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Books on the topic 'Novelty adaptation'

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Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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1

Pahomova, Elena, Aleksandr Pahomov, Svetlana Istomina, Tat'yana Lychagina, Ol'ga Rozhkova, and Tigran Davtyan. Instrumental and methodological approach to the adaptation of the Triple helix model for the conditions of Russia, taking into account historical retrospect. ru: INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1371304.

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The monograph presents the results of a scientific study, the novelty of which lies in a meaningful methodological reinterpretation of the Itskovitz triple helix model for Russian conditions and mentality with the filling of economic and mathematical tools. The main three components of the study are: the adaptation of the CU model to Russian conditions, taking into account historical retrospect, and the tasks of the economic environment. It can be used by students, postgraduates, teachers as a textbook; by researchers and specialists of practical economics - to solve complex methodological practice-oriented problems.
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2

Alex, Kurtzman, Rogers John, Oprisko Kris, and Milne Alex, eds. The Transformers: Movie adaptation. San Diego, Calif: IDW, 2007.

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3

O'Neil, Denny. Batman: The comic adaptation. New York: DC Comics, 1989.

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4

Fehrle, Johannes, and Werner Schäfke-Zell, eds. Adaptation in the Age of Media Convergence. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462983663.

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This collection considers new phenomena emerging in a convergence environment from the perspective of adaptation studies. The contributions take the most prominent methods within the field to offer reconsiderations of theoretical concepts and practices in participatory culture, transmedia franchises, and new media adaptations. The authors discuss phenomena ranging from mash-ups of novels and YouTube cover songs to negotiations of authorial control and interpretative authority between media producers and fan communities to perspectives on the fictional and legal framework of brands and franchises. In this fashion, the collection expands the horizons of both adaptation and transmedia studies and provides reassessments of frequently discussed (BBC’s Sherlock or the LEGO franchise) and previously largely ignored phenomena (self-censorship in transnational franchises, mash-up novels, or YouTube cover videos).
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5

Kohout, Pavel. Hráč a jeho štěstí: Hra podle novely F.M. Dostojevského. Praha: Dilia, 1990.

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6

Pasko, Martin. Superman returns: The official movie adaptation. New York: DC Comics, 2006.

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7

Fitzgerald, F. Scott (Francis Scott), 1896-1940, ed. The great Gatsby: A graphic adaptation. Crows Nest, N.S.W: Allen & Unwin, 2009.

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8

1920-, Bradbury Ray, ed. Ray Bradbury's The martian chronicles: The authorized adaptation. New York: Hill and Wang, 2011.

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9

1920-, Bradbury Ray, ed. Ray Bradbury's Something wicked this way comes: The authorized adaptation. New York: Hill and Wang, 2011.

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10

1944-, Lucas George, Sinclair James, Dutro Steve, Barreto Eduardo, Williamson Al 1939-, and Dark Horse Comics, eds. Star Wars: Episode IV: A New Hope: Comic Adaptation. Edina, Minn: Spotlight, 2009.

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11

Alberto, Ponticelli, ed. Blade II: The official comic adaptation. New York: Marvel Comics, 2002.

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12

1943-, Mairowitz David Zane, and Kafka Franz 1883-1924, eds. The trial: A graphic adaptation of Franz Kafka's novel. New York: Sterling, 2008.

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13

1920-, Bradbury Ray, ed. Ray Bradbury's Fahrenheit 451: The authorized adaptation. New York: Hill and Wang, 2009.

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14

Grandes novelas españolas contemporáneas y su versión cinematográfica. Madrid: Editorial Pliegos, 2001.

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15

1976-, McConnell Aaron, ed. The Gettysburg Address: A graphic adaptation. New York: William Morrow, 2013.

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16

La roba, I galantuomini, Gli innamorati: Tutto il teatro di reviviscenza dalle novelle di Giovanni Verga. Catania: Prova d'autore, 2004.

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17

Deboeser, Ellen. Von der Idee bis zur Kritik: Stationen der Fernsehfilmadaption der Novelle "Ein fliehendes Pferd" von Martin Walser. Essen: Verlag Die Blaue Eule, 1988.

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18

Scrittura, gestualità, immagine: La novella e le sue trasformazioni visive. Pisa: ETS, 2007.

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19

Zinn, Howard. A People’s History of American Empire: A graphic adaptation. New York: Metropolitan Books, 2008.

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20

Obras teatrales derivadas de las novelas cervantinas (siglo XVII): Para una bibliografía. Kassel: Editon Reichenberger, 2005.

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21

1809-1849, Poe Edgar Allan, ed. Nevermore: A graphic adaptation of Edgar Allan Poe's short stories. New York: Sterling, 2008.

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22

ill, Espinosa Rod, and Shakespeare William 1564-1616, eds. William Shakespeare's Romeo and Juliet. Edina, Minn: Magic Wagon, 2008.

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23

ill, Dunn Ben, and Shakespeare William 1564-1616, eds. William Shakespeare's King Lear. Edina, Minn: Magic Wagon, 2008.

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24

Goodwin, Vincent. William Shakespeare's As you like it. Edina, MN: Magic Wagon, 2010.

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25

Hamlet: William Shakespeare's Hamlet staged on the page. Crows Nest, N.S.W: Allen & Unwin, 2010.

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26

ill, Dunn Ben, and Shakespeare William 1564-1616, eds. William Shakespeare's Hamlet. Edina, Minn: Magic Wagon, 2009.

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27

Goodwin, Vincent. William Shakespeare's Much ado about nothing. Edina, Minn: Magic Wagon, 2010.

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28

Goodwin, Vincent. William Shakespeare's Cymbeline. Edina, Minn: Magic Wagon, 2010.

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29

Goodwin, Vincent. William Shakespeare's Henry VIII. Edina, Minn: Magic Wagon, 2011.

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30

Goodwin, Vincent. William Shakespeare's The taming of the shrew. Edina, Minn: Magic Wagon, 2010.

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31

Goodwin, Vincent. William Shakespeare's The winter's tale. Edina, Minn: Magic Wagon, 2010.

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32

ill, Hutchison David 1974, and Shakespeare William 1564-1616, eds. William Shakespeare's Macbeth. Edina, Minn: Magic Wagon, 2008.

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33

Deboeser, Ellen. Von der Idee bis zur Kritik: Stationen der Fernsehfilmadaptation der Novelle "Ein fliehendes Pferd" von Martin Walser. Essen: Verlag der Blauen Eule, 1988.

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34

Ernie, Colón, Kean Thomas H, Hamilton Lee, and National Commission on Terrorist Attacks upon the United States., eds. The 9/11 report: A graphic adaptation. New York: Hill and Wang, 2006.

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35

ill, Torres German, ed. The werewolf chase: A mystery about adaptations. Minneapolis: Graphic Universe, 2012.

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36

Farley, Walter. The black stallion: An easy-to-read adaptation. New York: Beginner Books, 1986.

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37

Boyd, Brian. Making Adaptation Studies Adaptive. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.34.

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An evolutionary (or “adaptationist”) perspective on adaptation studies offers ways past the “fidelity discourse” that has long vexed adaptation scholars. Biological adaptation forgoes exact fidelity to solve the new problems posed by inevitably changing environments, in a process that is fertile as well as faithful. Artistic adaptation also looks two ways, toward retention or fidelity and toward innovation or fertility. The complex and multiple adaptations and hybridizations of art and nature, of page, stage, screen, and painting in Nabokov’s 1969 novel Ada suggest that the more exactly you know your world, or the world of art, the more you can transform them as you wish. Charlie Kaufman’s 2002 screenplay Adaptation. resembles Ada not only in spotlighting orchids but also in being meta-adaptational, addressing, like Ada, both fidelity within adaptation and the creative fertility to be found in building on prior design but moving beyond fidelity.
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38

Meikle, Kyle. Adaptation and Interactivity. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.31.

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In recent years, the novel/film debate of adaptation studies yore has given way to another binary between old media and new, one in which adaptation scholars posit apps and videogames as more participatory than such predecessors as novels and films. This essay turns to the eminently interactive genre of children’s fiction to challenge the claim that digital adaptations necessarily involve different kinds of participation than other adaptive modes. Instead of asking what new media can do that old media cannot, it asks what adaptations can do that other texts cannot, tracing the movement of Maurice Sendak’s Where the Wild Things Are across books, films, plays, and videogames to ask what kinds of interactivity adaptations—rather than particular media—invite from their audiences.
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39

Selim, Samah. Translations and Adaptations from the European Novel, 1835–1925. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.6.

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This chapter examines translations and adaptations of the European novel into Arabic during the period 1835–1925. More specifically, it considers the ways in which the novel and its translation into Arabic drew on and transformed much older forms of local, popular narrative knowledge that previously had been beyond the reach of authorizing discourses and structures. The chapter begins with a discussion of works of translated fiction that were published serially in journals and periodicals as part of the flowering of the periodical press. It then looks at the emergence of unattributed and falsely attributed translations, or what scholars of translation studies call pseudo-translations, before turning to Arabic novels that show how adaptations of the mysteries genre spoke directly to a local and contemporary social imaginary. The chapter also explores the relationship between fiction adaptation and the medieval Arab storytelling tradition.
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40

Flanagan, Kevin M. Videogame Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.25.

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Even more than novels, movies, or radio broadcasts, videogames provide a logical nexus for adaptation studies because they depend on making older narrative sources more dynamic and interactive. Chapter 25 explores four moments of encounter in videogame adaptation that encourage an active paradigm in adaptation studies: textual analysis that makes texts in one medium playable in another, porting a game to a new console or operating system, linguistic and cultural translation, and modding, or players’ modification of games after they have been manufactured. It argues that videogames adapt, and call upon their producers, players, and modders to become adapters at every stage of their conception, creation, distribution, and reception.
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41

Punisher: Official Movie Adaptation. Marvel Comics, 2004.

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42

Hand, Richard. Radio Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.19.

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Radio, older than television but newer than cinema, has had to fight for acknowledgment of its power as an autonomous medium rather than a blind version of these other media. Yet it is in some ways more interesting for adapters than either of them because it encourages audiences to visualize scenes and spectacles that producers do not have to stage visually, empowering audiences to become more active even as it keeps down production costs. From its earliest days, radio depended on adaptations of earlier novels, stories, poems, plays, and movies. This adaptive impulse survives in contemporary podcasts, torrents, and audio streamed online, all of them relying on audiences whose experiences with other media make them co-creators of the experiences radio offers.
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43

Miller, Renata Kobetts. Nineteenth-Century Theatrical Adaptations of Novels. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.3.

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In the Victorian period, novels were commonly adapted to the stage. Such adaptations have been criticized both in the nineteenth century and in evaluative criticism, subjected to a more general neglect of Victorian drama, and even identified as a cause of the decline of the theater. This essay argues, however, that the devalued, impermanent, and immaterial theatrical performance can have enduring effects. It examines the adaptation histories of two novels at each end of the Victorian period that were famously, persistently, competitively, and controversially adapted to the stage and that continue to live on in film and stage adaptations: Charles Dickens’s Nicholas Nickleby (1838–39) and Robert Louis Stevenson’s “Strange Case of Dr. Jekyll and Mr. Hyde” (1886). These case studies demonstrate that even as theatrical adaptations capitalized on novels, they also gave rise to a cultural afterlife that eclipsed the life of their source texts.
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44

Atchison, David. The Warriors: Movie Adaptation. Dynamite Entertainment, 2011.

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45

Johnson, David T. Adaptation and Fidelity. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.5.

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Chapter 5 is an introduction to one of the most contentious concepts in adaptation studies: fidelity, or the idea that a given aesthetic object—traditionally, in adaptation studies, a film—reflects a faithful understanding of its source—traditionally, a literary text, especially a novel, play, or short story. Beginning by acknowledging the vexed history of the term for adaptation studies, especially in its recurring rejection, the essay investigates some representative moments in that history before turning to places where the use of fidelity to investigate adaptations—or what would come to be known as fidelity studies—might have found support. As it continues, the essay challenges the commonly held assumption that journalism is to blame for the recurring fascination with fidelity, and ends by suggesting three possible directions for fidelity in the future of adaptation studies in the years ahead.
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46

Death by Ecstasy: Illustrated Adaptation of the Larry Niven Novella. Malibu Graphics, 1991.

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47

Bubeníček, Petr. Politics and Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.32.

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Chapter 32 deals with the ways the image of Jan Hus (c. 1370–1415), the Czech priest and theorist of ecclesiastical Reformation, changes in new political, social, and cultural contexts. It aims to show how the communist regime appropriated Jan Hus through Otakar Vávra’s eponymous adaptation, filmed in 1953, in which Hus is portrayed as a revolutionary. After introducing Jan Hus in his historical and theological role, it focuses on the different ways he and the Hussite movement were perceived from the eighteenth century onward. A pivotal figure in this process is the writer Alois Jirásek, whose novels and plays sought, in historical traditions, answers to the questions of Czech culture and identity. The communist appropriation of Jirásek’s work, including his drama Jan Hus (1911), claimed that Czech medieval society was headed in the direction of revolution, even if that society had no term for such a thing.
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48

Tutan, Defne Ursin. Adaptation and History. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.33.

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Chapter 33 argues that all historical representations are radically adaptive and that the ways in which they are conceived and perceived tell us more about the present than about the past they refer to. As the historian adapts the material into a pre-planned scheme to meet a certain end, every version of history becomes essentially an adaptation. While such a view of history is neither novel nor groundbreaking among historians, it has yet to find acceptance among popular readers and audiences of history. In other words, the discrepancy between how history is conceived and how it is perceived remains intact. A brief case study of the ways in which audiences have perceived The Tudors and Magnificent Century, and how fervently televised adaptations are contested, signals the need to challenge this discrepancy.
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49

X-3 Movie Adaptation. Marvel Worldwide, Incorporated, 2006.

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50

Farjoun, Moshe, Wendy Smith, Ann Langley, and Haridimos Tsoukas. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827436.003.0001.

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Organizational contradictions and process studies offer interwoven and complementary insights. Studies of dialectics, paradox, and dualities depict organizational contradictions that are oppositional as well as interrelated such that they persistently morph and shift over time. Studies of process often examine how contradictions fuel emergent, dynamic systems and stimulate novelty, adaptation, and transformation. Drawing largely from rich conversations at the Eighth International Symposium on Process Organization Studies, this volume unpacks these relationships in more depth. In this introduction, the authors provide an overview of the topic at hand, review the papers in this volume, outlining how the varied lenses of dialectics, paradoxes, and dualities help articulate the interplay between organizational process themes and contradictions, and offer suggestions for further research.
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