Titlebook: Adaptation Before Cinema; Literary and Visual Lissette Lopez Szwydky,Glenn Jellenik Book 2023 The Editor(s) (if applicable) and The Author

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https://doi.org/10.1007/978-3-031-04968-2eld historically myopic. Decentering film opens multiple directions for adaptation studies past, present, and future and brings new voices and approaches into the critical conversation. The editors of the collection trace the ways in which adaptation studies can be enriched by rethinking the functio

Supplement

Bethany A. Teachman,Elise M. Clerkin“single frozen moments for visual and spatial interpretation” (Kamila Elliott), transhistorical adaptations of classical suppliants across time reflect how stories are “retold in different ways in new material and cultural environments; [and] like genes, they adapt to those new environments by virtu

Genome

Stefan G. Hofmann,Michael W. Otto ideas. This chapter focuses on Romantic-period writers adapting political philosophy for a popular audience and carries Cartmell’s claim back to the Enlightenment-flowering of modern democracy. That is, adaptation as popularization long predates the advent of film. In the 1790s, radical writers suc

cumulative

Claudia Zayfert,Jason C. DeVivaneric hybridity and its unruly use of sources. In this essay, I argue that recent developments in adaptation studies reveal the generative possibilities inherent in More’s adaptive praxis. In particular, More’s addition of scientific diagrams, extensive notes, and a glossary in the second edition of

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Richard Ned Lebow,Janice Gross Steinke,” the word acknowledges the fact that the image of some unified, transcendental Shakespeare (or Shakespearean text) is an illusion. All versions of Shakespeare are in some way fake, and Fakespeare adaptations foreground their dual position as “Shakespeare” and “not Shakespeare.” Using Dryden and

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International Criminal Justice Seriesrom Scotland, Ireland, Wales, and Britain to imbue . with a sense of the fantastic, preserving fairy lore that might have otherwise been lost. The chapter concentrates on how Shakespeare adapted fae demeanor and behavior from folklore for theatrical production. The chapter looks especially at the ad