Adaptation and Appropriation (The New Critical Idiom) by Julie Sanders

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By Julie Sanders

From the it appears uncomplicated model of a textual content into movie, theatre or a brand new literary paintings, to the extra advanced appropriation of favor or that means, it's controversial that every one texts are by some means attached to a community of latest texts and artwork varieties. during this re-creation Adaptation and Appropriation explores:

  • multiple definitions and practices of model and appropriation
  • the cultural and aesthetic politics in the back of the impulse to adapt
  • the international and native dimensions of adaptation
  • the influence of latest electronic applied sciences on rules of creating, originality and customization
  • diverse ways that modern literature, theatre, tv and picture adapt, revise and reimagine different works of art
  • the effect on model and appropriation of theoretical hobbies, together with structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studies
  • the appropriation throughout time and throughout cultures of particular canonical texts, by means of Shakespeare, Dickens, and others, but in addition of literary archetypes resembling fable or fairy story.

Ranging throughout genres and harnessing thoughts from fields as varied as musicology and the average sciences, this quantity brings readability to the advanced debates round version and appropriation, delivering a much-needed source for these learning literature, movie, media or culture.

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Extra info for Adaptation and Appropriation (The New Critical Idiom)

Sample text

These themes and the Chaucerian intertext are all glancingly alluded to in the opening pages of Last Orders. Ray is sitting in a Bermondsey public house – the jokingly named ‘Coach and Horses’ since, as the characters keep reflecting, ‘it aint never gone nowhere’ (6) – which of course parallels the Southwark inn, the Tabard, in which Chaucer’s twenty-nine pilgrims first encounter one another and decide to travel together, passing the time by telling stories at the suggestion and behest of Harry Bailey, the Host.

There are many ways in which both the practice and the effects of adaptation and appropriation intersect and interrelate, yet it is equally important to maintain some clear distinctions between them as creative activities. An adaptation signals a relationship with an informing sourcetext or original; a cinematic version of Shakespeare’s Hamlet, for example, although clearly reinterpreted by the collaborative efforts of director, scriptwriter, actors, and the generic demands of the movement from stage drama to film, remains ostensibly Hamlet, a specific version, albeit achieved in alternative temporal and generic modes, of that seminal cultural text.

Derek Jarman’s 1979 film The Tempest and Peter Greenaway’s lush epic Prospero’s Books (1991) both featured an onscreen Sycorax. One film version of Jane Austen’s Mansfield Park (dir. Patricia Rozema, 2000) made explicit that novel’s context in the history of British colonialism and the practice of slavery on Antiguan plantations. Rozema made visible facts that the novel represses. In both these instances, the absence or gap in the original narrative being remarked upon in the transpositional film was one that had been identified by postcolonial criticism.

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