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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... , film, media or culture. Julie Sanders is Professor of English and Pro-Vice-Chancellor for Humanities and Social Sciences at Newcastle University, UK. THE NEW CRITICAL IDIOM SERIES EDITOR: JOHN DRAKAKIS, UNIVERSITY OF.
... , film, media or culture. Julie Sanders is Professor of English and Pro-Vice-Chancellor for Humanities and Social Sciences at Newcastle University, UK. THE NEW CRITICAL IDIOM SERIES EDITOR: JOHN DRAKAKIS, UNIVERSITY OF.
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... social and cultural values they perform. As novelist Tom McCarthy has put it: 'Technology reveals us to ourselves as we always in fact were: networked, distributed, laced with code' (McCarthy 2011). In this dispersed and distributed ...
... social and cultural values they perform. As novelist Tom McCarthy has put it: 'Technology reveals us to ourselves as we always in fact were: networked, distributed, laced with code' (McCarthy 2011). In this dispersed and distributed ...
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... social as well as economic rationales for adaptation, themes and topics to which we will return. The relevance of particular terms to a specific text and the moment in time when these become active culturally can provide some very ...
... social as well as economic rationales for adaptation, themes and topics to which we will return. The relevance of particular terms to a specific text and the moment in time when these become active culturally can provide some very ...
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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