Ethical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre.
In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.
This book looks beyond fidelity to emphasize how each adaptation of D.H. Lawrence’s short stories functions as a creative response to a text, foregrounding the significance of its fluidity, transtextuality, and genre. The adaptations analysed range from the first to the most recent and draw attention to the fluidity of textual sources, the significance of generic conventions and space in film, the generic potentialities latent within Lawrence’s tales, and the evolving nature of adaptation. By engaging with recent advances in adaptation theory to discuss the evolving critical reception of the author’s work and the role of the reader, this book provides a fresh, forward-looking approach to Lawrence studies.
This book explores contemporary African adaptations of classical Greek tragedies. Six South African and Nigerian dramatic texts – by Yael Farber, Mark Fleishman, Athol Fugard, Femi Osofisan, and Wole Soyinka – are analysed through the thematic lens of resistance, revolution, reconciliation, and mourning.
The opening chapters focus on plays that mobilize Greek tragedy to inspire political change, discussing how Sophocles’ heroine Antigone is reconfigured as a freedom fighter and how Euripides’ Dionysos is transformed into a revolutionary leader.
The later chapters shift the focus to plays that explore the costs and consequences of political change, examining how the cycle of violence dramatized in Aeschylus’
Oresteia trilogy acquires relevance in post-apartheid South Africa, and how the mourning of Euripides’
Trojan Women resonates in and beyond Nigeria.
Throughout, the emphasis is on how playwrights, through adaptation, perform a cultural politics directed at the Europe that has traditionally considered ancient Greece as its property, foundation, and legitimization. Van Weyenberg additionally discusses how contemporary African reworkings of Greek tragedies invite us to reconsider how we think about the genre of tragedy and about the cultural process of adaptation.
Against George Steiner’s famous claim that tragedy has died, this book demonstrates that Greek tragedy holds relevance today. But it also reveals that adaptations do more than simply keeping the texts they draw on alive: through adaptation, playwrights open up a space for politics. In this dynamic between adaptation and pre-text, the politics of adaptation is performed.
How does religion cope with changing situations? Are orthodoxy and liberalism really competing strategies? The essays in this volume argue three views. (1)Orthodoxy is not to be seen as the real and original form of a given religion, but as an idealized original form that should be construed as a construction in reaction to changes in time. (2) Over the ages, liberalism – despite its laudable strive for adaptation – has been less successful than generally assumed. This lesson from history can be quite important in view of the adaptation processes for Muslims in Western Europe. (3) Of great importance for the survival of religion seems to be a clear definition of the boundaries of religiously informed practices and ethics. Their recognisability and authenticity shall – when combined with a due lack of obtrusion – be of great influence for the ongoing acceptance of religion(s) in the public domain.
It can safely be said that when literary texts are utilized or adapted by a musician to create a new work of art, it is seldom that a diminished or lessened product results. Rather, such a merging usually enlarges and enhances both text and tune, perhaps significantly changing the message of the original. Discovering exactly what the new form has to offer and how it relates to the text or melody that preceded it is often a daunting task, requiring a close examination of both the author’s and the composer’s intent.
The essays in this collection offer an analysis of several adaptations, some successful, some not so successful, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media. Ranging from Pasternak’s appropriation of Tchaikovsky to Britten’s operatic versions of Billy Budd and the
Turn of the Screw, from Celan’s use of fugal technique in his “Todesfuge” to the way that the musicianship of several women writers found voice in their writing, a broad spectrum of collaborations is examined. As readers examine an author’s respect for a long dead musician (Hopkins’ admiration of Purcell) or as they discover how John Harbison worked to transform Fitzgerald’s musicality in
The Great Gatsby, it will be evident that musical adaptations often provide a richness that the originals did not possess and that the potential for greatness is heightened when the arts intersect.
The phylum Apicomplexa is characterized by the unique cell organisation of the zoites, the infective stages of unicellular parasites previously designated as Sporozoa. Apicomplexa includes Coccidian and Hematozoa well known for human and veterinary diseases they cause, such as malaria, toxoplasmosis, babesiosis, coccidiosis, and the large group of Gregarines, the early branching Apicomplexa. Gregarines are parasite of invertebrates and urochordates and they performed an extraordinary radiation from the marine and terrestrial hosts known from the Cambrian biodiversity explosion. After the basic publication in the
Traité de Zoologie by Grassé in 1953, this second edition updates the knowledge with information provided by new technologies such as electron microscopy, biochemistry and molecular biology and to enlighten their high diversity of adaptation to invertebrate hosts living in a diversity of biotopes. The extracellular development of Gregarines, the considerable diversification of their cell cortex, their wide distribution in Annelids, Crustaceans, Echinoderms, Myriapods or Insects with about hundred thousands of species contribute to the understanding of many biological aspects of the pathogenic Apicomplexa. Since 1953, taxonomical reviews on Gregarines were published in the Illustrated Guide of Protozoa. In this supplement, there is a special emphasis on the hosts.
Contributors include: Stuart Goldstein, Ryoko Kuriyama, Gérard Prensier, Jiri Vavra, Lawrence Howard Bannister, Jean François Dubremetz.
Without the financial support of academic and non-profit organisations the edition of this volume would not have been possible. Many thanks to the LabEx BCDiv Biological and Cultural Diversities: Origins, Evolution, Interactions, Future, Groupement des Protistologues de Langue Francaise (GPLF), Société des Amis du Muséum, Société Française de Parasitologie for their generous grants.
Encheiridion, which was composed by his pupil Arrian with the purpose of giving a comprehensive account of Epictetus' thought, has been transmitted in many sources. Besides the rich direct tradition there are three Christian adaptations, a voluminous commentary by the sixth-century philosopher Simplicius, as well as the indirect tradition.
The most recent critical edition is the
editio maior by Johannes Schweighäuser (1798), which does not meet the requirements of modern philology.
In the first part of this book there is a full account of the transmission of Epictetus'
Encheiridion and the three Christian adaptations, based on all extant manuscripts. The second part of the book contains critical editions of the four texts; for the Christian
Encheiridion of Vaticanus graecus 2231 this is the
In the more than 3,000 years since its invention, the Chinese script has been adapted many times to write languages other than Chinese, including Korean, Vietnamese, Japanese, and Zhuang. In
Sinography: The Borrowing and Adaptation of the Chinese Script, Zev Handel provides a comprehensive analysis of how the structural features of these languages constrained and motivated methods of script adaptation. This comparative study reveals the universal principles at work in the borrowing of logographic scripts. By analyzing and explaining these principles, Handel advances our understanding of how early writing systems have functioned and spread, providing a new framework that can be applied to the history of scripts beyond East Asia, such as Sumerian and Akkadian cuneiform.
Since in the current global environmental and climate crisis East Asia will play a major role in negotiating solutions, it is vital to understand East Asian cultural variations in approaching and solving environmental challenges in the past, present, and future. The interdisciplinary volume
Nature, Environment and Culture in East Asia. The Challenge of Climate Change, edited by Carmen Meinert, explores how cultural patterns and ideas have shaped a specific understanding of nature, how local and regional cultures develop(ed) coping strategies to adapt to environmental and climatic changes in the past and in the present and how various institutions and representatives might introduce their ideas and agendas in future environmental and climate policies on national levels and in international negotiating systems.
Neo-Victorian Villains is the first edited collection to examine the afterlives of such Victorian villains as Dracula, Svengali, Dorian Gray and Jekyll and Hyde, exploring their representation in neo-Victorian drama and fiction. In addition,
Neo-Victorian Villains examines a number of supposedly villainous types, from the spirit medium and the femme fatale to the imperial ‘native’ and the ventriloquist, and traces their development from Victorian times today. Chapters analyse recent theatre, films and television – from
Ripper Street to Marvel superhero movies – as well as classic Hollywood depictions of Victorian villains. In a wide-ranging opening chapter, Benjamin Poore assesses the legacy of nineteenth-century ideas of villains and villainy in the twentieth and twenty-first centuries.
Contributors are: Sarah Artt, Guy Barefoot, Jonathan Buckmaster, David Bullen, Helen Davies, Robert Dean, Marion Gibson, Richard Hand, Emma James, Mark Jones, Emma V. Miller, Claire O’Callaghan, Christina Parker-Flynn, Frances Pheasant-Kelly, Natalie Russell, Gillian Piggott, Benjamin Poore and Rob Welch.