Offering compelling insights into the Italian adaptation of diversified English products, this volume is addressed to both scholars and students wishing to delve into the field of reception studies. It focuses on literary, multimedia and audiovisual translation due to the conviction that the modalities through which the imprinting of “Italianness” is marked upon several English hypertexts are still worth investigating today. The contributions here highlight how some choices may, in some instances, alter the meaning as much as the success of some English aesthetic texts, by directing, if not possibly undermining, the audience reception.

This major interdisciplinary collection captures the vitality and increasingly global significance of the Faust figure in literature, theatre and music. Bringing together scholars from around the world, International Faust Studies examines questions of adaptation, reception and translation centering on Faust discourse in a diversity of cultural contexts, including the Chinese, Japanese, Indian, African, Brazilian and Canadian, as well as the European, British and American. It broadens the field by including studies of lesser known or neglected Faust discourse, including the translation of Goethe's Faust recently attributed to Coleridge, in addition to the canonical.

The texts, images and events of the ancient world have been used both as sources of authority and exploitation in politics, culture and society and as icons of resistance and contest. How classical culture is transplanted into new contexts, how texts are translated and performed and how Greek and Roman values are perceived and used continues to be a force in current debates. The main concepts and explanatory frameworks used in the field are introduced through chapters on reception within antiquity and case studies of more recent receptions from Africa, the Caribbean, Europe and the USA. The book will be of use to all those interested in the relationship between the arts, culture and society as well as to students and teachers of classical subjects and of literature, drama, film and comparative cultural studies.

A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination. Linda Hutcheon develops a theory of adaptation through a range of media, from film and opera, to video games, pop music and theme parks, analysing the breadth, scope and creative possibilities within each. This new edition is supplemented by a new preface from the author, discussing both new adaptive forms/platforms and recent critical developments in the study of adaptation. It also features an illuminating new epilogue from Siobhan O’Flynn, focusing on adaptation in the context of digital media. She considers the impact of transmedia practices and properties on the form and practice of adaptation, as well as studying the extension of game narrative across media platforms, fan-based adaptation (from Twitter and Facebook to home movies), and the adaptation of books to digital formats. A Theory of Adaptation is the ideal guide to this ever evolving field of study and is essential reading for anyone interested in adaptation in the context of literary and media studies.

The Routledge Companion to Adaptation offers a broad range of scholarship from this growing, interdisciplinary field. With a basis in source-oriented studies, such as novel-to-stage and stage-to-film adaptations, this volume also seeks to highlight the new and innovative aspects of adaptation studies, ranging from theatre and dance to radio, television and new media. It is divided into five sections: Mapping, which presents a variety of perspectives on the scope and development of adaptation studies; Historiography, which investigates the ways in which adaptation engages with – and disrupts – history; Identity, which considers texts and practices in adaptation as sites of multiple and fluid identity formations; Reception, which examines the role played by an audience, considering the unpredictable relationships between adaptations and those who experience them; Technology, which focuses on the effects of ongoing technological advances and shifts on specific adaptations, and on the wider field of adaptation. An emphasis on adaptation-as-practice establishes methods of investigation that move beyond a purely comparative case study model. The Routledge Companion to Adaptation celebrates the complexity and diversity of adaptation studies, mapping the field across genres and disciplines.

This volume explores film and television sources in problematic conversation with classical antiquity, to better understand the nature of artistic reception and classical reception in particular. Drawing inspiration from well-theorized fields like adaptation studies, comparative literature, and film, the essays in this collection raise questions fundamental to the future of reception studies. The first section, ‘Beyond Fidelity’, deals with idiosyncratic adaptations of ancient sources; the second section, ‘Beyond Influence’, discusses modern works purporting to adapt ancient figures or themes that are less straightforwardly ancient than they may at first appear; while the last section, ‘Beyond Original’, uses films that lack even these murky connections to antiquity to challenge the notion that studying reception requires establishing historical connections between works. As questions of audience, interpretation, and subjectivity are central to most contemporary fields of study, this is a collection that is of interest to a wide variety of readers in the humanities.

This collection of forty new essays, written by the leading scholars in adaptation studies and distinguished contributors from outside the field, is the most comprehensive volume on adaptation ever published. Written to appeal alike to specialists in adaptation, scholars in allied fields, and general readers, it hearkens back to the foundations of adaptation studies a century and more ago, surveys its ferment of activity over the past twenty years, and looks forward to the future. It considers the very different problems in adapting the classics, from the Bible to Frankenstein to Philip Roth, and the commons, from online mashups and remixes to adult movies. It surveys a dizzying range of adaptations around the world, from Latin American telenovelas to Czech cinema, from Hong Kong comics to Classics Illustrated, from Bollywood to zombies, and explores the ways media as different as radio, opera, popular song, and videogames have handled adaptation. Going still further, it examines the relations between adaptation and such intertextual practices as translation, illustration, prequels, sequels, remakes, intermediality, and transmediality. The volume's contributors consider the similarities and differences between adaptation and history, adaptation and performance, adaptation and revision, and textual and biological adaptation, casting an appreciative but critical eye on the theory and practice of adaptation scholars--and, occasionally, each other. The Oxford Handbook of Adaptation Studies offers specific suggestions for how to read, teach, create, and write about adaptations in order to prepare for a world in which adaptation, already ubiquitous, is likely to become ever more important.

The three concepts mentioned in the title of this volume imply the contact between two or more literary phenomena; they are based on similarities that are related to a form of ‘travelling’ and imitation or adaptation of entire texts, genres, forms or contents. Transfer comprises all sorts of ‘travelling’, with translation as a major instrument of transferring literature across linguistic and cultural barriers. Transfer aims at the process of communication, starting with the source product and its cultural context and then highlighting the mediation by certain agents and institutions to end up with inclusion in the target culture. Reception lays its focus on the receiving culture, especially on critcism, reading, and interpretation. Translation, therefore, forms a major factor in reception with the general aim of reception studies being to reveal the wide spectrum of interpretations each text offers. Moreover, translations are the prime instrument in the distribution of literature across linguistic and cultural borders; thus, they pave the way for gaining prestige in the world of literature. The thirty-eight papers included in this volume and dedicated to research in this area were previously read at the ICLA conference 2016 in Vienna. They are ample proof that the field remains at the center of interest in Comparative Literature.

This collection of essays illuminates the intersection of queer and adaptation. Both adaptation and queerness suffer from the stereotype of being secondary: to identify something as an adaptation is to recognize it in relation to something else that seems more original, more authentic. Similarly, to identify something as queer is to place it in relation to what is assumed to be “normal” or “straight.” This ground-breaking volume brings together fifteen original essays that critically challenge these assumptions about originality, authenticity, and value. The volume is organized in three parts: The essays in Part I examine what happens when an adaptation queers its source text and explore the role of the author/screenwriter/director in making those choices. The essays in Part II look at what happens when filmmakers push against boundaries of various kinds: time and space, texts and bodies, genres and formats. And the essays in Part III explore adaptations whose source texts cannot be easily pinned down, where there are multiple adaptations, and where the adaptation process itself is queer. The book includes discussion of a wide variety of texts, including opera, classic film, genre fiction, documentary, musicals, literary fiction, low-budget horror, camp classics, and experimental texts, providing a comprehensive and interdisciplinary introduction to the myriad ways in which queer and adaptation overlap.

Intercultural Screen Adaptation offers a wide-ranging examination of how film and television adaptations (and non-adaptations) interact with the cultural, social and political environments of their national, transnational and post-national contexts. With screen adaptations examined from across Britain, Europe, South America and Asia, this book tests how examining the processes of adaptation across and within national frameworks challenges traditional debates around the concept of nation in film, media and cultural studies. With case studies of films such as Under the Skin (2013) and T2: Trainspotting (2017), as well as TV adaptations like War and Peace (2016) and Narcos (2015 - 2017), Intercultural Screen Adaptation offers readers an invigorating look at adaptations from a variety of critical perspectives, incorporating the uses of landscape, nostalgia and translation.