Adaptation and AppropriationFrom 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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In the field of anthropology, Claude Lévi-Strauss conducted many of his researches in terms of identifying repeating structures across cultures and cultural forms (2001 [1978]).
In the field of anthropology, Claude Lévi-Strauss conducted many of his researches in terms of identifying repeating structures across cultures and cultural forms (2001 [1978]).
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structures across cultures and cultural forms (2001 [1978]). In the literary sphere, Roland Barthes declared that 'any text is an intertext' (1981: 39), suggesting that the works of previous and surrounding cultures are always present ...
structures across cultures and cultural forms (2001 [1978]). In the literary sphere, Roland Barthes declared that 'any text is an intertext' (1981: 39), suggesting that the works of previous and surrounding cultures are always present ...
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As James Andreas Sr acknowledges, 'To signify in African and African-American cultures is to improvise upon a given topos, narrative, or joke the way a jazz musician improvises on a progression of chords, melodic structure, ...
As James Andreas Sr acknowledges, 'To signify in African and African-American cultures is to improvise upon a given topos, narrative, or joke the way a jazz musician improvises on a progression of chords, melodic structure, ...
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The latter playwright, of course, reworks in his drama many of the structures and storylines of myth and fairy tale, indicating the cultural osmosis that regularly occurs between adaptation, writers, texts and forms.
The latter playwright, of course, reworks in his drama many of the structures and storylines of myth and fairy tale, indicating the cultural osmosis that regularly occurs between adaptation, writers, texts and forms.
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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
active adaptation and appropriation allusion approach artistic audiences becomes Cambridge canonical Carey century Chapter characters close communities connections contemporary context course creative critical cultural death described discussed Duke University early edition engagement example Expectations experience fact fairy tale fiction film finds further genre Hamlet important influence interest interpretation intertextual Jane John kind Last least literary literature London Maggs means metafictional mode movement musical myth narrative narrator novel offers Orders original Orpheus Oxford parallel particular performance perhaps Peter play political possible postcolonial postmodern Powers practice production proves question reader reading reference relationship reworking rewriting Routledge sense sexual Shakespeare similar social specific stage story structure studies suggests Swift’s textual theory tradition turn understanding University Press variation Victorian voice writing York
Informasi bibliografi
| Judul | Adaptation and Appropriation The New Critical Idiom |
| Pengarang | Julie Sanders |
| Edisi | 2, direvisi |
| Penerbit | Routledge, 2015 |
| ISBN | 1317572203, 9781317572206 |
| Tebal | 254 halaman |
| Ekspor Kutipan | BiBTeX EndNote RefMan |