Adaptation and AppropriationRoutledge, 19 Nov 2015 - 254 halaman 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:
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. |
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... Expectations, respectively) we acknowledge that stylistic imitation is neither the essence nor the sole purpose of the approach to the source text, even though it may be a defining feature. James Joyce's 1922 novel Ulysses could be ...
... Expectations, respectively) we acknowledge that stylistic imitation is neither the essence nor the sole purpose of the approach to the source text, even though it may be a defining feature. James Joyce's 1922 novel Ulysses could be ...
Halaman
... Expectations, relocating it to contemporary New York, with his Pip (Finn Bell) as a struggling artist. Comparable transpositions can be found being performed on the work of Henrik Ibsen, Jane Austen, Anton Chekhov and Joseph Conrad ...
... Expectations, relocating it to contemporary New York, with his Pip (Finn Bell) as a struggling artist. Comparable transpositions can be found being performed on the work of Henrik Ibsen, Jane Austen, Anton Chekhov and Joseph Conrad ...
Halaman
... expectation of this the most formal adaptations carry the same title as their source or informing text. Shared titles mobilize complex understandings of similarity and difference and might seem to invite comparative analysis, and it is ...
... expectation of this the most formal adaptations carry the same title as their source or informing text. Shared titles mobilize complex understandings of similarity and difference and might seem to invite comparative analysis, and it is ...
Halaman
... expectation of audience familiarity with the serial instalments of the novels themselves; the pleasure to be gained through such acts of mimicry could only be brought about by an instant recognition of the similarities' (Cox 2000: 43–4) ...
... expectation of audience familiarity with the serial instalments of the novels themselves; the pleasure to be gained through such acts of mimicry could only be brought about by an instant recognition of the similarities' (Cox 2000: 43–4) ...
Halaman
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Shakespearean appropriations | |
Myth and metamorphosis | |
Other versions of fairy tale and folklore | |
Constructing alternative points of view | |
Or rethinking the nineteenth century | |
Or appropriating the facts | |
Copyright and the work of art in the age | |
Different versions | |
Glossary | |
Index | |
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Istilah dan frasa umum
adaptation and appropriation adaptation studies allusion Angela Carter archetypal artistic audiences Basingstoke Brontë’s Cambridge canonical Carey Carey’s Carter Chapter characters Coetzee’s contemporary context creative critical cultural Dalloway Defoe’s deployed Dickens Dickens’s discussed drama Eliot engagement Eurydice example fairy tale feminist fiction film adaptation Genette genre global Hamlet Harmondsworth intertextual Jack Maggs Jane Eyre John Last Orders Linda Hutcheon literary literature London Luhrmann magic realism means metafictional mode modern Moulin Rouge musical myth mythic narrative narrator Oates original Orpheus Ovid Oxford parallel particular pastiche performance Peter plotlines political postcolonial postmodern precursor process of adaptation production protagonists re-creation reader reading reference relationship resonance reworking rewriting Rhys Rhys’s Routledge Rushdie sexual Shakespeare Shakespeare’s play signifying source text specific stage story suggests Susan Swift’s novel T. S. Eliot textual theory twentieth century underworld University Press variation Victorian Victorian era voice Wide Sargasso Sea Woolf’s writing