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Author: Sam Summers

Throughout its entire history of producing animated features, the Disney studio has made a habit of adapting stories written and set in a variety of different historical periods and social contexts. This process of adaptation generally involves adding and removing certain elements to account for

In: The Modern Hercules

-in-relation , the condition which terms like translation, adaptation, and appropriation have been coined in different languages, times, and places to mark. That many are co-constituted by their intertextuality has been discussed in depth by Classicists, who recognise this as characteristic of early ideas of

In: Framing Classical Reception Studies

Martindale and Hardwick are literary scholars, and this inevitably gives a certain priority to a specific set of approaches or concepts (again, examples of ‘frames’), such as translation studies, adaptation theory, dialogism or hermeneutics. These, however, are not necessarily the means by which other

In: Framing Classical Reception Studies

Didactica magna , an adaptation of the earlier Didactica ceca . 38 The epigram leaves in the shade the urban dream cherished by Comenius and recounted in The Labyrinth of the World and the Paradise of the Heart , in the wake of the urban utopias devised by Plato, Thomas More, Leon Battista Alberti

In: Framing Classical Reception Studies
Author: David Rijser

space’ similar to a theatre, literally brings into play an element of the ancient genre which in modern adaptations has usually been deleted, muted or transposed as perhaps the most problematic of ancient literary conventions to modern sensitivities. 5 But to accuse Top of the Lake of superficiality

In: Framing Classical Reception Studies
Author: Jeroen Jansen

representations of the scene, and strengthened by loose words in the text, but also by the adaptation of the myth, for example the actual chaining of Andromeda by cruel soldiers in the first act. Duym’s praise of the House of Orange, to William and in the epilogue also to his son Maurice clears the way for the

In: Framing Classical Reception Studies

Classical Reception Studies also grows in Brazil, rethinking the position of translations, adaptations, rewritings, and other derivatives of the classics in the Brazilian literature and arts, giving strong impulse to Classical Studies, helping it as a field from obsolescence, because the recent movement

In: Framing Classical Reception Studies
Author: Koen Vacano

fact that Martindale has removed the concept in his 1993 canonical adaptation of his 1991 essay, replacing the subtitle “The Validity of Comparisons …” with “Latin poetry and the hermeneutics of reception”. With this de-emphasis of comparison, the creative and receptive role of the scholar became less

In: Framing Classical Reception Studies
Author: Stephe Harrop

-text is transformed into a mutedly redemptive narrative of loyalty, friendship, and unconventional heroism. Hentzi (2008) identifies Powell and Pressburger’s adaptation of Balchin’s novel as ‘telling a version of the legend of Philoctetes’. This chapter builds upon Hentzi’s argument, together with Moor

In: The Modern Hercules
Author: Hugo Koning

’s adaptation can further be demonstrated by the fact that the original myths are never explicitly mentioned or retold, and that fairly short (and dramatically rather uninteresting) labours of Hercules are elaborated into full-blown (if short) stories. Finally, given that Christie did not have a classical

In: The Modern Hercules