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1
Marsden, Jean I. The re-imagined text: Shakespeare, adaptation, & eighteenth-century literary theory. Lexington: University Press of Kentucky, 1995.
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2
Marsden, Jean I. The re-imagined text: Shakespeare, adaptation, and eighteenth-century literary theory. Lexington: University Press of Kentucky, 1995.
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3
Shakespeare: The seven ages of human experience. 2nd ed. Malden, MA: Blackwell Pub., 2005.
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5
Marie, Welsh Anne, and Greenwald Michael L. 1945-, eds. Shakespeare: Script, stage, screen. New York: Pearson/Longman, 2006.
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7
Booker, Lashon, Stephanie Forrest, Melanie Mitchell, and Rick Riolo, eds. Perspectives on Adaptation in Natural and Artificial Systems. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195162929.001.0001.
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This book is a collection of essays exploring adaptive systems from many perspectives, ranging from computational applications to models of adaptation in living and social systems. The essays on computation discuss history, theory, applications, and possible threats of adaptive and evolving computations systems. The modeling chapters cover topics such as evolution in microbial populations, the evolution of cooperation, and how ideas about evolution relate to economics. The title Perspectives on Adaptation in Natural and Artificial Systems honors John Holland, whose 1975 Book, Adaptation in Natural and Artificial Systems has become a classic text for many disciplines in which adaptation play a central role. The essays brought together here were originally written to honor John Holland, and span most of the different areas touched by his wide-ranging and influential research career. The authors include some of the most prominent scientists in the fields of artificial intelligence evolutionary computation, and complex adaptive systems. Taken together, these essays present a broad modern picture of current research on adaptation as it relates to computers, living systems, society, and their complex interactions.
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Leitch, Thomas. Introduction. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.41.
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This introduction begins by tracing the history of adaptation studies as a series of evolutionary phases defined more by their critique of the previous paradigms of fidelity, medium specificity, and intertextuality than by their uncritical embrace of new paradigms. From its beginnings, adaptation studies has been organized around a series of foundational debates: What is an adaptation? What responsibility do adaptations owe the texts they adapt? What role should evaluation play in adaptation studies? Should the field be driven by close readings or general theories? The present volume, born out of the conviction that adaptation studies has thrived because of its anti-canonical approach to the classics of literature, cinema, and critical theory, attempts to foster these debates and provoke new ones, especially those that have the power to cross disciplinary boundaries, rather than attempting any definitive resolutions.
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The Re-Imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory. University Press of Kentucky, 2014.
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10
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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Snyder, Mary H. Adaptation in Theory and Practice. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.6.
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Chapter 6 aims to navigate the distance between practitioners who write adaptations and scholars who write about adaptations. Screenwriters and adaptation scholars perform a similar function in that they both build their writing from a source text (or texts), requiring a focus on the way a source text is read or interpreted. In “Lamia,” John Keats, contrasting the reading of a text for uncritical pleasure and the reading of a text specifically in order to judge it, finds neither effective in fully identifying or understanding the multiplicities and complexities inherent within texts. The deconstruction practiced by Roland Barthes and J. Hillis Miller offers a middle ground for reading source texts. Intensive interpretations of source texts and a purposeful divergence from fidelity in adaptation help to close the gap between practitioners of adaptation and adaptation scholars.
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Kim, Young Yun. Becoming Intercultural: An Integrative Theory of Communication and Cross-Cultural Adaptation (Current Communication: An Advanced Text). Sage Publications, Inc, 2000.
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13
Kim, Young Yun. Becoming Intercultural: An Integrative Theory of Communication and Cross-Cultural Adaptation (Current Communication: An Advanced Text). Sage Publications, Inc, 2000.
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14
Hatchuel, Sarah, and Nathalie Vienne-Guerin. The Roman Plays on Screen. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.39.
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Screen adaptations of the Roman plays have given rise to two narrative groupings: Coriolanus and Titus, which have been adapted as individual Shakespearean texts; and Julius Caesar and Antony and Cleopatra, which have been serialized or conflated, giving the impression that the two plays cannot stand as autonomous works. This conflation of Julius Caesar and Antony and Cleopatra may stem from a desire for a restoration (or celebration) of national identity through the appropriation of Roman imagery and cycles of epic history. By contrast, Titus and Coriolanus rewrite less conspicuous landmarks of Roman history, giving directors more freedom to set the plays in different places and times and to introduce imagery that unmoors the stories from their Roman contexts.
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Guy-Bray, Stephen. Source. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.7.
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This chapter examines the use of a variety of sources by English playwrights during the late sixteenth and early seventeenth centuries, including historical chronicles, English and classical poetry, Italian novelle, and books and pamphlets about current events. More specifically, it considers the question of what playwrights thought they were doing when they adapted the texts of classical poetry to a new theatrical medium, which even they understood to be a mode of representation with lower prestige. It highlights moments of ‘meta-adaptation’ and discusses three plays in which both the process of adaptation and the question of the relation between dramatic and non-dramatic literature figure prominently: Christopher Marlowe’sDido,Queen of Carthage; Ben Jonson’sPoetaster; and William Shakespeare and George Wilkins’sPericles.
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Hutcheon, Linda, and Michael Hutcheon. Adaptation and Opera. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.17.
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The tried and tested, not the new and original, became the norm early in the over-400-year history of opera, the Ur-adaptive art: because opera is a costly art form to produce, misjudging one’s audience can be disastrous. This may explain the persistence of a version of that familiar, limiting fidelity theory that has gone out of fashion in recent years in other areas. Since the Romantic period, opera’s tradition of Werktreue has demanded authenticity in realizing the operatic work authenticated by tradition. This has made the critical acceptance of adaptations of opera to film, for instance, a challenge. This essay theorizes not only adaptation into opera but also the adaptation of operas to both old and new media. The first, opera as adaptation, is especially complex, for it involves a series of stages: adapted text to libretto; libretto set to musical score; both libretto and score put on stage.
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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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Cutchins, Dennis. Bakhtin, Intertextuality, and Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.4.
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Much of the current thinking about adaptation owes its orientation to Mikhail Bakhtin’s theory of intertextuality. Chapter 4 traces Bakhtin’s most influential contributions to adaptation studies. Against the assumption that adaptation is the faithful translation of a core of meaning, a Bakhtinian theory argues instead that adaptation is a way of looking at texts through interdeterminations with other texts that all texts share to a greater or lesser degree, rather than a special kind of text that is uniquely interdetermined. Although all relationships between texts exist only in the minds of individual audiences, interpreting texts has the power to generate productive dialogues between readers and other readers, texts and other texts, which overcome the isolation of individual audiences.
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Cermak, Michael. Spectacular Snakes of Australia. CSIRO Publishing, 2008. http://dx.doi.org/10.1071/9780643101371.
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Spectacular Snakes of Australia showcases these beautiful creatures which play such an important part in our biodiversity. It portrays most of the species found in Australia, such as tiger snakes, copperheads, brown snakes, death adders and sea snakes, up close and personal. It also includes some unique photographs, such as the hatching of scrub pythons, that offer a rare glimpse into their more intimate lives.
The informative text, based on the latest research, describes the reproductive biology, behaviour, predators and prey of these reptiles, as well as their habitat and conservation values. Readers will explore the importance of colours and patterns in allowing snakes to blend into their environment, their defence and attack mechanisms, and the adaptations they have undergone to cope with their surroundings. In addition, the author provides some anecdotes on his encounters with snakes, and clears up a few myths regarding snake behaviour.
Richly illustrated with exceptional photographs, Spectacular Snakes of Australia features the deadly serious as well as the quirky – from snakes that love water to those with potent venom, and even snakes that are blind! This book is a real treat for snake lovers.
20
Lev, Peter. How to Write Adaptation History. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.38.
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The scholarship on American film adaptations is surprisingly ahistorical, neglecting the institutional and production history of Hollywood film. Chapter 38 attempts a more historical approach. Concentrating on the 1930s, it discusses how stories were chosen, what kinds of stories were chosen, and how stories were shaped in the film production process, identifying the screenwriter and the supervising producer as key contributors to adaptation. Statistical tables provide information on the percentage of novel, play, and short story adaptations made in each year between 1931 and 1940. Critiquing both the auteur theory and Robert Stam’s intertextuality for their lack of interest in production history, the essay calls for more archival research and more attention to the production process.
21
Bevington, David. Shakespeare: The Seven Ages of Human Experience. Wiley & Sons, Incorporated, John, 2009.
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22
Greenwald, Michael, David Bevington, and Anne Marie Welsh. Shakespeare: Script, Stage, Screen. Longman, 2005.
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23
Dicecco, Nico. The Aura of Againness. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.35.
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By examining the complexities of aura, authenticity, materiality, and reception in the context of adaptation studies, Chapter 35 argues against the idea that adaptations are a specific kind of text and in favor of the idea that adaptations are actively constituted as such through performance: through live and embodied acts of identification that have significant material consequences. Drawing on several foundational concepts in adaptation studies and performance theory, Chapter 35 articulates a reception model of adaptation that is relevant not only to theatrical adaptations but across media and genres by showing the ways the aura of adaptation is generated as much through the unique spatiotemporal presence of an artwork as through its momentary disappearance from its place and time.
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Andrews, Matt. How Do Governments Build Capabilities to Do Great Things? Edited by Carol Lancaster and Nicolas van de Walle. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199845156.013.34.
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Governments can play great roles, resolving festering problems and opening new pathways for progress. Examples are numerous and raise an important question: How do governments build the capabilities required to do great things? This chapter identifies ten cases of such governments to answer four dimensions of this question: how do governments to ramp up their capability? Who leads these interventions ?, When do they occur, and why? How changes implemented to ensure they yield sustainable results? The chapter suggests two sets of answers to these concerns, combining rival theories that explain how governments enhance capabilities and strengthen their role: “solution- and leader-driven change” (SLDC) and “problem-driven iterative adaptation” (PDIA). It proposes using these two theories in future research about how governments foster the kinds of achievements one could call great and argues this research should employ a version of theory-guided process tracking (TGPT) called systematic process analysis.
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Peltonen, Markku. Popularity and the Art of Rhetoric. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806899.003.0008.
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This chapter demonstrates the social depth of politics in Shakespeare’s Julius Caesar, focusing the theory and practice of the ars rhetorica. Central to political (in)stability in both classical Rome and Tudor England, the rhetorical virtuosity of the elite sought to constrain and control the restive commons and the potency of popularity. Since commoners were its intended primary audience, Cicero argued for ‘the ultimately popular nature of eloquence’. Julius Caesar sets two types of orator into a rhetorical contest: the nobleman who pacifies the volatile masses, and the ‘people pleaser’, a widely feared figure, who inflames them to insurgence. Different modes of rhetoric unfold: whereas Brutus’s speech violates the precept of adaptation to an audience, in Mark Anthony’s rhetoric, popularity pays off. Shakespeare’s bleak play departs from its sources to magnify the destructive potential of popular orators: unhistorically, Shakespeare renders the incitements of Anthony’s eloquence the trigger of the civil war.
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Saussy, Haun. Death and Translation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198812531.003.0003.
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The first translation of a Baudelaire poem into Chinese, a 1924 version of “A Carcass” by Xu Zhimo, offers an example of creative adaptation in translation: in his version and preface Xu assimilates Baudelaire to the early Daoist philosopher Zhuangzi. This is a strange choice on general grounds, but reflects the translator’s strategy of creating a recognizable identity for the Flowers of Evil, and for modernist poetics generally, within the world of Chinese thought. Furthermore, the content of Baudelaire’s poem, the changes made to it in Xu’s translation, and the relationship Xu devises with the works of Zhuangzi together outline a different theory of translation: not the creation of equivalents, but the chewing, digestion, and assimilation of a previous text, whether native or foreign, as part of the life-process of a literary tradition. Xu’s version of “A Carcass” enacts what Baudelaire’s poem describes, thereby displacing the ground of translational equivalence.
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Birch, Jonathan. The Philosophy of Social Evolution. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733058.001.0001.
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From microbes to humans, the natural world is full of spectacular examples of social behaviour. In the 1960s, W. D. Hamilton introduced three key innovations—now known as Hamilton’s rule, kin selection, and inclusive fitness—that changed the way we think about how social behaviour evolves, beginning a research program now known as social evolution theory. This is a book about the philosophical foundations and future prospects of that program. Part I, ‘Foundations’, provides a philosophical analysis of Hamilton’s core ideas, with some modifications along the way. We will see that Hamilton’s rule provides a compelling way of organizing our thinking about the ultimate causes of social behaviour; and we will see how, in inclusive fitness, Hamilton found a fitness concept with a special role to play in explaining cumulative adaptation. Part II, ‘Extensions’, shows how these ideas, when extended in certain ways, can help us understand cooperation in micro-organisms, cooperation among the cells of a multicellular organism, and culturally evolved cooperation in the earliest human societies. In all these cases and more, living things cooperate because they are related, where the concept of relatedness picks out relevant statistical patterns of similarity in the transmissible basis (genetic or otherwise) of social traits.
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Culver, David C., and Tanja Pipan. The Biology of Caves and Other Subterranean Habitats. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198820765.001.0001.
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Caves and other subterranean habitats with their often strange (even bizarre) inhabitants have long been objects of fascination, curiosity, and debate. The question of how such organisms have evolved, and the relative roles of natural selection and genetic drift, has engaged subterranean biologists for decades. Indeed, these studies continue to inform the general theory of adaptation and evolution. Subterranean ecosystems generally exhibit little or no primary productivity and, as extreme ecosystems, provide general insights into ecosystem function. The Biology of Caves and other Subterranean Habitats offers a concise but comprehensive introduction to cave ecology and evolution. Whilst there is an emphasis on biological processes occurring in these unique environments, conservation and management aspects are also considered. The monograph includes a global range of examples from more than 25 countries, and case studies from both caves and non-cave subterranean habitats; it also provides a clear explanation of specialized terms used by speleologists. This accessible text will appeal to researchers new to the field and to the many professional ecologists and conservation practitioners requiring a concise but authoritative overview. Its engaging style will also make it suitable for undergraduate and graduate students taking courses in cave and subterranean biology. Its more than 650 references, 150 of which are new since the first edition, provide many entry points to the research literature.
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Meeusen, Meghann. Children's Books on the Big Screen. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828644.001.0001.
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Adaptation studies scholars suggest that no matter how interesting it may be to pick apart a film’s consistency with and departure from its source, these approaches can be limiting because books and movies operate as two very different mediums. Children’s Books on the Big Screen moves away from this approach by tracing a pattern across films for young viewers to highlight a consistent trend: when films are adapted from children’s and YA books, concepts like self/other, male/female, and adult/child become more strongly contrasted and more diametrically opposed in the film version. Children’s Books on the Big Screen describes this as binary polarization, suggesting that more stark opposition between concepts leads to shifts in the messages that texts send, particularly when it comes to representations of gender, race, and childhood. After introducing why critics need a new way of thinking about children’s adapted texts, Children’s Books on the Big Screen uses middle-grade fantasy adaptations to consider the reason for binary polarization and looks at the ideological results of polarized binaries in adolescent films and movies adapted from picturebooks. The text also explores movies adapted from The Wonderful Wizard of Oz to dig into instances when multiple films are adapted from a single source and ends with pragmatic classroom application, suggesting teachers might utilize this theory to help students think critically about movies created by the Walt Disney corporation. Drawing from numerous popular contemporary examples, Children’s Books on the Big Screen posits a theory that can begin to explain what happens—and what is at stake—when children’s and young adult books are made into movies.
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Allen, Michael P., and Dominic J. Tildesley. Computer Simulation of Liquids. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803195.001.0001.
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This book provides a practical guide to molecular dynamics and Monte Carlo simulation techniques used in the modelling of simple and complex liquids. Computer simulation is an essential tool in studying the chemistry and physics of condensed matter, complementing and reinforcing both experiment and theory. Simulations provide detailed information about structure and dynamics, essential to understand the many fluid systems that play a key role in our daily lives: polymers, gels, colloidal suspensions, liquid crystals, biological membranes, and glasses. The second edition of this pioneering book aims to explain how simulation programs work, how to use them, and how to interpret the results, with examples of the latest research in this rapidly evolving field. Accompanying programs in Fortran and Python provide practical, hands-on, illustrations of the ideas in the text.
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Byers, Sarah Catherine. Augustinian Puzzles about Body, Soul, Flesh, and Death. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190490447.003.0005.
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Augustine’s employment of some (ultimately) Aristotelian concepts and distinctions, such as from the work On the Soul, helped him to develop his own account of the human being as a single-substance body-soul compound, and a correlative theory of death. The recovery of his view involves some work, because he does not always explain how he thinks the core theses to which he is committed play out in detail. Nevertheless it is possible when we use his Literal Meaning of Genesis to illuminate the City of God, Book 13. The former text contains the most extended presentation of Augustine’s natural philosophy. It employs concepts from classical metaphysics—such as matter, body, form, and potentiality—which, along with some of the Aristotelian categories, are recognizable again in the City of God, a work that he commenced as he was completing the Genesis commentary.
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Bloom, Katya, Barbara Adrian, Tom Casciero, Jennifer Mizenko, and Claire Porter. The Laban Workbook for Actors. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781474220705.
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The Laban Workbook is a compendium of unique exercises inspired by the concepts and principles of movement theorist and artist, Rudolf Laban. Written by five internationally recognized movement experts, this textbook is divided into single-authored chapters, each of which includes a short contextual essay followed by a series of insight-bearing exercises. These expert views, honed in the creation of individual approaches to training and coaching actors, provide a versatile range of theory and practice in the creative process of crafting theatre. Readers will learn: Enhanced expressivity of body and voice; Clearer storytelling, both physical and vocal, facilitating the embodiment of playwrights’ intentions; Imaginative possibilities for exploring an existing play or for creating devised theatre. Featuring many exercises exploring the application of Laban Movement Studies to text, character, scene work, and devised performances - as well as revealing the creative potential of the body itself - The Laban Workbook is ideal for actors, teachers, directors and choreographers.
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Levinson, Marjorie. Thinking Through Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810315.001.0001.
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This is a work of and about literary criticism. Its title signals a contribution to debates about reading. We think “through”—“by means of,” “with”—poems, sympathetically elaborating their surfaces. We “think through” poems to their end—solving a problem, getting to their roots. And we “think through” to “go beyond,” in a philosophical, speculative criticism to which the poem carries us. All three meanings of “through” are in play throughout. The subtitle applies “field” first to Romantic studies—offering new readings of canonical British Romantic poems to address contemporary topics (depth vs. surface, formalism’s return, materialism, theory vs. history of lyric), and narrating, enacting, and conceptualizing the arc of the field’s scholarship since the 1980s. Examples are drawn especially from Wordsworth, but also from Coleridge and, for Romanticism’s afterlife, from Stevens. In addition, “field” indicates the shift during that time-span from a unitary to a field-concept of form, a concept that synthesizes form and history, privileges analytic scale, and displaces entity (text) by “relation” as object of investigation. Connecting early 19th-century intellectual trends to antecedents in Spinoza and related 20th/21st-century revolutions in the postclassical sciences, the book introduces new models to literary study. Unlike accounts of science’s influence on literature, or various “literature + X” approaches (literature and ecology, literature and cognitive science), it constructs its object in a way cognate with work in non-humanities disciplines, thus highlighting a certain unity to knowledge. The claim is that literary critics can renew understanding of their own field by studying the thinking of certain scientific communities.
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Bouchet, Freddy, Tapio Schneider, Antoine Venaille, and Christophe Salomon, eds. Fundamental Aspects of Turbulent Flows in Climate Dynamics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855217.001.0001.
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This book collects the text of the lectures given at the Les Houches Summer School on “Fundamental aspects of turbulent flows in climate dynamics”, held in August 2017. Leading scientists in the fields of climate dynamics, atmosphere and ocean dynamics, geophysical fluid dynamics, physics and non-linear sciences present their views on this fast growing and interdisciplinary field of research, by venturing upon fundamental problems of atmospheric convection, clouds, large-scale circulation, and predictability. Climate is controlled by turbulent flows. Turbulent motions are responsible for the bulk of the transport of energy, momentum, and water vapor in the atmosphere, which determine the distribution of temperature, winds, and precipitation on Earth. Clouds, weather systems, and boundary layers in the oceans and atmosphere are manifestations of turbulence in the climate system. Because turbulence remains as the great unsolved problem of classical physics, we do not have a complete physical theory of climate. The aim of this summer school was to survey what is known about how turbulent flows control climate, what role they may play in climate change, and to outline where progress in this important area can be expected, given today’s computational and observational capabilities. This book reviews the state-of-the-art developments in this field and provides an essential background to future studies. All chapters are written from a pedagogical perspective, making the book accessible to masters and PhD students and all researchers wishing to enter this field. It is complemented by online video of several lectures and seminars recorded during the summer school.