Articoli di riviste sul tema "Business correspondence (Spanish) 1857"

Abstract Politeness is an important element in interlingual business communication. Translators use bilingual dictionaries as tools helping then in business discourse across cultures, but dictionaries do not contain the relevant pragmatic information. The functions of dictionaries are used to determine which pragmatic information types are needed when translating business letters. The analysis focuses on a Spanish-English business dictionary and its treatment of politeness in special sections dealing with business correspondence. The findings show that the treatment is insufficient, because users’ business-language competence does not enable them to express the right level of politeness. Bilingual dictionaries should offer a systematic treatment of cultural and genre-specific means of expressing politeness in contrastive, informative texts showing the specific uses of politeness in business discourse. Finally, proposals on what to include and how this can be done are made, with a view to helping translators.

Based on the materials of the memoirs of the participants of the events and the business correspondence of the embassy with the British government, the image of the Spanish people in the representations of the British ambassador to Spain – Samuel Hoare, who held the post from 1940 to 1944, is considered. The Spanish Civil War of 1936–1939 led to a crisis in many spheres of society. The author comes to the conclusion that the conflict within the state has led to a deep cultural split in Spanish society.

The aim of this paper is to analyse the difficulties that industry in general and agri-food firms in particular have when it comes to innovating. The focus of this analysis is temporal and it covers the periods 2004, 2008 and 2012. This allows assessing whether these difficulties have intensified, declined or remained stable. To this end, we have applied correspondence analysis, multivariate technique similar to principal components analysis designed to explore relationships among categorical variables. We have used the PITEC database, the Spanish component of the Community Innovation Survey from Eurostat. The results are differentiated according to ownership of the company. Finally, the results obtained for the industry in general and agri-food companies are compared. In both cases, the innovation has been affected by the economic crisis, but agri-food companies have performed better than other sectors, although the significance of the economic and financial obstacles depends on the characteristics of the company, its ownership and origin of capital.

Purpose The purpose of this paper is to explore the possible causes of the heterogeneous productivity observed in Spanish firms, finding evidence of a link between managerial capability and higher productivity in the context of family firms. Also, innovative human resource policies are much more frequently found in companies where there is a high level of management capability. Design/methodology/approach Productivity differences in Spanish family firms are, for the first time, analysed from a managerial view, and using multiple correspondence analysis (MCA). Findings This paper proposes a way to measure managerial capability. Innovative human resource policies are much more frequently found in companies with high levels of management capability. The authors show that sustained competitive advantage is not just a function of single or isolated components, but rather a combination of human capital elements. Besides, a clear association between high managerial capability and performance in family firms is established. Thus, better management skills enable Spanish family firms to design the necessary strategies and internal structures to facilitate their adjustment to the business environment, and, thereby, achieve operational performance gains. Originality/value This paper proposes a way to measure managerial capability and its association with productivity in Spanish family firms using MCA. The authors also show a clear positive association between high managerial capability and performance in family firms. Thus, better management skills enable Spanish family firms to achieve operational performance gains.

Abstract During the second half of the seventeenth century, there were at least three embassies between the Spaniards of Manila and the Fujian based Zheng regime. The first embassy took place in 1656 ordered by the Spanish governor in Manila. The ambassadors were two captains of the city, and its aim was to re-establish trade relations, which had been severed many months before. In response, Zheng Chenggong sent his cousin to the Philippine islands to settle several business arrangements regarding Fujianese trade. In 1662, Zheng Chenggong took the initiative of sending the Dominican Victorio Riccio, who worked as missionary in the Catholic mission at Xiamen, as emissary to the Governor of the Philippines, don Sabiniano Manrique de Lara. The third embassy took place in 1663. Thereupon, Zheng Jing, Zheng Chenggong’s successor, sent Riccio to Manila for signing a peace pact and for re-establishing trade. The three embassies were related to the Zheng’s purpose of gaining economic and political supremacy over the Philippines and the South China Seas. In all three cases, the actors, the diplomatic correspondence, the material aspects and the results differed profoundly. The article analyzes the role of individuals as intermediaries and translators while considering the social and cultural effects that these embassies had on the Sino-Spanish relations in Manila.

The issue of the development of the foreign policy of the Russian Empire in the Baltic region after the death of Peter I is considered as a continuation of the foreign policy of Ivan the Terrible. The aim of the work is to study the continuity of foreign policy in the Baltic on an all-Russian scale. The study is based on clerical sources: correspondence of the French representative in Russia, Jacques de Campredon, notes and business correspondence of the Vice-Chancellor of the Russian Empire, Baron A. I. Osterman. Record keeping materials of the Collegium of Foreign Affairs, taken from the archives of the Institute of History of the Russian Academy of Sciences, were used. Particular emphasis is placed on the analysis of the influence and significance of the Baltic issue in the context of the development of the foreign policy of the Russian Empire in the first years after the death of Peter I. The influence of the Baltic question on the foreign policy of Russia in the 18th century in the context of the formation of military-political blocs in Europe after the War of the Spanish Succession is demonstrated. The author comes to the conclusion that the continuity of the Baltic issue can be traced from the time of Ivan the Terrible to Peter I and his heirs. It is argued that subjective factors had a strong influence on the foreign policy of Russia in the first post-Petrine years, but were successfully leveled by the foreign policy department under the leadership of A. I. Osterman.

Purpose The purpose of this paper is to analyse how the media addresses entrepreneurship and to identify the attributes linked to this phenomenon. Design/methodology/approach The sample is defined in terms of a linguistic corpus comprised of content related to entrepreneurship drawn from the digital editions of the three most important Spanish economic newspapers for the period 2010–2017. Word association and co-occurrence analyses were carried out. Further, a non-supervised clustering process was used as the basis for a thematic analysis. Findings Correspondence between social and media patterns related to the entrepreneurship phenomenon is revealed by the results. It is shown how attributes such as “success”, “innovation”, “ecosystem” and “woman” appear as very relevant and are linked to different co-occurrence scenarios. Relevant thematic groups are also identified related to lexical associations such as innovation, digital economy and public policies linked to entrepreneurship. Research limitations/implications It is important to emphasise that this study has identified and explored relationships between words, but not their evolution. Furthermore, conclusions cannot be drawn concerning whether there are differences in how each newspaper has dealt with entrepreneurship because of the way the corpus was constructed. Originality/value The study provides empirical evidence that helps to identify the way media approaches entrepreneurship. The authors carried out the analysis on the media contents and not on the perception of the public on the phenomenon.

PurposeTo compare marketing education methods in Europe and North America, and analyse the opinions about effectiveness underpinning educators' choices among available options.Design/methodology/approachE‐mail questionnaires distributed to a sampling frame extracted from the worldwide directory of the Academy of Marketing Science were completed by 93 marketing academics in North America and 42 in Europe: a 26 per cent overall return rate. Data were analysed by χ2, ANOVA and correspondence analysis.FindingsThree teaching‐and‐learning methods are most common in both environments: practical exercises, case studies and lectures. Europeans tend to rely on lectures and other traditional methods, while Americans make more use of technology‐based alternatives. The approach to the subject in Europe favours practical exercises, for their connection to the real world. Practice in North America reflects a cultural predisposition to personalised teaching, by emphasising face‐to‐face small‐group tutorials and one‐to‐one distance learning interaction. Teaching methods popular in the business world are little used across the sample, a somewhat paradoxical finding in a business‐school environment.Research limitations/implicationsThe sample is comparatively small, and the European sub‐sample is not further broken down into cultural sub‐groups. Because the research instrument was adapted from one previous Spanish‐language survey, terminology may have influenced the responses.Practical implicationsThe findings could be a useful input to planning of teaching and learning strategies, particularly in the international and distance‐learning contexts.Originality/valueA rare comparative study of marketing education, suggesting fruitful directions for future research.

Purpose The purpose of this paper is to address both the neglect of non-Anglo-centric accounting gendered practices beyond the predominant professional setting and the controversial roles of women and accounting in power relationships inside the household. Analyzing a Spanish upper-middle class Catholic family in the early nineteenth century, the research focuses on the reciprocal interaction of accounting with practices and processes of daily life in a rigid patriarchal socio-cultural and juridical context. Design/methodology/approach This microhistory draws upon several archives, including in Spain the Archivo Histórico Provincial de Cádiz. In England, the Bath Record Office has preserved documents and correspondence, both personal and business related, and the Worcester Record Office preserved notarial documents concerning the family. The large number of letters which have survived has facilitated an in-depth study of the people who were affected by accounting calculations. Findings In a juridical context where women were conceived as merely the means for the circulation of property between two families, the evidence shows that accounting provided the proof of women’s patrimony value and the means to facilitate their recovery in this cosification process. Although women had a little involvement in the household’s accounting and management, they demonstrated confidence in accounting, fulfilling a stewardship function for the resources received. Also, evidence shows that by using accounting practices to shield supposedly defenseless women, this reinforced male domination over women and promoted the view that the role of women was as an ornament and in need of a good husband. Originality/value Contrasting with the Anglo-Saxon contemporary context, the Spanish law preserved a woman’s property rights, guaranteeing recovery of properties owned by her before marriage should the marriage be legally annulled or be dissolved because one of the spouses’ death. This required a detailed accounting of the wife’s properties brought to her marriage, most especially regarding the dowry provided by her family.

Object: The present work responds to two objectives. On the one hand, it describes the evolution of the main economic-financial indicators that influence credit risk (insolvency) for a sample of 10 Spanish companies listed on the IBEX 35. This analysis is studied for a comparative period of 10 years, which coincides with a pre-crisis stage (2002-2005) and an economic post-crisis phase (2012-2015). On the other hand, it corroborates the relationship between the analysed insolvency and the rating or credit-risk rating published for these companies by an internationally recognized credit rating agency, Standard & Poor's (S & P).Design / methodology: A sample of 10 companies and a 10-year period including the years 2002-2005 (pre-crisis) and the years 2012-2015 (post-crisis) are chosen, omitting the Spanish economic crisis that occurred in the year 2008. For the study of its evolution, 6 ratios obtained from the scientific literature that relate to credit risk and its effects on investments and company results are calculated. Finally, the correlations of these variables with the ratings of credit risk assessment by the rating agency S & P are measured. Descriptive statistics will assign value and graphics to this ten-year evolution, and with the incorporation of a factorial analysis, the correlation between the ratios and the S & P rating will be determined. The statistical analysis explains this correlation to a greater extent.Contributions / results: The results show a clear increase in the value of the impairment variable due to credit risk ten years later that directly affects the results of the companies, despite these companies having significantly reduced their investments in commercial loans pending collection and drastically reduced the period means of collection of clients. In turn, there is a clear correlation between the insolvency studied and the variables used by the S & P rating agency for the assessment of credit risk.Added value / conclusions: The empirical study concludes that there is a correspondence between insolvency and the rating given by an internationally prestigious rating agency (S & P) for the sample of 10 companies studied. Three variables – customer balance-accounts receivable, investments and the net amount of turnover – are determining factors explaining this correlation, and these three variables are the same ones that decisively influence both the pre-crisis period and the post-crisis period 10 years apart. The rating agencies weigh the insolvency variable in their analyses.

The article is devoted to analyzing the role of the French language in the European society of the XVI century, when la langue francoyse becomes the common language of the communication to both in the field of the official correspondence and in the literature. The research is conducted in the diachronic aspect, concerning different extralinguistic factors (political, ideological, historical and cultural). The origins of this phenomenon are considered: for example, since the XI century, French language was the official language of the court of England and the aristocracy, and then became the working language of the court (le français du loi) and Parliament (the so-called Norman French). Gradually, the tendency to use French as a means of communication between the king and his entourage became the norm of court etiquette in Europe. The XVI century is not only the period of active formation of the French language as the national literary language of France, but also the time of its distribution in Europe as the language of diplomacy, international business and cultural communication of the European elite. The work shows how, due to the compositions of encyclopedic scientists, the work of Francophone teachers outside of France, and the popularization of the French language by translators-humanists (who served at the court of the king François I and his descendants), la langue francoyse consolidated its position in the international arena in the XVI century. At the same time, with the spread of translations into French from the ancient languages (Latin, ancient Greek) the interest of the secular elite of France increases to the past of Europe. And the translations into French from the “living” languages (Italian and Spanish) contributed to the interest to the current problems of modern European literature, as well as history, politics and culture, which was typical for the Renaissance. The article deals with the special attitude of the Renaissance to the French language through the prism of the language worldview of that epoch.

performance of current athletes by building confidence and contributing to favorable conditions of retired athletes. This study investigated the influences of the years of retirement and physical self-inventory on human sufferings experienced by the retired athletes. Based on the literature review, there were limited empirical studies on the conditions of former athletes after years of retirement, their glory, physical inventory, and sufferings, and the relationships among these characteristics. Using mixed research methods, this research studied the conditions of retired athletes in Metro Manila. The study confirmed that physical self-inventory influenced post-retirement human suffering. Post-retirement athletic identity, financial status and decisions to voluntary retire were observed to be the most prevalent experiences related to human suffering. 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This issue of Cuadernos de Administración by the Faculty of Administration Sciences of the Universidad del Valle, allows us to come closer to its 45th year of existence. Throughout this time, we have tried to publish different types of scientific research, review, or reflection papers by national and international authors who have relied on us to disseminate their knowledge. To every one of them, our authors, our referees, the members of the Editorial and Scientific Committees, but especially our readers, we would like to thank them for allowing us to continue, through digitalization, to bring a more significant impact on the sciences of administration.In the 66th issue, thirteen scientific papers have been published. The arbitration process guarantees the quality of the authors and their contributions in Spanish or English, to make a publication 100% in English, in the pursuit of higher knowledge dissemination. In this sense, we put to our readers’ consideration the editorial process undertaken in this issue, in the hope that its content will be a support or become a starting point for new discussions and concerns in their reflections and research, or that, if applicable, it will allow in future reviews or translations into other languages.The first article in this issue, entitled “Characterization and determinants of organizational satisfaction in Mexican SME workers,” by using quantitative methods, attempts to build a model to understand organizational satisfaction from variables related to job satisfaction through a survey to 646 workers, of both sexes and between the ages of 18 and 70, in small and medium-sized enterprises (SMEs). “Management of Corporate Social Responsibility in Project Management: Theoretical Approach” is the title of the second paper, and it aims to conduct a theoretical discussion on social responsibility within the framework of project management. The methodology defines the steps taken by the researchers to achieve presenting elements and conclusions from the different theoretical approaches found. The third article “Coordinating sustainability, globalization and urban intelligence with Habitat III and SDG-2030 agendas: the challenge of sustainable urban development in cities”, is the result of research in 83 cities where, using the correspondence analysis technique, the authors analyzed around urban development, globalization, urban intelligence and sustainability, and whether these relate to sustainable development and habitat goals.The fourth article, “Trust as a mechanism to improve performance in organizations,” includes a relational model between employee trust in the organization and company performance, as mediated by an organizational commitment to learning and employee commitment to the company. Using quantitative methods, through a 31-item survey applied to 161 individuals from different organizations in the southwestern region of Colombia, the relationship between competencies and skills management and the performance of organizations is analyzed.In the fifth paper, the authors investigate the concept of productivity in the context of knowledge workers. As a method, they applied interviews to a group of managers and workers from organizations in the knowledge-intensive services sector and ultimately raise some challenges. The title of this article is “Work Productivity Management in Knowledge Intensive Service Companies: Considerations and Challenges.” “Impact of economic internationalization policies in Colombia, Peru, and Chile,” is the sixth scientific research paper, where, from a mixed approach paired with documentary analysis of the different government plans and categories of export development, integration agreements, and institutional development, and by analyzing quantitative variables from GDP, exports and trade balance, the authors analyze how trade policies and integration in Colombia, Chile and Peru impacted their international trade in the period from 1980 to 2017. The seventh article in our 66th issue is called “Financing decisions in the creative and cultural SMEs of Bogotá, Colombia.” Through a survey, the authors compare assumptions from financial theories in cultural and creative SMEs in Bogotá, finding some factors that drive their financial decision-making.Using linear regressions, the authors compared the influence of social networks in the self-perception of the academic performance of a group of university students in Mexico and Spain. The findings show differences in both countries. “Social networks and academic performance self-perception in business sciences students” is the title of the paper mentioned above.The ninth article is entitled “Social norms and entrepreneurial intent in university researchers in Colombia.” Therein, the authors, using quantitative methods, propose relationships between social norms, among other variables, and entrepreneurial intent when conducting a survey on peer reviewers at Colciencias and the areas of science, technology, engineering, and mathematics. The results account for the relationships found, which a literature review supports.In the paper “Sociological ambivalence in three Latin American corporate control institutions: Tax Inspectorate (Colombia), Statutory Examiner (Mexico) and Statutory Audit (Argentina),” the authors propose some contradictions present in corporate control and do so from the theoretical framework of sociological ambivalence. Qualitative content analysis is used to approach the institutions studied.The paper “Reflections towards Responsible Tourism in the Framework of Social Responsibility” aims to present Corporate Social Responsibility (CSR) elements in the context of the hotel subsector, based on literature documentary analysis, to propose improvements in social responsibility practices in the sector.“Investment projects: definition from the perspective of processes” is the title of a paper that presents an analysis of the definition of investment projects from the perspectives of the subject, method, and object of intervention in order to identify their relationship with the improvement of processes. Among the findings, it is evident that most of the definitions are framed within the method or form of intervention.Our last paper in this issue is a review. It carries the title “Shared value: a bibliometric review of literature from the approaches of strategy, corporate social responsibility, and stakeholders,” where the authors conduct research based on a systematic literature review and bibliometric analysis, and focus on the evolution of the concept of shared value, presenting elements from its proposal and some current tendencies.The content of each paper is the sole responsibility of their authors. This issue presents a new opportunity for the national and international scientific community to judge the outcome in each of these proposals. We hope you will continue to accompany us as readers of our scientific journal.

Abstract This article provides two concrete examples of the opening of the Milanese art market to the international stage at the time of Gian Giacomo Poldi Pezzoli. The main focus is on the career of Giuseppe Baslini (1817–1887), the most important art dealer in nineteenth-century Milan. A true self-made man, Baslini entertained close relations with the most eminent Milanese collectors of the time, including Poldi Pezzoli and the Bagatti Valsecchi brothers; his success was secured by the international market on three major axes – London, Paris and Berlin. The second example concerns the family company of the Grandi art dealers, during the same years. In 1877 Baslini’s brothers-in-law Carlo (1842–1914) and Antonio (1857–1923) Grandi inherited the company of their father, Antonio (1810–1877), which originally specialized in Old Master drawings and prints, but extended its interests to paintings and objets d’art soon after Baslini’s death. The Grandi correspondence, preserved by the heirs and recently donated to the Fondo per l’Ambiente Italiano, has provided the opportunity to reconstruct their business, which had an international dimension from its inception.

The Sustainable Development Goals (SDGs) are at the heart of the management of public and private enterprises. Organizations have incorporated the SDGs into their business strategy by developing actions that they disseminate in their reports. In the last decade, academic research has paid special attention to this development, publishing a growing number of studies on the subject with the emergence of a specific line of research in the area of sustainability: sustainability reporting. In this context, this paper aims to show a methodology that serves as a tool to analyze the disclosure of SDGs in the sustainability reports. This methodology has three stages. First, a lexicographic analysis of sustainability reports has been carried out, second, a correspondence analysis, and third, outlining through “guided questions” how the information obtained can be useful to analyze SDG communication strategy. For further illustration the methodology has been applied to a company in the Spanish agri-food sector: Ebro Foods. This work has both academic and professional implications by providing a guideline for SDG dissemination analysis in sustainability reports and, on the other hand, by providing the business world with an analysis tool that serves to improve communication strategies in the field of sustainability.

Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussion of nature and culture together.) It’s no news to anyone that not only adaptations, but all art is bred of other art, though sometimes artists seem to get carried away. My favourite example of excess of association or attribution can be found in the acknowledgements page to a verse drama called Beatrice Chancy by the self-defined “maximalist” (not minimalist) poet, novelist, librettist, and critic, George Elliot Clarke. His selected list of the incarnations of the story of Beatrice Cenci, a sixteenth-century Italian noblewoman put to death for the murder of her father, includes dramas, romances, chronicles, screenplays, parodies, sculptures, photographs, and operas: dramas by Vincenzo Pieracci (1816), Percy Bysshe Shelley (1819), Juliusz Slowacki (1843), Waldter Landor (1851), Antonin Artaud (1935) and Alberto Moravia (1958); the romances by Francesco Guerrazi (1854), Henri Pierangeli (1933), Philip Lindsay (1940), Frederic Prokosch (1955) and Susanne Kircher (1976); the chronicles by Stendhal (1839), Mary Shelley (1839), Alexandre Dumas, père (1939-40), Robert Browning (1864), Charles Swinburne (1883), Corrado Ricci (1923), Sir Lionel Cust (1929), Kurt Pfister (1946) and Irene Mitchell (1991); the film/screenplay by Bertrand Tavernier and Colo O’Hagan (1988); the parody by Kathy Acker (1993); the sculpture by Harriet Hosmer (1857); the photograph by Julia Ward Cameron (1866); and the operas by Guido Pannain (1942), Berthold Goldschmidt (1951, 1995) and Havergal Brian (1962). (Beatrice Chancy, 152) He concludes the list with: “These creators have dallied with Beatrice Cenci, but I have committed indiscretions” (152). An “intertextual feast”, by Clarke’s own admission, this rewriting of Beatrice’s story—especially Percy Bysshe Shelley’s own verse play, The Cenci—illustrates brilliantly what Northrop Frye offered as the first principle of the production of literature: “literature can only derive its form from itself” (15). But in the last several decades, what has come to be called intertextuality theory has shifted thinking away from looking at this phenomenon from the point of view of authorial influences on the writing of literature (and works like Harold Bloom’s famous study of the Anxiety of Influence) and toward considering our readerly associations with literature, the connections we (not the author) make—as we read. We, the readers, have become “empowered”, as we say, and we’ve become the object of academic study in our own right. Among the many associations we inevitably make, as readers, is with adaptations of the literature we read, be it of Jane Austin novels or Beowulf. Some of us may have seen the 2006 rock opera of Beowulf done by the Irish Repertory Theatre; others await the new Neil Gaiman animated film. Some may have played the Beowulf videogame. I personally plan to miss the upcoming updated version that makes Beowulf into the son of an African explorer. But I did see Sturla Gunnarsson’s Beowulf and Grendel film, and yearned to see the comic opera at the Lincoln Centre Festival in 2006 called Grendel, the Transcendence of the Great Big Bad. I am not really interested in whether these adaptations—all in the last year or so—signify Hollywood’s need for a new “monster of the week” or are just the sign of a desire to cash in on the success of The Lord of the Rings. For all I know they might well act as an ethical reminder of the human in the alien in a time of global strife (see McGee, A4). What interests me is the impact these multiple adaptations can have on the reader of literature as well as on the production of literature. Literature, like painting, is usually thought of as what Nelson Goodman (114) calls a one-stage art form: what we read (like what we see on a canvas) is what is put there by the originating artist. Several major consequences follow from this view. First, the implication is that the work is thus an original and new creation by that artist. However, even the most original of novelists—like Salman Rushdie—are the first to tell you that stories get told and retold over and over. Indeed his controversial novel, The Satanic Verses, takes this as a major theme. Works like the Thousand and One Nights are crucial references in all of his work. As he writes in Haroun and the Sea of Stories: “no story comes from nowhere; new stories are born of old” (86). But illusion of originality is only one of the implications of seeing literature as a one-stage art form. Another is the assumption that what the writer put on paper is what we read. But entire doctoral programs in literary production and book history have been set up to study how this is not the case, in fact. Editors influence, even change, what authors want to write. Designers control how we literally see the work of literature. Beatrice Chancy’s bookend maps of historical Acadia literally frame how we read the historical story of the title’s mixed-race offspring of an African slave and a white slave owner in colonial Nova Scotia in 1801. Media interest or fashion or academic ideological focus may provoke a publisher to foreground in the physical presentation different elements of a text like this—its stress on race, or gender, or sexuality. The fact that its author won Canada’s Governor General’s Award for poetry might mean that the fact that this is a verse play is emphasised. If the book goes into a second edition, will a new preface get added, changing the framework for the reader once again? As Katherine Larson has convincingly shown, the paratextual elements that surround a work of literature like this one become a major site of meaning generation. What if literature were not a one-stage an art form at all? What if it were, rather, what Goodman calls “two-stage” (114)? What if we accept that other artists, other creators, are needed to bring it to life—editors, publishers, and indeed readers? In a very real and literal sense, from our (audience) point of view, there may be no such thing as a one-stage art work. Just as the experience of literature is made possible for readers by the writer, in conjunction with a team of professional and creative people, so, arguably all art needs its audience to be art; the un-interpreted, un-experienced art work is not worth calling art. Goodman resists this move to considering literature a two-stage art, not at all sure that readings are end products the way that performance works are (114). Plays, films, television shows, or operas would be his prime examples of two-stage arts. In each of these, a text (a playtext, a screenplay, a score, a libretto) is moved from page to stage or screen and given life, by an entire team of creative individuals: directors, actors, designers, musicians, and so on. Literary adaptations to the screen or stage are usually considered as yet another form of this kind of transcription or transposition of a written text to a performance medium. But the verbal move from the “book” to the diminutive “libretto” (in Italian, little book or booklet) is indicative of a view that sees adaptation as a step downward, a move away from a primary literary “source”. In fact, an entire negative rhetoric of “infidelity” has developed in both journalistic reviewing and academic discourse about adaptations, and it is a morally loaded rhetoric that I find surprising in its intensity. Here is the wonderfully critical description of that rhetoric by the king of film adaptation critics, Robert Stam: Terms like “infidelity,” “betrayal,” “deformation,” “violation,” “bastardisation,” “vulgarisation,” and “desecration” proliferate in adaptation discourse, each word carrying its specific charge of opprobrium. “Infidelity” carries overtones of Victorian prudishness; “betrayal” evokes ethical perfidy; “bastardisation” connotes illegitimacy; “deformation” implies aesthetic disgust and monstrosity; “violation” calls to mind sexual violence; “vulgarisation” conjures up class degradation; and “desecration” intimates religious sacrilege and blasphemy. (3) I join many others today, like Stam, in challenging the persistence of this fidelity discourse in adaptation studies, thereby providing yet another example of what, in his article here called “The Persistence of Fidelity: Adaptation Theory Today,” John Connor has called the “fidelity reflex”—the call to end an obsession with fidelity as the sole criterion for judging the success of an adaptation. But here I want to come at this same issue of the relation of adaptation to the adapted text from another angle. When considering an adaptation of a literary work, there are other reasons why the literary “source” text might be privileged. Literature has historical priority as an art form, Stam claims, and so in some people’s eyes will always be superior to other forms. But does it actually have priority? What about even earlier performative forms like ritual and song? Or to look forward, instead of back, as Tim Barker urges us to do in his article here, what about the new media’s additions to our repertoire with the advent of electronic technology? How can we retain this hierarchy of artistic forms—with literature inevitably on top—in a world like ours today? How can both the Romantic ideology of original genius and the capitalist notion of individual authorship hold up in the face of the complex reality of the production of literature today (as well as in the past)? (In “Amen to That: Sampling and Adapting the Past”, Steve Collins shows how digital technology has changed the possibilities of musical creativity in adapting/sampling.) Like many other ages before our own, adaptation is rampant today, as director Spike Jonze and screenwriter Charlie Kaufman clearly realised in creating Adaptation, their meta-cinematic illustration-as-send-up film about adaptation. But rarely has a culture denigrated the adapter as a secondary and derivative creator as much as we do the screenwriter today—as Jonze explores with great irony. Michelle McMerrin and Sergio Rizzo helpfully explain in their pieces here that one of the reasons for this is the strength of auteur theory in film criticism. But we live in a world in which works of literature have been turned into more than films. We now have literary adaptations in the forms of interactive new media works and videogames; we have theme parks; and of course, we have the more common television series, radio and stage plays, musicals, dance works, and operas. And, of course, we now have novelisations of films—and they are not given the respect that originary novels are given: it is the adaptation as adaptation that is denigrated, as Deborah Allison shows in “Film/Print: Novelisations and Capricorn One”. Adaptations across media are inevitably fraught, and for complex and multiple reasons. The financing and distribution issues of these widely different media alone inevitably challenge older capitalist models. The need or desire to appeal to a global market has consequences for adaptations of literature, especially with regard to its regional and historical specificities. These particularities are what usually get adapted or “indigenised” for new audiences—be they the particularities of the Spanish gypsy Carmen (see Ioana Furnica, “Subverting the ‘Good, Old Tune’”), those of the Japanese samurai genre (see Kevin P. Eubanks, “Becoming-Samurai: Samurai [Films], Kung-Fu [Flicks] and Hip-Hop [Soundtracks]”), of American hip hop graffiti (see Kara-Jane Lombard, “‘To Us Writers, the Differences Are Obvious’: The Adaptation of Hip Hop Graffiti to an Australian Context”) or of Jane Austen’s fiction (see Suchitra Mathur, “From British ‘Pride’ to Indian ‘Bride’: Mapping the Contours of a Globalised (Post?)Colonialism”). What happens to the literary text that is being adapted, often multiple times? Rather than being displaced by the adaptation (as is often feared), it most frequently gets a new life: new editions of the book appear, with stills from the movie adaptation on its cover. But if I buy and read the book after seeing the movie, I read it differently than I would have before I had seen the film: in effect, the book, not the adaptation, has become the second and even secondary text for me. And as I read, I can only “see” characters as imagined by the director of the film; the cinematic version has taken over, has even colonised, my reader’s imagination. The literary “source” text, in my readerly, experiential terms, becomes the secondary work. It exists on an experiential continuum, in other words, with its adaptations. It may have been created before, but I only came to know it after. What if I have read the literary work first, and then see the movie? In my imagination, I have already cast the characters: I know what Gabriel and Gretta Conroy of James Joyce’s story, “The Dead,” look and sound like—in my imagination, at least. Then along comes John Huston’s lush period piece cinematic adaptation and the director superimposes his vision upon mine; his forcibly replaces mine. But, in this particular case, Huston still arguably needs my imagination, or at least my memory—though he may not have realised it fully in making the film. When, in a central scene in the narrative, Gabriel watches his wife listening, moved, to the singing of the Irish song, “The Lass of Aughrim,” what we see on screen is a concerned, intrigued, but in the end rather blank face: Gabriel doesn’t alter his expression as he listens and watches. His expression may not change—but I know exactly what he is thinking. Huston does not tell us; indeed, without the use of voice-over, he cannot. And since the song itself is important, voice-over is impossible. But I know exactly what he is thinking: I’ve read the book. I fill in the blank, so to speak. Gabriel looks at Gretta and thinks: There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. … Distant Music he would call the picture if he were a painter. (210) A few pages later the narrator will tell us: At last she turned towards them and Gabriel saw that there was colour on her cheeks and that her eyes were shining. A sudden tide of joy went leaping out of his heart. (212) This joy, of course, puts him in a very different—disastrously different—state of mind than his wife, who (we later learn) is remembering a young man who sang that song to her when she was a girl—and who died, for love of her. I know this—because I’ve read the book. Watching the movie, I interpret Gabriel’s blank expression in this knowledge. Just as the director’s vision can colonise my visual and aural imagination, so too can I, as reader, supplement the film’s silence with the literary text’s inner knowledge. The question, of course, is: should I have to do so? Because I have read the book, I will. But what if I haven’t read the book? Will I substitute my own ideas, from what I’ve seen in the rest of the film, or from what I’ve experienced in my own life? Filmmakers always have to deal with this problem, of course, since the camera is resolutely externalising, and actors must reveal their inner worlds through bodily gesture or facial expression for the camera to record and for the spectator to witness and comprehend. But film is not only a visual medium: it uses music and sound, and it also uses words—spoken words within the dramatic situation, words overheard on the street, on television, but also voice-over words, spoken by a narrating figure. Stephen Dedalus escapes from Ireland at the end of Joseph Strick’s 1978 adaptation of Joyce’s A Portrait of the Artist as a Young Man with the same words as he does in the novel, where they appear as Stephen’s diary entry: Amen. So be it. Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. … Old father, old artificer, stand me now and ever in good stead. (253) The words from the novel also belong to the film as film, with its very different story, less about an artist than about a young Irishman finally able to escape his family, his religion and his country. What’s deliberately NOT in the movie is the irony of Joyce’s final, benign-looking textual signal to his reader: Dublin, 1904 Trieste, 1914 The first date is the time of Stephen’s leaving Dublin—and the time of his return, as we know from the novel Ulysses, the sequel, if you like, to this novel. The escape was short-lived! Portrait of the Artist as a Young Man has an ironic structure that has primed its readers to expect not escape and triumph but something else. Each chapter of the novel has ended on this kind of personal triumphant high; the next has ironically opened with Stephen mired in the mundane and in failure. Stephen’s final words in both film and novel remind us that he really is an Icarus figure, following his “Old father, old artificer”, his namesake, Daedalus. And Icarus, we recall, takes a tumble. In the novel version, we are reminded that this is the portrait of the artist “as a young man”—later, in 1914, from the distance of Trieste (to which he has escaped) Joyce, writing this story, could take some ironic distance from his earlier persona. There is no such distance in the film version. However, it stands alone, on its own; Joyce’s irony is not appropriate in Strick’s vision. His is a different work, with its own message and its own, considerably more romantic and less ironic power. Literary adaptations are their own things—inspired by, based on an adapted text but something different, something other. I want to argue that these works adapted from literature are now part of our readerly experience of that literature, and for that reason deserve the same attention we give to the literary, and not only the same attention, but also the same respect. I am a literarily trained person. People like me who love words, already love plays, but shouldn’t we also love films—and operas, and musicals, and even videogames? There is no need to denigrate words that are heard (and visualised) in order to privilege words that are read. Works of literature can have afterlives in their adaptations and translations, just as they have pre-lives, in terms of influences and models, as George Eliot Clarke openly allows in those acknowledgements to Beatrice Chancy. I want to return to that Canadian work, because it raises for me many of the issues about adaptation and language that I see at the core of our literary distrust of the move away from the written, printed text. I ended my recent book on adaptation with a brief examination of this work, but I didn’t deal with this particular issue of language. So I want to return to it, as to unfinished business. Clarke is, by the way, clear in the verse drama as well as in articles and interviews that among the many intertexts to Beatrice Chancy, the most important are slave narratives, especially one called Celia, a Slave, and Shelley’s play, The Cenci. Both are stories of mistreated and subordinated women who fight back. Since Clarke himself has written at length about the slave narratives, I’m going to concentrate here on Shelley’s The Cenci. The distance from Shelley’s verse play to Clarke’s verse play is a temporal one, but it is also geographic and ideological one: from the old to the new world, and from a European to what Clarke calls an “Africadian” (African Canadian/African Acadian) perspective. Yet both poets were writing political protest plays against unjust authority and despotic power. And they have both become plays that are more read than performed—a sad fate, according to Clarke, for two works that are so concerned with voice. We know that Shelley sought to calibrate the stylistic registers of his work with various dramatic characters and effects to create a modern “mixed” style that was both a return to the ancients and offered a new drama of great range and flexibility where the expression fits what is being expressed (see Bruhn). His polemic against eighteenth-century European dramatic conventions has been seen as leading the way for realist drama later in the nineteenth century, with what has been called its “mixed style mimesis” (Bruhn) Clarke’s adaptation does not aim for Shelley’s perfect linguistic decorum. It mixes the elevated and the biblical with the idiomatic and the sensual—even the vulgar—the lushly poetic with the coarsely powerful. But perhaps Shelley’s idea of appropriate language fits, after all: Beatrice Chancy is a woman of mixed blood—the child of a slave woman and her slave owner; she has been educated by her white father in a convent school. Sometimes that educated, elevated discourse is heard; at other times, she uses the variety of discourses operative within slave society—from religious to colloquial. But all the time, words count—as in all printed and oral literature. Clarke’s verse drama was given a staged reading in Toronto in 1997, but the story’s, if not the book’s, real second life came when it was used as the basis for an opera libretto. Actually the libretto commission came first (from Queen of Puddings Theatre in Toronto), and Clarke started writing what was to be his first of many opera texts. Constantly frustrated by the art form’s demands for concision, he found himself writing two texts at once—a short libretto and a longer, five-act tragic verse play to be published separately. Since it takes considerably longer to sing than to speak (or read) a line of text, the composer James Rolfe keep asking for cuts—in the name of economy (too many singers), because of clarity of action for audience comprehension, or because of sheer length. Opera audiences have to sit in a theatre for a fixed length of time, unlike readers who can put a book down and return to it later. However, what was never sacrificed to length or to the demands of the music was the language. In fact, the double impact of the powerful mixed language and the equally potent music, increases the impact of the literary text when performed in its operatic adaptation. Here is the verse play version of the scene after Beatrice’s rape by her own father, Francis Chancey: I was black but comely. Don’t glance Upon me. This flesh is crumbling Like proved lies. I’m perfumed, ruddied Carrion. Assassinated. Screams of mucking juncos scrawled Over the chapel and my nerves, A stickiness, as when he finished Maculating my thighs and dress. My eyes seep pus; I can’t walk: the floors Are tizzy, dented by stout mauling. Suddenly I would like poison. The flesh limps from my spine. My inlets crimp. Vultures flutter, ghastly, without meaning. I can see lice swarming the air. … His scythe went shick shick shick and slashed My flowers; they lay, murdered, in heaps. (90) The biblical and the violent meet in the texture of the language. And none of that power gets lost in the opera adaptation, despite cuts and alterations for easier aural comprehension. I was black but comely. Don’t look Upon me: this flesh is dying. I’m perfumed, bleeding carrion, My eyes weep pus, my womb’s sopping With tears; I can hardly walk: the floors Are tizzy, the sick walls tumbling, Crumbling like proved lies. His scythe went shick shick shick and cut My flowers; they lay in heaps, murdered. (95) Clarke has said that he feels the libretto is less “literary” in his words than the verse play, for it removes the lines of French, Latin, Spanish and Italian that pepper the play as part of the author’s critique of the highly educated planter class in Nova Scotia: their education did not guarantee ethical behaviour (“Adaptation” 14). I have not concentrated on the music of the opera, because I wanted to keep the focus on the language. But I should say that the Rolfe’s score is as historically grounded as Clarke’s libretto: it is rooted in African Canadian music (from ring shouts to spirituals to blues) and in Scottish fiddle music and local reels of the time, not to mention bel canto Italian opera. However, the music consciously links black and white traditions in a way that Clarke’s words and story refuse: they remain stubbornly separate, set in deliberate tension with the music’s resolution. Beatrice will murder her father, and, at the very moment that Nova Scotia slaves are liberated, she and her co-conspirators will be hanged for that murder. Unlike the printed verse drama, the shorter opera libretto functions like a screenplay, if you will. It is not so much an autonomous work unto itself, but it points toward a potential enactment or embodiment in performance. Yet, even there, Clarke cannot resist the lure of words—even though they are words that no audience will ever hear. The stage directions for Act 3, scene 2 of the opera read: “The garden. Slaves, sunflowers, stars, sparks” (98). The printed verse play is full of these poetic associative stage directions, suggesting that despite his protestations to the contrary, Clarke may have thought of that version as one meant to be read by the eye. After Beatrice’s rape, the stage directions read: “A violin mopes. Invisible shovelsful of dirt thud upon the scene—as if those present were being buried alive—like ourselves” (91). Our imaginations—and emotions—go to work, assisted by the poet’s associations. There are many such textual helpers—epigraphs, photographs, notes—that we do not have when we watch and listen to the opera. We do have the music, the staged drama, the colours and sounds as well as the words of the text. As Clarke puts the difference: “as a chamber opera, Beatrice Chancy has ascended to television broadcast. But as a closet drama, it play only within the reader’s head” (“Adaptation” 14). Clarke’s work of literature, his verse drama, is a “situated utterance, produced in one medium and in one historical and social context,” to use Robert Stam’s terms. In the opera version, it was transformed into another “equally situated utterance, produced in a different context and relayed through a different medium” (45-6). I want to argue that both are worthy of study and respect by wordsmiths, by people like me. I realise I’ve loaded the dice: here neither the verse play nor the libretto is primary; neither is really the “source” text, for they were written at the same time and by the same person. But for readers and audiences (my focus and interest here), they exist on a continuum—depending on which we happen to experience first. As Ilana Shiloh explores here, the same is true about the short story and film of Memento. I am not alone in wanting to mount a defence of adaptations. Julie Sanders ends her new book called Adaptation and Appropriation with these words: “Adaptation and appropriation … are, endlessly and wonderfully, about seeing things come back to us in as many forms as possible” (160). The storytelling imagination is an adaptive mechanism—whether manifesting itself in print or on stage or on screen. The study of the production of literature should, I would like to argue, include those other forms taken by that storytelling drive. If I can be forgiven a move to the amusing—but still serious—in concluding, Terry Pratchett puts it beautifully in his fantasy story, Witches Abroad: “Stories, great flapping ribbons of shaped space-time, have been blowing and uncoiling around the universe since the beginning of time. And they have evolved. The weakest have died and the strongest have survived and they have grown fat on the retelling.” In biology as in culture, adaptations reign. References Bloom, Harold. The Anxiety of Influence. New York: Oxford University Press, 1975. Bruhn, Mark J. “’Prodigious Mixtures and Confusions Strange’: The Self-Subverting Mixed Style of The Cenci.” Poetics Today 22.4 (2001). Clarke, George Elliott. “Beatrice Chancy: A Libretto in Four Acts.” Canadian Theatre Review 96 (1998): 62-79. ———. Beatrice Chancy. Victoria, BC: Polestar, 1999. ———. “Adaptation: Love or Cannibalism? Some Personal Observations”, unpublished manuscript of article. Frye, Northrop. The Educated Imagination. Toronto: CBC, 1963. Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill, 1968. Hutcheon, Linda, and Gary R. Bortolotti. “On the Origin of Adaptations: Rethinking Fidelity Discourse and “Success”—Biologically.” New Literary History. Forthcoming. Joyce, James. Dubliners. 1916. New York: Viking, 1967. ———. A Portrait of the Artist as a Young Man. 1916. Penguin: Harmondsworth, 1960. Larson, Katherine. “Resistance from the Margins in George Elliott Clarke’s Beatrice Chancy.” Canadian Literature 189 (2006): 103-118. McGee, Celia. “Beowulf on Demand.” New York Times, Arts and Leisure. 30 April 2006. A4. Rushdie, Salman. The Satanic Verses. New York: Viking, 1988. ———. Haroun and the Sea of Stories. London: Granta/Penguin, 1990. Sanders, Julie. Adaptation and Appropriation. London and New York: Routledge, 160. Shelley, Percy Bysshe. The Cenci. Ed. George Edward Woodberry. Boston and London: Heath, 1909. Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell, 2005. 1-52. Citation reference for this article MLA Style Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/01-hutcheon.php>. APA Style Hutcheon, L. (May 2007) "In Defence of Literary Adaptation as Cultural Production," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/01-hutcheon.php>.