage. Overall, Al Bassam’s play draws our attention to the harsh conditions that stateless people, represented by the illegitimate son of the petrol station’s owner, endure daily. In this sense, Al Bassam’s play draws on Shakespeare’s representation of violence to depict how stateless people are subdued and oppressed.
This article examines the artistic and political implications of Femi Osofisan’s All for Catherine, an adaptation of Cao Yu’s play Thunderstorm. Although the dialogue remains largely faithful to the original, the characters, settings, and historical contexts are artfully shifted to the Nigerian cultural context. The original play by Cao Yu primarily offers a profound critique of capitalist society, a sentiment Osofisan carries forward in his adaptation. By analysing the play’s postcolonial narrative and its portrayal of China’s image, this article provides a literary and textual analysis of African perspectives on Sino-African relations. While China may intend to play a supportive role in Africa, extending its influence and contributing to economic growth, Osofisan’s adaptation suggests a more nuanced perspective. It raises concerns about the potential for neocolonialism, where China’s investments might sometimes prioritise its own interests over the genuine development of African nations.
To this day, the term “soldier poetry” is still predominantly associated in popu- lar perception with the 1914–1918 trench poets, such as Wilfred Owen, Siegfried Sassoon, or Isaac Rosenberg. And yet, the dawn of the new millennium, marked by the rise of the global War on Terror, saw a significant revival of the genre in Britain. One of the most noteworthy indicators of this is John Jeffcock’s anthology Heroes (2011), which has col- lected a hundred poems written by British soldiers who fought in recent conflicts – Iraq and Afghanistan in particular. While these poems are framed within the shifting military, socio-demographical, and political dimensions of war in our time, they simultaneously exhibit strong roots within the context of a specific literary tradition that originated in the First World War. This article sets out to analyse a selection of poems from Heroes, focus- ing on the way these poets construct a network of intertextual citations, borrowings, and allusions to connect their texts – quite deliberately – with the much acclaimed generation of poets form the Great War. The article argues that, by doing so, the poets facilitate the transposition of a set of broader myths and emotions that are typically associated with the Great War onto the new (con)text, thereby adding new literary, cultural, and social meanings to the texts.
Hikayat Raja Babi is an old Malay manuscript written in 1775 by a Semarang merchant named Usup bin Abdul Kadir while sailing to Palembang. It was handwritten in Jawi script and is in the collections of The British Library where it has been digitised, making it freely accessible by all. In 2015, Buku Fixi, a Malaysian publishing company, transliterated the manuscript and published a Romanised version of Hikayat Raja Babi. In 2020, the story was reproduced and published by Matahari Books as an illustrated storybook. This article discusses the adaptation of Hikayat Raja Babi into the version of The Malay Tale of the Pig King. The two texts are analysed based on Hutcheon’s theory of adaptation. Findings show that The Malay Tale of the Pig King has been adapted and simplified through appropriation process, making it suitable for young readers. The latter version still maintains the main story structure by having the same key events as in the original storyline. In addition to this, beautiful illustrations on the cover of the book and throughout the entire book makes The Malay Tale of the Pig King visually appealing.
The Comical History of Don Quixote (1694) is one of the first dramatizations of Miguel de Cervantes’s novel in English, written in three parts. Starting with the episode of Cardenio and Luscinda in the first part, Thomas D’Urfey takes liberties with the characters and twists the plot, mixing chapters and embellishing it with songs by composer Henry Purcell and music by other contemporary artists. However, this dramatist presents us with a noble and quite sensible Don Quixote, as opposed to a histrionic Sancho, thus inverting the essence of the original characters in Cervantes’s novel.This article will analyze – from the perspective of studies on theatrical adaptation, such as Linda Hutcheon’s A Theory of Adaptation (2006) and Jane Barnette’s ADAPTURGY: The Dramaturg’s Art and Theatrical Adaptation (2018) – Thomas D’Urfey’s The Comical History of Don Quixote (1694) as an adaptation of Miguel de Cervantes’s Quixote . The author will explore the different episodes that D’Urfey chose to rewrite in the three parts of his play, analyzing the differences and similitudes between the original stories in the novel and their adapted version in the play, in order to prove that, on the one hand, Cervantes’s novel was already widely known by English audiences when D’Urfey’s plays were premiered, on the other, that he adapted the existing material to suit the preferences of English seventeenth-century audiences and, finally, that he created a parody in which Don Quixote is actually a nobler character than that of the preceding seventeenth-century adaptations.
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This introductory chapter defines relevant terms and lays out several theories and methods central to the practice and study of community Shakespeare. Its first section defines ‘community’ before discussing categories of ‘community performance’; imbedded in this section are four small cases studies of community-based theatres in California, the UK and Eastern Europe, Maine, and the Bahamas. The chapter then turns to describing methods for studying community-based theatre: ethnography, Practice as Research, and applied theatre. It next elucidates the particular challenges and opportunities that Shakespeare, specifically, poses to community-based theatre companies and artists, focusing on issues of access, adaptation, and activism. The chapter concludes with summaries of the book’s four chapter-length case studies.KeywordsShakespearean performanceCommunity theatreCommunity-based theatreApplied theatrePractice as researchGrassroots ShakespearePerformative ethnography
Iphigenia in Aulis has been adapted by Irish contemporary playwrights such as Marina Carr, Edna O’Brien or Andy Hinds. This article offers an introductory analysis of the reasons behind the Irish interest towards the Greek tragedy, followed by a comparative study of the three versions mentioned. The identification of the overarching themes will unveil the spaces for transformation: while Carr focuses on the depiction of a modern and corrupt Agamemnon and the rewriting of strong women, O’Brien adds extra plots and characters to highlight feminist voices, and Hinds eliminates, adds and relocates lines from the original play, to write a more performable version. Conclusions reveal the rewriting of the concept of sacrificial women, and present the three plays as relevant contributions to the reception of Euripides in Ireland.
Jawad Al Assadi's Forget Hamlet constitutes confusion for readers/audience. In fact, the title is an invitation to see Hamlet from an Arabic standpoint. The play offers an indication to many Arab countries under bad controlling regimes. This indication creates a specific analysis for the character of Hamlet as a philosopher and a coward. Hamlet symbolizes Arab people, not the revolutionary, but the intellectual ones who explain more than act. Thus, Forget Hamlet provides the findings of the author to employ them with the creative reinterpretation for Shakespeare's Hamlet.
Se propone un análisis de las adaptaciones literarias al medio del cómic en función del interés para potenciar la lectura crítica en el aula, bajo la asunción de que su lenguaje multimodal redunda en un paradigma de margen interpretativo que sugiere al lector que complete el significado del texto. Por ello, se reflexiona sobre la inconveniencia de introducir adaptaciones que sirvan únicamente como meras lecturas previas a la del original, dado que este tipo de traslación intermedial carece de valor artístico intrínseco y no resultaría productivo; al contrario, aquellas adaptaciones constituidas como actos de revisión cuentan con potencial para fomentar la intervención descodificadora del alumnado, el cual, gracias a una visión autoral compleja, haría derivar factores interpretativos que enriquecerían el acercamiento al original. Tras reflexionar sobre los criterios de caracterización óptima de las adaptaciones, se indican también unos parámetros analíticos que se aplicarán brevemente sobre un corpus de adaptaciones del Tirant lo Blanc. Se desprende, finalmente, que el concepto convencional en torno al texto de lectura puede ser ampliado más allá de lo literario y que, asimismo, el análisis de los clásicos se puede valer de su resignificación en otros medios creativos.
O objetivo deste artigo é analisar algumas das estratégias usadas no processo de adaptação do conto “Branca de Neve” dos irmãos Grimm para a primeira temporada da série Once Upon a Time, disponível na plataforma de streaming Disney +, traçando semelhanças e diferenças na construção da personagem Branca de Neve. Para tanto, partiremos da comparação entre o texto televisivo e o texto literário, perpassando, ainda, por algumas versões cinematográficas e delineando elementos que caracterizam a construção da protagonista. Justifica-se a escolha do conto “Branca de Neve”, por ser o núcleo desencadeador das demais histórias da série. Analisando Hutcheon (2013) percebe-se que adaptação é um ato criativo e intertextual extensivo com a obra adaptada, que tende a se desvincular da obra de partida, formando novos sentidos e novas estruturas.
A presente pesquisa analisa a adaptação cinematográfica do mangá Ghost in the Shell, de Masamune Shirow, dirigida por Mamoru Oshii. Considerando a adaptação como um ato de (re-)interpretação e (re)criação (Hutcheon, 2011) e com base no conceito de interpretantes (Venuti, 2007), procurou-se averiguar de que maneiras os interpretantes formais e temáticos aplicados na animação de Oshii afetaram a representação dos temas presentes no mangá de Shirow. A análise demonstra que tanto o recorte adotado quanto as alterações feitas na caracterização das personagens resultaram em uma adaptação com um tom muito mais sério, sugerindo uma postura mais crítica em relação ao tema das implicações dos avanços tecnológicos para a nossa concepção de humanidade em comparação à sua obra fonte.
Since the publication of Defoe’s novel Robinson Crusoe (1719) a steady stream of adaptations reproduced, reimagined, and/or subverted key elements of the genre it set off. Charged with layers of discourse, “each age […] reveals the robinsonade that best fits its needs” (Fisher 2018. “Innovation and Imitation in the Eighteenth-Century Robinsonade.” In The Cambridge Companion to Robinson Crusoe, edited by J. J. Richetti, 99–111. Cambridge: Cambridge University Press, p. 104). Consider, for example, Andy Weir’s science-fiction (sf) novel The Martian (2014) where a high degree of intertextuality to Defoe’s novel is juxtaposed with the absence of a native other. By treating The Martian as a deliberate revisitation of prior works (cf. Hutcheon 2006). I aim to investigate marked and unmarked intertextuality according to Sanders’s model of complex filtration of cultural narratives (2015). The Martian invites us to revisit Defoe’s novel as a site of cultural significance for the present-day concern of what it takes to sustain human life.
The contemporary children’s robinsonade exemplifies an amalgamation of several centuries worth of intertexts, visible not only in the texts themselves but also in their audiences. In addition to adapting narrative elements, such as the shipwreck or the encounter with Friday, the narrative intent of didacticism spans over centuries, emulating ideologies of eighteenth-, nineteenth-, or twenty-first-century cultures. By utilising adaptation theory, it is possible to consider the Crusoe story as an interpretively doubled narrative of didacticism and to examine the emergence of the children’s robinsonade through the reception of eighteenth- and twenty-first-century audiences. In comparing the reception of early robinsonades and their narrative structures with the contemporary example of Madagascar: Escape 2 Africa , I aim to show the relation between the early reception of Defoe’s work and contemporary adaptations as parts of the didactic legacy of Robinson Crusoe .
Já faz algum tempo que os campos dos Estudos de Adaptação e dos Estudos de Tradução têm acenado mutuamente a certa distância um do outro, em um contato marcado muitas vezes por um possível temor de descaracterização ou perda de identidade de cada uma dessas áreas de investigação. Na verdade, as teorias de adaptação têm usado amplamente o termo ‘tradução’ para representar o processo de transformação que pode ocorrer entre arquiteturas textuais diferentes. Por sua vez, os estudiosos e, em especial, os profissionais da tradução usam o termo ‘adaptação’ para descrever procedimentos que, na verdade, representam o ato tradutório em si. Esse uso de ‘adaptação’ parece criar uma zona de conforto especial que pudesse abrigar tudo o que fosse um desvio dos posicionamentos de idolatria ao ‘texto original’. Examinar as formas como tais termos são empregados, em especial no Brasil, pode nos ajudar a repensar suas definições e limites.
This chapter examines Fenoglio’s theatrical adaptation of Emily Brontë’s novel Wuthering Heights and Fenoglio’s translation of W.H. Garrod’s Introduction to the novel. Fenoglio used the latter as a springboard for his adaptation. This chapter identifies Brontë’s novel and William Wyler’s Hollywood film adaptation as the two source texts for Fenoglio’s adaptation. This chapter compares the three texts to show how Fenoglio constructed an entirely new creative text that shares many similarities with the translations examined in the previous chapters. I then attempt to establish the profound cultural and thematic links between Fenoglio’s translations, adaptations and original writings.
This Element studies eighteenth- and early nineteenth-century instances of transmediation, concentrating on how the same illustrations were adapted for new media and how they generated novel media constellations and meanings for these images. Focusing on the 'content' of the illustrations and its adaptation within the framework of a new medium, case studies examine the use across different media of illustrations (comprehending both the designs for book illustrations and furniture prints) of three eighteenth-century works: Defoe's Robinson Crusoe (1719), Thomson's The Seasons (1730) and Richardson's Pamela (1740). These case studies reveal how visually enhanced material culture not only makes present the literary work, including its characters and story-world. But they also demonstrate how, through processes of transmediation, changes are introduced to the illustration that affect comprehension of that work. This title is also available as Open Access on Cambridge Core.
In the fi eld of literary refashioning and adaptation studies, ancient Greek drama has constituted an inexhaustible source of inspiration for artistic creation and production. When it comes to drama and theatrical performance, David Rabe’s The Orphan, the third play in his Vietnam-themed tetralogy, falls precisely in this category, as it is a revised and “extensive transposition” (Hutcheon 7) of two classical works: Aeschylus’s The Oresteia, the only surviving Greek trilogy, as well as Euripides’s Iphigenia at Aulis. In adapting these tragedies, the playwright chooses to juxtapose them onstage in order to represent and record the events which mark the generational trauma and the familial war in Agamemnon’s House. Rabe’s turn to classical Greek tragedy and his vision to rely on it and inform it are two inescapably “political acts” (Sanders 97), spurred by personal experience. The playwright had attended a performance of Euripides’s tragedy and had seen in it a link between the Trojan and the Vietnam War—and by extension Iphigenia’s sacrifice and the My Lai massacre—before proceeding, subsequently, to write the play in question. His realization that “the Greeks saw that reason was the flip side or dark side of unreason” and that his novel ideas were actually rooted in the ancient past (Morphos and Rabe 81) is the drive which urges him to base his play essentially upon the parent texts while attaching it to a uniquely different trajectory.
The poetry of Edgar Allan Poe is especially relevant for metal musicians and fans, as it presents a high level of musicality, projects timelessness and archaism, and features topics that are pervasive in metal music, such as alienation, madness, death, fear, powerlessness, and the pain occasioned by lost love. Because of applying all the aforesaid, and because of its strong presence in popular culture, “The Raven” is metal musicians’ favourite. Twenty-six songs by twenty-five bands based on ten different poems are analysed. The results confirm the thematic relationship between Poe’s verses and metal songs, the international outreach of poetry in English, and the abundance of extreme metal bands as opposed to more commercial acts. A tendency to engage in extended, complex song forms when transforming Poe’s poetry is identified.
The proposed transformation taxonomy consists of five different categories. Each one of them is introduced and illustrated with the analysis of, at least, four paradigmatic instances of poem-to-song transformations. In total, twenty-one songs by seventeen bands from different countries and metal subgenres are scrutinised. The instances are based on twenty poems by seventeen different British, American, and Irish authors from the sixteenth to the twentieth century. A vast array of textual and musical techniques that favour the transition from poem to song are identified, and musicians’ concern with the rhythmic and semantic particularities of the source verses is highlighted. The analysis confirms that poetry and metal music share common topics, that the international outreach of poetry in English spans further away from English-speaking countries, and that the use of poems as lyrical sources is almost absent from the most popular subgenres of metal music.
Poetry and music are intimately interrelated, as the former started as song and features similar rhythmic concerns. Because of the natural rapport between both art forms, many songs are inspired by poems. Metal music is not only not alien to this modus operandi, but it benefits enormously from adapting and appropriating verse, as the poetry of old shares topics and concerns with metal musicians and fans, and the timbrical and harmonic characteristics of metal music allow the poems to find new life in a music genre surrounded by theatricality and passion, and supported by a loyal following. Metal music is not only an appropriate vehicle for the transmission of poetry but also a specially well-suited one. In order to understand how the transformational process from poem to metal song takes place and which are the main textual and musical tools and resources metal musicians use to turn poetry in English into music, a new transformation taxonomy is defined based on previous attempts within the field of adaptation and appropriation theory.
This article examines Andrew Bovell’s Lantana series, arguing that his adaptive transformation of his own texts offers a notable exposition of auto-adaptation as an organic process. The ten-year creative and selective journey, in which the Australian playwright explores the themes of loss, trust, betrayal, entanglement, and emotional disconnection, began with the 1992 one-act play Like Whiskey on the Breath of a Drunk You Love and culminated in the 2001 award-winning film Lantana, offering an insight into fluid revision and twin-track authorship. Bovell’s screenplay retells and reimagines the events and themes of its four predecessors, crafting his ideas on the precarity of human relationships and the nature of truth into a tight, reflexive structure, through fragmentation and musical orchestration. In conclusion, the Lantana series exhibits auto-adaptation as a continuous process of growth, in which the pre-texts function as independent works of art and as resources for further reimagining and adaptive revision.
Los artículos reunidos en este libro estudian la relación entre el cine y la literatura desde herramientas teóricas y enfoques que rompen los estrechos límites comparativos y valorativos de un tema que parecía ya agotado. Si bien la polémica gira en torno a la fidelidad-infidelidad de la adaptación frente al original, este libro ofrece acercamientos que enriquecen el nexo entre la letra y la imagen, y pueden ser de interés para estudiantes, profesores, lectores y espectadores.
The representation of motherhood and the feminine in Fiennes’s Coriolanus has until recently been unduly overlooked. The present investigation provides an analysis of key aspects and crucial scenes of the film, in which the Shakespearean issues of femininity and motherhood are represented, reinforced, metaphorised and/or questioned. This paper argues that the significance of the female dimension is expanded in the cinematic version of the play and recoded in terms manageable and relevant to a new-millennium audience. This amplification of the feminine, and of motherhood in particular, partly redresses the gender balance in the film and figuratively represents what Coriolanus tries to escape but cannot avoid in his blind quest for impenetrable, self-sufficient masculinity, which is revealed as a destructive myth nurtured by the destructive mother culture of contemporary society.
In the era of the Broadband Society, cloud journalism, and streaming, the film industry is trying to modify traditional distribution channels. The adaptation of literary classics was one of the most widespread practices to obtain well-known, quality material for new productions. The objective of this research is to understand empirically what differences are involved in industry’s major production and distribution companies’ choice between adapting preexisting material or creating an entirely new film, as well as the benefits of adaptations. The methodology is comparative and quantitative, consisting of collecting data on films from the five major distributors (Universal, Warner Bros, Disney, Sony, and Paramount) from 2010 to 2019 and analyzing variables to detect market trends related to adaptations during that decade. We observed a higher percentage of adaptations as well as correlations between adaptations and film genre, distributor and genre, adaptations and awards, awards and genre, and genre and the film’s evaluation, as well as between distributor and average budget, adaptations and budget, adaptation and opening weekend box office takings, genre and profit, adaptations and worldwide box office revenues, ratings and worldwide box office takings, and awards and worldwide box office takings; however, this was not observed between adaptation and profit and the breakeven point. It is concluded that, despite the fact that the trend of using this practice has not increased in recent years, it provides a great advantage compared with debuting new intellectual property.
Criticism 45.2 (2003) 149-171
WHAT COULD BE MORE AUDACIOUS than to argue that the study of moving images as adaptations of literary works, one of the very first shelters under which cinema studies originally entered the academy, has been neglected? Yet that is exactly what this essay will argue: that despite its venerable history, widespread practice, and apparent influence, adaptation theory has remained tangential to the thrust of film study because it has never been undertaken with conviction and theoretical rigor. By examining a dozen interlinked fallacies that have kept adaptation theory from fulfilling its analytical promise, I hope to claim for adaptation theory more of the power it deserves.
1. There is such a thing as contemporary adaptation theory. This is the founding fallacy of adaptation studies, and the most important reason they have been so largely ineffectual—because they have been practiced in a theoretical vacuum, without the benefit of what Robert B. Ray has called "a presiding poetics." There is, as the preceding sentence acknowledges, such a thing as adaptation studies. It is pursued in dozens of books and hundreds of articles in Literature/Film Quarterly and in classrooms across the country, from high school to graduate school, in courses with names like "Dickens and Film" and "From Page to Screen." But this flood of study of individual adaptations proceeds on the whole without the support of any more general theoretical account of what actually happens, or what ought to happen, when a group of filmmakers set out to adapt a literary text. As Brian McFarlane has recently observed: "In view of the nearly sixty years of writing about the adaptation of novels into film . . . it is depressing to find at what a limited, tentative stage the discourse has remained." Despite the appearance of more recent methodologies from the empiricism of Morris Beja to the neo-Aristotelianism of James Griffith, the most influential general account of cinema's relation to literature continues to be George Bluestone's tendentious Novels into Film, now nearly half a century old. Bluestone's categorical and essentialist treatment of the relations between movies and the books they are based on neglects or begs many crucial questions, and more recent commentators, even when they are as sharp as McFarlane (who will therefore claim particularly close attention in this essay) in taking exception to Bluestone, have largely allowed him to frame the terms of the debate.
Hence several fundamental questions in adaptation theory remain unasked, let alone unanswered. Everyone knows, for example, that movies are a collaborative medium, but is adaptation similarly collaborative, or is it the work of a single agent—the screenwriter or director—with the cast and crew behaving the same way as if their film were based on an original screenplay? Since virtually all feature films work from a pre-existing written text, the screenplay, how is a film's relation to its literary source different from its relation to its screenplay? Why has the novel, rather than the stage play or the short story, come to serve as the paradigm for cinematic adaptations of every kind? Given the myriad differences, not only between literary and cinematic texts, but between successive cinematic adaptations of a given literary text, or for that matter between different versions of a given story in the same medium, what exactly is it that film adaptations adapt, or are supposed to adapt? Finally, how does the relation between an adaptation and the text it is explicitly adapting compare to its intertextual relationships with scores of other precursor texts?
The institutional matrix of adaptation study—the fact that movies are so often used in courses like "Shakespeare and Film" as heuristic intertexts, the spoonful of sugar that helps the Bard's own text go down; the fact that studies of particular literary texts and their cinematic adaptations greatly outnumber more general considerations of what is at stake in adapting a text from one medium to another; the fact that even most general studies of adaptation are shaped by the case studies they seem designed mainly to illuminate—guarantees the operation of adaptation studies on a severe economy of theoretical principles which have ossified into...
This is the first comprehensive account of the relationship between Shakespeare and his favourite poet, Ovid. The author examines the full range of Shakespeare's work, identifying Ovid's presence not only in the narrative poems and pastoral comedies, but also in the Sonnets and mature tragedies. He shows how profoundly creative Ovid's influence was, from the raped Lavinia's turning of the pages of the Metamorphoses in Titus Andronicus and the staging of Pyramus and Thisbe in A Midsummer Night's Dream, to the reanimation of Hermione's statue in The Winter's Tale and Prospero's renunciation of his magic in The Tempest. The Heroides are shown to have been vital to Shakespeare's female characters, but it is the Metamorphoses which animate the author's book, just as they animated the whole of Shakespeare's career. This original and elegantly written book reveals Shakespeare as an extraordinarily sophisticated reader of Ovidian myth and as a metamorphic artist as fluid and nimble as his classical original.
