Comparative Literature (CMLIT) 1
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The Art of Adaptation
Ritgerð til M.A.-prófs Bókmenntir, Menning og Miðlun The Art of Adaptation The move from page to stage/screen, as seen through three films Margrét Ann Thors 301287-3139 Leiðbeinandi: Guðrún Björk Guðsteinsdóttir Janúar 2020 2 Big TAKK to ÓBS, “Óskar Helps,” for being IMDB and the (very) best 3 Abstract This paper looks at the art of adaptation, specifically the move from page to screen/stage, through the lens of three films from the early aughts: Spike Jonze’s Adaptation, Alejandro González Iñárritu’s Birdman, or The Unexpected Virtue of Ignorance, and Joel and Ethan Coen’s O Brother, Where Art Thou? The analysis identifies three main adaptation-related themes woven throughout each of these films, namely, duality/the double, artistic madness/genius, and meta- commentary on the art of adaptation. Ultimately, the paper seeks to argue that contrary to common opinion, adaptations need not be viewed as derivatives of or secondary to their source text; rather, just as in nature species shift, change, and evolve over time to better suit their environment, so too do (and should) narratives change to suit new media, cultural mores, and modes of storytelling. The analysis begins with a theoretical framing that draws on T.S. Eliot’s, Linda Hutcheon’s, Kamilla Elliott’s, and Julie Sanders’s thoughts about the art of adaptation. The framing then extends to notions of duality/the double and artistic madness/genius, both of which feature prominently in the films discussed herein. Finally, the framing concludes with a discussion of postmodernism, and the basis on which these films can be situated within the postmodern artistic landscape. -
Film Adaptation As an Act of Communication: Adopting a Translation-Oriented Approach to the Analysis of Adaptation Shifts Katerina Perdikaki
Document generated on 09/30/2021 1:10 p.m. Meta Journal des traducteurs Translators’ Journal Film Adaptation as an Act of Communication: Adopting a Translation-oriented Approach to the Analysis of Adaptation Shifts Katerina Perdikaki Volume 62, Number 1, April 2017 Article abstract Contemporary theoretical trends in Adaptation Studies and Translation Studies URI: https://id.erudit.org/iderudit/1040464ar (Aragay 2005; Catrysse 2014; Milton 2009; Venuti 2007) envisage synergies DOI: https://doi.org/10.7202/1040464ar between the two areas that can contribute to the sociocultural and artistic value of adaptations. This suggests the application of theoretical insights See table of contents derived from Translation Studies to the adaptation of novels for the screen (i.e., film adaptations). It is argued that the process of transposing a novel into a filmic product entails an act of bidirectional communication between the book, Publisher(s) the novel and the involved contexts of production and reception. Particular emphasis is placed on the role that context plays in this communication. Les Presses de l’Université de Montréal Context here is taken to include paratextual material pertinent to the adapted text and to the film. Such paratext may lead to fruitful analyses of adaptations ISSN and, thus, surpass the myopic criterion of fidelity which has traditionally dominated Adaptation Studies. The analysis uses examples of adaptation shifts 0026-0452 (print) (i.e., changes between the source novel and the film adaptation) from the film 1492-1421 (digital) P.S. I Love You (LaGravenese 2007), which are examined against interviews of the author, the director and the cast, the film trailer and one film review. -
Literature on Screen, a History: in the Gap Timothy Corrigan University of Pennsylvania, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarlyCommons@Penn University of Pennsylvania ScholarlyCommons Departmental Papers (CIMS) Cinema and Media Studies Program 9-2007 Literature on Screen, A History: In the Gap Timothy Corrigan University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/cims_papers Part of the English Language and Literature Commons, Film Production Commons, and the Mass Communication Commons Recommended Citation (OVERRIDE) Corrigan, T. (2007). Literature on Screen, A History: In the Gap. In D. Cartmell & I. Whelehan (Eds.), The aC mbridge Companion to Literature on Screen (pp. 29-44). New York: Cambridge University Press. [10.1017/CCOL0521849624.003] This paper is posted at ScholarlyCommons. http://repository.upenn.edu/cims_papers/8 For more information, please contact [email protected]. Literature on Screen, A History: In the Gap Abstract Perhaps more than any other film practices, cinematic adaptations have drawn the attention, scorn, and admiration of movie viewers, historians, and scholars since 1895. Indeed, even before this origin of the movies - with the first public projections of films by Auguste and Louis Lumière in France and Max and Emil Skladanowsky in Germany - critical voices worried about how photography had already encroached on traditional aesthetic terrains and disciplines, recuperating and presumably demeaning pictorial or dramatic subjects by adapting them as mechanical reproductions. After 1895, however, film culture moved quickly to turn this cultural anxiety to its advantage, as filmmakers worked to attract audiences with well-known images from books now brought to life as Cinderella (1900), Gulliver's Travels (1902), and The aD mnation of Faust (1904). -
Chapter 8: Conclusion
COMPARATIVE LITERATURE: AN OVERVIEW Rohib Adrianto Sangia Abstract: Comparative literature is an academic field dealing with the literature of two or more different linguistic, cultural or nation groups (D'haen, Domínguez, & Thomsen, 2012: 57). While most frequently practiced with works of different languages, comparative literature may also be performed on works of the same language if the works originate from different nations or cultures among which that language is spoken. Also included in the range of inquiry are comparisons of different types of art; for example, a relationship of film to literature. Keywords: Comparative Literature, World Literature, Literature Works INTRODUCTION The terms "Comparative Literature" and "World Literature" are often used to designate a similar course of study and scholarship (Enani, 2005: 27). Comparative Literature is the more widely used term in the United States, with many universities having Comparative Literature departments or Comparative Literature programs. Comparative literature is an interdisciplinary field whose practitioners study literature across national borders, across time periods, across languages, across genres, across boundaries between literature and the other arts (music, painting, dance, film, etc.), across disciplines (literature and psychology, philosophy, science, history, architecture, sociology, politics, etc.) (Tӧtӧsy de Zepetnek, 1998: 80) (Cao, 2013: xix). Defined most broadly, comparative literature is the study of "literature without borders" ( nguez, Saussy, & Villanueva, 2014: xv). Scholarship in Comparative Literature include, for example, studying literacy and social status in the Americas, studying medieval epic and romance, studying the links of literature to folklore and mythology, studying colonial and postcolonial writings in different parts of the world, asking fundamental questions about definitions of literature itself. -
Challenges and Possibilities for World Literature, Global Literature, and Translation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Purdue E-Pubs CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 7 Article 7 Challenges and Possibilities for World Literature, Global Literature, and Translation Kathleen Shields National University of Ireland Maynooth Follow this and additional works at: http://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The ourj nal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. -
Chivalry in Western Literature Richard N
Rollins College Rollins Scholarship Online Master of Liberal Studies Theses 2012 The nbU ought Grace of Life: Chivalry in Western Literature Richard N. Boggs Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/mls Part of the English Language and Literature Commons, European History Commons, Medieval History Commons, and the Medieval Studies Commons Recommended Citation Boggs, Richard N., "The nbouU ght Grace of Life: Chivalry in Western Literature" (2012). Master of Liberal Studies Theses. 21. http://scholarship.rollins.edu/mls/21 This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Master of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Unbought Grace of Life: Chivalry in Western Literature A Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Liberal Studies by Richard N. Boggs May, 2012 Mentor: Dr. Thomas Cook Reader: Dr. Gail Sinclair Rollins College Hamilton Holt School Master of Liberal Studies Program Winter Park, Florida The Unbought Grace of Life: Chivalry in Western Literature By Richard N. Boggs May, 2012 Project Approved: ________________________________________ Mentor ________________________________________ Reader ________________________________________ Director, Master of Liberal Studies Program ________________________________________ Dean, Hamilton Holt School Rollins College Dedicated to my wife Elizabeth for her love, her patience and her unceasing support. CONTENTS I. Introduction 1 II. Greek Pre-Chivalry 5 III. Roman Pre-Chivalry 11 IV. The Rise of Christian Chivalry 18 V. The Age of Chivalry 26 VI. -
Comparative Literature (COML) 1
Comparative Literature (COML) 1 COML 340 Modern European Short Fiction 3 Credit Hours COMPARATIVE LITERATURE A careful reading of between 10 and 15 short novels (in English translation) with particular attention being paid to the manner in which (COML) their plots and characters express contemporary cultural issues. Such works as Dostoyevsky's Notes from Underground, Conrad's Heart of COML 221 Great Books I: Ancient World 3 Credit Hours Darkness, and Unamuno's Abel Sanchez will be included. Introduction to masterpieces of Western world literature from the ancient Prerequisite(s): ENGL 230 or ENGL 231 or ENGL 232 or ENGL 233 or world. Readings include the Bible, Iliad, Odyssey, Greek drama, and ENGL 235 or ENGL 236 or ENGL 237 or ENGL 239 or ENGL 200 Roman authors. (YR). COML 341 Mod Eur Poetry in Translation 3 Credit Hours COML 222 Great Books II 3 Credit Hours Movements and genres of modern European poetry, from the Symbolists Introduction to masterpieces of Western world literature from the Middle to the present. Included will be such poets as D'Annunzio, Cavafy, Ages and Renaissance. Readings include Dante, Chaucer, Wolfram, Rilke, Blok, Mayakovsky, Valery, Eluard, Pavese, Seferis, Akhmatova, Cervantes, Shakespeare, Moliere, and Racine. (YR). Mandestram, Marinetti, Trakl, Mistrale, Vallejo, Morgenstern, Apollinaire, COML 223 Great Books III: Modern Era 3 Credit Hours Loren, Transtromer, Brodsky, Milosz, and others in translation. (OC). Introduction to masterpieces of Western world literature from the Modern Prerequisite(s): ENGL 231 Era. Readings include Swift, Voltaire, Rousseau, English romantic poets, COML 344 Modern Literature: the Novel 3 Credit Hours fiction and drama of the 19th and 20th century. -
İED 142 (02) Classical Literature Instructor: Assist
Hacettepe University Faculty of Letters Department of English Language and Literature Course: İED 142 (02) Classical Literature Instructor: Assist. Prof. Dr. Pınar Taşdelen Year/Term: 2019-2020 Spring Class Hours: Monday 09:00-11:50 B2/203 Office Hours: Wednesday 10:00-12:00 Aim of the Course: This course intends to enable students to acquire a knowledge and appreciation of classical literature, through the study of the social and political life of Greece and Rome; and create awareness of a common European heritage deriving from the civilisations of Greece and Rome. It undertakes a brief survey of classical Greek and Roman literature with special emphasis on the epic and dramatic genres through the study of exemplary texts, which is essential for a better understanding and appreciation of not only British literature but also all Western literature and art. Course Content: In this course, ancient Greek and Roman civilisations are introduced to students within a social, cultural, historical, and literary context. Oral literary tradition, the epic tradition, Homeric epics, the birth and development of Classical Greek and Roman tragedy as well as comedy are dealt with in the light of representative literary texts. Course Outline: Week I: General introduction Brief history of ancient Greece General characteristics of Classical Greek literature The heroic ideal and heroic age Week II-VI: The epic tradition and the Homeric epics Homer The Iliad Week VII: Midterm I (06.04.2020) Week VIII: The birth, development, and features of Classical Greek tragedy Week IX: Greek tragedy Sophocles Oedipus the King Week X: The birth, development, and features of Roman tragedy Seneca Thyestes Week XI: Midterm II (04.05.2020) Week XII: The birth, development, and features of Classical Greek comedy Aristophanes Lysistrata Week XIII: The birth, development, and characteristics of Roman comedy Plautus Pot of Gold Week XIV: Bank Holiday *There may be changes to the course outline. -
COMPARATIVE LITERATURE (Div
COMPARATIVE LITERATURE (Div. I) Chair, Associate Professor CHRISTOPHER NUGENT Professors: BELL-VILLADA, CASSIDAY, DRUXES, S. FOX, FRENCH, KAGAYA**, NEWMAN***, ROUHI, VAN DE STADT. Associate Professors: C. BOLTON***, DEKEL, S. FOX, HOLZAPFEL, MARTIN, NUGENT, PIEPRZAK***, THORNE, WANG**. Assistant Professors: BRAGGS*, VARGAS. Visiting Assistant Professor: EQEIQ. Students motivated by a desire to study literary art in the broadest sense of the term will find an intellectual home in the Program in Comparative Literature. The Program in Comparative Literature gives students the opportunity to develop their critical faculties through the analysis of literature across cultures, and through the exploration of literary and critical theory. By crossing national, linguistic, historical, and disciplinary boundaries, students of Comparative Literature learn to read texts for the ways they make meaning, the assumptions that underlie that meaning, and the aesthetic elements evinced in the making. Students of Comparative Literature are encouraged to examine the widest possible range of literary communication, including the metamorphosis of media, genres, forms, and themes. Whereas specific literature programs allow the student to trace the development of one literature in a particular culture over a period of time, Comparative Literature juxtaposes the writings of different cultures and epochs in a variety of ways. Because interpretive methods from other disciplines play a crucial role in investigating literature’s larger context, the Program offers courses intended for students in all divisions of the college and of all interests. These include courses that introduce students to the comparative study of world literature and courses designed to enhance any foreign language major in the Williams curriculum. In addition, the Program offers courses in literary theory that illuminate the study of texts of all sorts. -
Film Adaptation As the Interface Between Creative Translation and Cultural Transformation
The Journal of Specialised Translation Issue 29 – January 2018 Film adaptation as the interface between creative translation and cultural transformation: The case of Baz Luhrmann’s The Great Gatsby Katerina Perdikaki, University of Surrey ABSTRACT Adaptation is prominent in many facets of the creative industries, such as the performing arts (e.g. theatre, opera) and various forms of media (e.g. film, television, radio, video games). As such, adaptation can be regarded as the creative translation of a narrative from one medium or mode to another. This paper focuses on film adaptation and examines its role in cultural production and dissemination within the broader polysystem (Even-Zohar 1978a). Adaptation has been viewed as a process which can shed light on meaningful questions on a social, cultural and ideological level (cf. Casetti 2004; Corrigan 2014; Venuti 2007). Nevertheless, an integrated framework for the systematic analysis of adaptations seems to have remained under-researched. The paper puts forward a model for adaptation analysis which highlights the factors that condition adaptation as a process and as a product. In this way, adaptation is studied as a system monitored by economic, creative and social agendas which nevertheless transforms the communicating vessels of the literary system and the film industry. To illustrate this, the paper discusses how the two systems and various creative and socioeconomic considerations interlace in the latest film adaptation of The Great Gatsby (Luhrmann 2013). It concludes on the benefits of a holistic approach to adaptation. KEYWORDS Film adaptation, translation, polysystem, paratexts, creative industries, The Great Gatsby. 1. Introduction Adaptations play a crucial part in the contemporary creative industries. -
Where Has All the Magic Gone?: Audience Interpretive Strategies of the Hobbit’S Film- Novel Rivalry
. Volume 13, Issue 2 November 2016 Where has all the magic gone?: Audience interpretive strategies of The Hobbit’s film- novel rivalry Jonathan Ilan, Bar-Ilan University, Israel Amit Kama, Yezreel Valley Academic College, Israel Abstract: The complex relations between words and images are debated in various disciplines and have been in a variety of modes a thorny issue for centuries. Words are constantly used to represent or embody images (conceptualized as ekphrasis) and vice versa. At the same time, however, words are also considered not sufficient to represent the visual sign, which cannot rely entirely on text. Similarly, the visual cannot rely entirely on the verbal; its understanding should come from representational practices alone, as there is something in the image that is ‘purely image’. Films and novels are accordingly opposed, considered as two separate ‘pure’ entities that are not translatable, and yet share stylistic, narrative, and cultural connections. This essay tackles such relations as they are manifested in audience members’ discussions of the cinematographic Hobbit adaptation(s). More specifically, it is focused on their interpretive strategies in the ways these relate to the novel-film rivalry. Based on qualitative thematic analyses of the 251 Israeli respondents’ open-ended answers, we demonstrate how the film-novel rivalry unveils itself in the audience reception of the film(s) adaptations. Findings reveal diverse and even paradoxical tensions: From a standpoint that the movie is considered a perfect or even ‘better’ representation of the novel, to vehement criticism that it vandalizes the original and ‘misses’ its ‘purpose’ completely, designed entirely to make profit. -
Film, Literature, and Translation
1 Film, Literature, and Translation: The Reception of Spain in the United States by Andrea Reisenauer Trabajo fin de Máster directed by Luis Pegenaute Departament de Traducció i Filologia Universitat Pompeu Fabra Barcelona, July 2015 2 ABSTRACT There is an increasing amount of research examining the parallels between the translation and adaptation processes, products, and studies themselves. Many Adaptation Studies scholars call for the use of Translation Studies' theoretical and methodological framework provided by the Polysystem theory to help further Adaptation Studies as a discipline. This study seeks to adopt this Polysystem theory to examine both Spanish adaptations and Spanish translations that have been published or released in the United States between 1980 and 2015. In doing so, it intends to not only reveal the preliminary, combined, and reception norms involved, but also to further demonstrate the parallel between these two processes and the value of a Polysystem approach in Translation Studies and Adaptations Studies. 3 TABLE OF CONTENTS ABSTRACT.....................................................................................................................................2 TABLE OF CONTENTS.................................................................................................................3 LIST OF TABLES ..........................................................................................................................5 CHAPTER 1—INTRODUCTION...............................................................................................6