the Two Headed Duck Adaptation is an acknowledged transposition of a recognizable other work or works a creative and an interpretive act of appropriationsalvaging an extended intertextual ID: 160410
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Slide1
Adaptation: the Two Headed Duck
Adaptation is “[
a]n acknowledged transposition of a recognizable other work or works; a creative
and
an interpretive act of appropriation/salvaging; an extended
intertextual
engagement with the adapted work
” (
Hutcheon
8).Slide2
1. Adaptation is everywhere;
Adaptations are everywhereSlide3
1. adaptation is
everywhere 2.adaptation
takes on a
w
hole constellation of tropes: translation, reading,
dialogization
, cannibalism, transmutation, transfiguration, signifying, condensation, Parody, sequels, multimedia hybrids, fan-fiction, toys…
According to
Stam
,
“art renews itself through creative
mistranslation.”
Slide4
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3.
we find pleasure in adaptation
(
plasir
and
jouissance
)Slide5
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation
4.
Adaptation Theory comes from
postmodernity
; IT’S EASY TO ARGUE THAT OUR CULTURAL OBSESSION WITH ADAPTATION IS ALSO A REFLECTION OF A POSTMODERN PARADIGMSlide6
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation is post modern
5.
fidelity criticism is limitingSlide7
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern
5. fidelity criticism is limiting
6.
adaptation can be about cultural anxieties (restorative or subversive)Slide8
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern
5. fidelity criticism is limiting
6. adaptation can be about cultural anxieties (restorative or subversive)
7.
YA adds a whole new layer to a discussion of adaptationsSlide9
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern
5. fidelity criticism is limiting
6. adaptation can be about cultural anxieties (restorative or subversive)
7. YA adds a whole new layer to a discussion of adaptations
8.
there are TCP YA adaptations, tooSlide10
1. adaptation is everywhere2. adaptation takes on a whole slew of shapes
3. we find pleasure in adaptation4. adaptation in post modern
5. fidelity criticism is limiting
6. adaptation can be about cultural anxieties (restorative or subversive)
7. YA adds a whole new layer to a discussion of adaptations
8. there are TCP YA adaptations, too
9.
hypotext
/hypertext/
urtext
/webSlide11
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern
5. fidelity criticism is limiting
6. adaptation can be about cultural anxieties (restorative or subversive)
7. YA adds a whole new layer to a discussion of adaptations
8. there are TCP YA adaptations, too
9
.
hypotext
/hypertext/
urtext
/web
10.
adaptations can have their own problems either when they are faithful to or when they diverge from
hypotext
.
Stam
calls it an “IDEOLOGICALLY DRIVEN FAILURE OF NERVE” (75).Slide12
1. adaptation is everywhere
2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern
5. fidelity criticism is limiting
6. adaptation can be about cultural anxieties (restorative or subversive)
7. YA adds a whole new layer to a discussion of adaptations
8. there are TCP YA adaptations, too
9
.
hypotext
/hypertext/
urtext
/web
10. adaptations can have their own problems