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. |
Dari dalam buku
Hasil 1-5 dari 37
Halaman
... stages and I am grateful to all who attended on that occasion. I underwent my own process of professional adaptation while writing this volume and I thank my new colleagues at the University of Nottingham for making me feel so very ...
... stages and I am grateful to all who attended on that occasion. I underwent my own process of professional adaptation while writing this volume and I thank my new colleagues at the University of Nottingham for making me feel so very ...
Halaman
... stage, Eliot questioned why originality was valued over 'repetition': 'No poet, no artist, of any art, has his complete meaning alone' (38). He was not advocating blind adherence to precursor texts or ages, an action that would after ...
... stage, Eliot questioned why originality was valued over 'repetition': 'No poet, no artist, of any art, has his complete meaning alone' (38). He was not advocating blind adherence to precursor texts or ages, an action that would after ...
Halaman
... stage adaptation of Dickens's Nicholas Nickleby which premiered in the 1980s at the Royal Shakespeare Company; the onstage references were as knowing in their allusion to those earlier stage adaptations and tableaux as to the canonical ...
... stage adaptation of Dickens's Nicholas Nickleby which premiered in the 1980s at the Royal Shakespeare Company; the onstage references were as knowing in their allusion to those earlier stage adaptations and tableaux as to the canonical ...
Halaman
Anda telah mencapai batas penampilan buku ini.
Anda telah mencapai batas penampilan buku ini.
Halaman
Anda telah mencapai batas penampilan buku ini.
Anda telah mencapai batas penampilan buku ini.
Isi
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 | |
Edisi yang lain - Lihat semua
Istilah dan frasa umum
adaptation and appropriation adaptation studies allusion Angela Carter archetypal artistic audiences Basingstoke Brontė’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