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Author: Jade Lum

through their imagination and the creative text, subconsciously reflecting the text to their own imagination and values, and finally, consciously questioning or changing their own values in the real. In this chapter, I will be exploring how specifically fantastic literary adaptations, such as Neil Gaiman

In: Contemporary Fairy-Tale Magic
Author: Jason Mark Ward
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.

Author: Anna McMullan

-specific work, and will conclude with a discussion of two intermedial performances, one an adaptation of Beckett’s television plays for performance from 1996 and the other an adaptation of some of Beckett’s short prose texts Fizzles from 2014. I am interested in looking at how these productions interfered

In: Samuel Beckett Today / Aujourd'hui

-ranging performative legacy; second, the problematics of the ‘unperformable,’ a term that haunts much of the discourse around prose adaptation, but which seems especially apt in the case of this curiously alluring yet infinitely demanding text. Although ‘performability’ is a concept extensively debated and developed

In: Samuel Beckett Today / Aujourd'hui

1 Introduction The fairy tale 1 adapts to the child and young adult reader through versions, adaptations (Hutcheon 7–8, Haase 2), and rewrites, depending on the degree of conservation of the hypotext that the writer uses as a source of inspiration. Hence, at a glance, throughout the history of

In: Contemporary Fairy-Tale Magic
Contemporary African Drama and Greek Tragedy
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.
In: Reading Swift
In: Reading Swift

remained true to his word, having his story (re)told in many ways throughout its 110-year existence in numerous formats and media including books, comics, films, video games, plays, presentations, and television programmes. In Kurtis J. Wiebe and Tyler Jenkins’s recent graphic novel adaptation, Peter

In: Contemporary Fairy-Tale Magic
Papers from The Sixth Münster Symposium on Jonathan Swift
Assembling thirty-five lectures delivered at the Sixth Münster Symposium on Jonathan Swift in June 2011, this new volume of Reading Swift testifies to an extraordinary spectrum of research interests in the Dean of St Patrick’s, Dublin, and his works. As in the successful earlier volumes, the essays have been grouped in eight sections: biographical aspects (W. B. Carnochan, John Irwin Fischer, Clive T. Probyn, Abigail Williams); bibliographical and textual studies (Ian Gadd, James E. May); A Tale of a Tub (J. A. Downie, Gregory Lynall and Marcus Walsh, Michael McKeon); historical and religious issues (Christopher J. Fauske, Christopher Fox, Ian Higgins, Ashley Marshall, Nathalie Zimpfer); Irish vistas (Sabine Baltes, Toby Barnard, Andrew Carpenter, D. W. Hayton, James Ward); poetry (Daniel Cook, Kirsten Juhas, Stephen Karian, Dirk F. Passmann and Hermann J. Real, James Woolley); Gulliver’s Travels (Barbara M. Benedict, Allan Ingram, Ann Cline Kelly, Melinda Alliker Rabb); and reception and adaptation (Gabriella Hartvig, Clement Hawes, Heinz-Joachim Müllenbrock, Tim Parnell, Peter Sabor, Nicholas Seager, Howard D. Weinbrot). Clearly, the élan vital, which has been such a distinctive feature of Swift scholarship in the past thirty years, is continuing unabated.