To see the other types of publications on this topic, follow the link: Play text – Adaptation theory.
Journal articles on the topic 'Play text – Adaptation theory'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Play text – Adaptation theory.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Shrestha, Rupak. "Juxtaposing Sama’s Bhimsenko Antya with Shakespeare’s Richard II." JODEM: Journal of Language and Literature 11, no. 1 (December 31, 2020): 155–66. http://dx.doi.org/10.3126/jodem.v11i1.34823.
Full textAbstract:
The works of William Shakespeare (1564-1616) have occasioned such a history of being altered to fit new historical periods, new cultures and new media that they have dominated literary studies related to the term „adaptation‟. Adaptation of a main source into different trans-genres, such as graphic novels, movies, performances on different kinds of stages, and indeed translations, are the study area of Adaptation Theory. The goal of an adaptation is to transfer works from one culture and language to make them usable for another culture and society. This research paper offers a comparative approach to two different plays produced in two different cultures, which have to date been regarded as wholly independent. As I will show, of the two, the source play, or „hypo text‟, is William Shakespeare’s historical tragedy King Richard II (text „A‟), while I will juxtapose Balalkrishna Samas play Bhimsenko Antya [The Doom of Bhimsen as a hypertext (text „B‟), which I will analyse in the light of Adaptation Theory. The paper shows that the plots and characters of the two plays are closely interrelated. Fourteen major incidents correspond closely between the main source and the adapted version, along with broad similarities in settings, even where characterizations of the principal characters suggest a diverging relationship with the hypo text. Sama‟s The Doom of Bhimsen, in short, is an appropriation of Shakespeare’s King Richard II, newly contextualized to Nepalese history and culture while being produced as a completely new Nepalese product. As this aspect of Sama’s play has never previously been explored; this research paper brings a breakthrough in the study of Nepalese literary history, and at the same time, makes a fresh contribution widening the area of adaptation theory.
2
Nichols, Glen. "Interpreting Multi-text Analysis: Is a Theory of Adaptation Possible?" Theatre Research in Canada 13, no. 1 (January 1992): 152–67. http://dx.doi.org/10.3138/tric.13.1.152.
Full textAbstract:
The multi-level problems associated with the transformation of dramatic texts from one cultural context to another are examined in this paper, with reference to adaptations of popular European plays made specifically for use by all-male amateur groups in Quebec at the end of the 19th century. Some suggestions are offered concerning the general kinds of information to be gleaned from close multi-text analysis, the specific cultural indicators gatheredfrom this particular study, and the possibility of developing a usable 'theory of adaptation.'
3
Höglund, Johan, and Martin Willander. "Black Hawk-Down: Adaptation and the Military-Entertainment Complex." Culture Unbound 9, no. 3 (February 1, 2018): 365–89. http://dx.doi.org/10.3384/cu.2000.1525.1793365.
Full textAbstract:
This article investigates the non-fiction book Black Hawk Down (1999) by Mark Bowden, Black Hawk Down the movie (2001) directed by Ridley Scott, and the computer game Delta Force: Black Hawk Down (2003). The article suggests that while the movie and the game must be studied as adaptations of the first text, the tools developed by adaptation studies, and that are typically used to study the transfer of narratives from one media form to another, do not suffice to fully describe the ways in which these narratives change between iterations. To provide a more complete account of these adaptations, the article therefore also considers the shifting political climate of the 9/11 era, the expectations from different audiences and industries, and, in particular, the role that what James Der Derian has termed the Military-Industrial-Media-Entertainment Network (MIME-Net) plays in the production of narrative. The article thus investigates how a specific political climate and MIME-Net help to produce certain adaptations. Based on this investigation, the article argues that MIME-Net plays a very important role in the adaptation of the Black Hawk Down story by directing attention away from historical specificity and nuance, towards the spectacle of war. Thus, in Black Hawk Down the movie and in Delta Force: Black Hawk Down, authenticity is understood as residing in the spectacular rendering of carnage rather than in historical facts. The article concludes that scholarly investigations of the adaptation of military narratives should combine traditional adaptation studies tools with theory and method that highlight the role that politics and complexes such as MIME-Net play within the culture industry.
4
Javidshad, Mahdi. "Individualization and Oedipalization in Reza Servati’s Adaptation of William Shakespeare’s Macbeth: An Expressionist Reworking." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 127–42. http://dx.doi.org/10.18778/2083-8530.23.08.
Full textAbstract:
This article investigates Reza Servati’s Macbeth, an Iranian prize-winning adaptation of Shakespeare’s Macbeth, to discuss the way the adaptor prunes the source text aiming at presenting his distinctive reading of Shakespeare’s play. First, this study is concerned with the way Servati minimalizes the source text and how the process of minimalization serves the adaptor’s preoccupation with the psychological complexities of the characters. Second, it is discussed how Servati’s changes to the source text takes the Renaissance inclination for individualism a step forward. Third, it is argued that the individualism in Servati’s adaptation is aimed at Oedipalization of the play, an attempt that shows the influence of Freudian psychoanalysis. Finally, this article investigates the way Servati’s adaptation can be considered as an expressionist reworking of Shakespeare’s Macbeth by making the individualization of the plot subservient to the expression of the typical course that everyman goes through.
5
Reichmann, Brunilda Tempel. "“Tá dificil competir": Adaptação da trilogia de Michael Dobbs, House of Cards, pela BBC e pela Netflix." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 213–34. http://dx.doi.org/10.5007/2175-8026.2019v72n1p213.
Full textAbstract:
This paper presents a reading of the political trilogy House of Cards, To Play the King e The Final Cut, by Michael Dobbs, an English writer; and their adaptation by the BBC and Netflix series. I try to demonstrate how novelists, script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes, updating contexts and rebuilding personality traits of his unforgettable characters. In short, this text aims to analyze the series and to recover some of the genetic characteristics of Shakespeare’s plays in contemporary artistic/mediatic production.
6
Arakkal, Rinshila. "From Birnamwood to Bollywood: A View of the Cinematographic Adaptation of Macbeth into Maqbool." International Journal of English and Comparative Literary Studies 1, no. 1 (November 22, 2020): 1–20. http://dx.doi.org/10.47631/ijecls.v1i1.144.
Full textAbstract:
Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective.
Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis.
Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions.
Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.
7
Christensen, Sofija, and Per Esben Myren-Svelstad. "“Akin to Peer Gynt” – Remolding Peer in Adaptation." European Journal of Scandinavian Studies 50, no. 1 (April 28, 2020): 45–65. http://dx.doi.org/10.1515/ejss-2020-0003.
Full textAbstract:
AbstractIbsen’s Peer Gynt holds a unique position in Norwegian culture as a ‘national epic’ that simultaneously satirizes the idea of coherent national and individual identities. This article analyzes the dramatic text’s recent adaptation into a graphic novel, published in Norway in 2014. We argue that this adaptation indicates which aspects of the play seem relevant to modern Norwegian readers. Through close, comparative readings of two key scenes in Ibsen’s text and in the adaptation, we show how the many metaliterary aspects of the former are creatively and irreverently treated in the latter. Moreover, we argue that one of the most striking aspects of Peer Gynt, the graphic novel, is its depiction of postmodern, performative identities, and the ‘liquidity’ of modern Western individuals.
8
Ying, Yu, Fengjie Jing, Bang Nguyen, and Junsong Chen. "As time goes by ... maintaining longitudinal satisfaction: a perspective of hedonic adaptation." Journal of Services Marketing 30, no. 1 (February 8, 2016): 63–74. http://dx.doi.org/10.1108/jsm-05-2014-0160.
Full textAbstract:
Purpose The purpose of this paper is to improve our understanding of how firms can maintain longitudinal satisfaction. Previous research on longitudinal satisfaction demonstrates that the product attributes weight on satisfaction shifts over time. However, the existing literature lacks an understanding of the intervening mechanism. Inspired by the hedonic adaptation theory, this research first argues that the shift depends on the attribute’s variability. Then, it posits that hedonic adaptation might play a mediation role in connecting the attribute’s weight and longitudinal satisfaction. Finally, the research incorporates consumer intentional activities into the antecedents of longitudinal satisfaction. Design/methodology/approach The authors test a series of hypotheses across two studies. Using the Slope-shift Parameter Theory and Structural Equation Modeling, data collected from smartphone owners in four MBA classes (Study 1) and eight business venues in China (Study 2) are analyzed to confirm the research model. Findings The findings suggest that hedonic adaptation occurs during the ownership process. It is revealed that both the attribute’s variability and consumption behavior play important roles in sustaining long-term satisfaction, confirming the mediating effects of hedonic adaptation on the relationship above. Originality/value The hedonic adaptation theory is applied to study the mediating role of product attribute variability and consumption behavior in sustaining customer satisfaction over time. Three contributions are offered: First, hedonic adaptation occurs during the ownership process; second, the attribute’s variability and consumption behavior both play important roles in sustaining longitudinal satisfaction; third, the mediating effects of hedonic adaptation are confirmed for the relationship between attribute’s variability and sustaining satisfaction and consumption behavior and sustaining satisfaction.
9
Özmen, Özlem. "A Postdramatic Engagement with Robinsonade Motifs in Tim Crouch’s I, Caliban." Porównania 25 (December 15, 2019): 101–12. http://dx.doi.org/10.14746/por.2019.2.6.
Full textAbstract:
Tim Crouch’s I, Caliban is a postdramatic adaptation of Shakespeare’s The Tempest included in a collection titled I, Shakespeare in which he recreates Shakespeare’s most marginalised characters. The focus in this sequel adaptation is on Caliban who tries to survive after Prospero and all others have left the island. Different from the representation of Caliban in postcolonial reworkings of Shakespeare’s play, Caliban, in this work, is not preoccupied with taking revenge. Instead, he emphasises the need for social interaction as he has been left alone on his island. Drawing on former structural comparisons of The Tempest and Daniel Defoe’s Robinson Crusoe based on their common themes such as the island setting, master-servant relationship, colonial expansion, and power politics, the aim of this paper is to discuss Crouch’s adaptation as a transformation of common motifs of the Robinsonade in its attempt to respond to the ideologicalformations of Shakespeare’s text. Among such transformations, the concept of survival, for instance, is handled from the native’s viewpoint in Crouch’s work. Instead of the figure of the stranger who finds life on an unknown land difficult to cope with, this time, the native turns into a captive on the island though it is a familiar setting. Another motif used in an alternative manner is isolation, which is not presented as fuel for civilisation but as Caliban’s psychological trauma, which he explores through storytelling as a postdramatic element. Apart from the narration, the play demonstrates other uses of postdramatic elements to suggest an isolated figure on an uninhabited island like the use of objects such as toy boats and tape of sea sounds. Instead of seeing Crouch’s work as a postcolonial response to Shakespeare’s work, this paper will try to investigate how the use of island setting and the theme of isolation can make it closer to a Robinsonade. By this means, it will also try to ask whether an adaptation could also be read in relation to a work that is not intended as its source text.
10
Chun, Tarryn Li-Min. "Spoken Drama and Its Doubles: Thunderstorm 2.0 by Wang Chong and Théâtre du Rêve Expérimental." TDR/The Drama Review 63, no. 3 (September 2019): 155–63. http://dx.doi.org/10.1162/dram_a_00862.
Full textAbstract:
Thunderstorm 2.0 at the 2018 Under the Radar Festival introduced a modern Chinese classic to US audiences via radical adaptation and an assemblage of textual deconstruction, live-feed video, and Suzhou pingtan performance. It offered a timely interrogation of gender politics and deftly triangulated among tensions of live vs. mediated performance, folk traditions vs. modern drama, Chinese text vs. foreign context, and re-presenting a canonical play vs. flying “under the radar.”
11
Amenta, Alessandro. "O kwestii oryginału, przekładu autorskiego i adaptacji. Wokół polskiej i angielskiej wersji Antygony w Nowym Jorku Janusza Głowackiego." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 225–50. http://dx.doi.org/10.14746/pspsl.2020.38.10.
Full textAbstract:
Janusz Głowacki’s internationally acclaimed tragicomedy inspired by Sophocles’ Antigone has been the subject of intense debate and misinterpretations. The article aims to demonstrate that the play was primarily written in Polish, and that the English version is an adaptation/rewriting made by the author in collaboration with the American screenwriter Joan Torres. Furthermore, it shows that the English version was created while the writing of the Polish text was still in progress, so that the former influenced and left clear traces in the latter, questioning the traditional hierarchy between the original and the translated or adapted text.
12
Wang, Wei, Hao Wang, Chen Zhang, and Yang Gao. "Cross-Domain Metric and Multiple Kernel Learning Based on Information Theory." Neural Computation 30, no. 3 (March 2018): 820–55. http://dx.doi.org/10.1162/neco_a_01053.
Full textAbstract:
Learning an appropriate distance metric plays a substantial role in the success of many learning machines. Conventional metric learning algorithms have limited utility when the training and test samples are drawn from related but different domains (i.e., source domain and target domain). In this letter, we propose two novel metric learning algorithms for domain adaptation in an information-theoretic setting, allowing for discriminating power transfer and standard learning machine propagation across two domains. In the first one, a cross-domain Mahalanobis distance is learned by combining three goals: reducing the distribution difference between different domains, preserving the geometry of target domain data, and aligning the geometry of source domain data with label information. Furthermore, we devote our efforts to solving complex domain adaptation problems and go beyond linear cross-domain metric learning by extending the first method to a multiple kernel learning framework. A convex combination of multiple kernels and a linear transformation are adaptively learned in a single optimization, which greatly benefits the exploration of prior knowledge and the description of data characteristics. Comprehensive experiments in three real-world applications (face recognition, text classification, and object categorization) verify that the proposed methods outperform state-of-the-art metric learning and domain adaptation methods.
13
Paterson, Ronan. "Additional Dialogue by… Versions of Shakespeare in the World’s Multiplexes." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 53–69. http://dx.doi.org/10.2478/mstap-2013-0005.
Full textAbstract:
William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.
14
Pervukhina, Svetlana Vladimirovna, Gyulnara Vladimirovna Basenko, Irina Gennadjevna Ryabtseva, and Elena Evgenyevna Sakharova. "Approaches to Text Simplification: Can Computer Technologies Outdo a Human Mind?" GEMA Online® Journal of Language Studies 21, no. 3 (August 30, 2021): 37–51. http://dx.doi.org/10.17576/gema-2021-2103-03.
Full textAbstract:
Narrowly specialized information is addressed to a limited circle of professionals though it provokes interest among people without specialized education. This gives rise to a need for the popularization of scientific information. This process is carried out through simplified texts as a kind of secondary texts that are directly aimed at the addressee. Age, language proficiency and background knowledge are the main features which are usually taken into consideration by the author of the secondary text who makes changes in the text composition, as well as in its pragmatics, semantics and syntax. This article analyses traditional approaches to text simplification, computer simplification and summarization. The authors compare human-authored simplification of literary texts with the newest trends in computer simplification to promote further development of machine simplification tools. It has been found that the samples of simplified scientific texts seem to be more natural than the samples of simplified literary texts since technical background knowledge can be processed with machine tools. The authors have come to the conclusion that literary and technical texts should imply different approaches for adaptation and simplification. In addition, personal readers’ experience plays a great part in finding the implications in literary texts. In this respect it might be reasonable to create separate engines for simplifying and adapting texts from diverse spheres of knowledge. Keywords Text Simplification; Natural Language Processing (NLP); Pragmatic Adaptation; Professional Communication; Literary Texts
15
Rizzo, Alessandra. "Translation and Bilingualism in Monica Ali’s and Jhumpa Lahiri’s Marginalized Identities." Text Matters, no. 2 (December 4, 2012): 264–75. http://dx.doi.org/10.2478/v10231-012-0069-0.
Full textAbstract:
This study, drawing upon contemporary theories in the field of migration, postcolonialism, and translation, offers an analysis of literary works by Monica Ali (of Bangladeshi origins) and Jhumpa Lahiri (of Bengali Indian parents). Ali and Lahiri epitomize second-generation immigrant literature, play with the linguistic concept of translating and interpreting as forms of hybrid connections, and are significant examples of how a text may become a space where multi-faceted identities co-habit in a process of deconstructing and reconstructing their own sense of emplacement in non-native places. Each immigrant text becomes a hybrid site, where second- and third generations of immigrant subjects move as mobile, fluctuating and impermanent identities, caught up in the act of transmitting their bicultural and bilingual experience through the use of the English language as their instrument of communication in a universe which tends to marginalize them. This investigation seeks to demonstrate how Ali and Lahiri represent two different migrant experiences, Muslim and Indian, each of which functioning within a multicultural Anglo-American context. Each text is transformed into the lieu where identities become both identities-intranslation and translated identities and each text itself may be looked at as the site of preservation of native identities but also of the assimilation (or adaptation) of identity. Second-generation immigrant women writers become the interpreters of the old and new cultures, the translators of their own local cultures in a space of transition.
16
Malka, Liora. "Woyzeck 91—A World Without Intimacy." Theatre Research International 25, no. 1 (2000): 29–39. http://dx.doi.org/10.1017/s0307883300013936.
Full textAbstract:
Woyzeck 91, was staged by the Itim Ensemble and the Cameri Theatre, Tel Aviv, in 1991. The production was adapted from Büchner's Woyzeck and directed by Rina Yerushalmi. The adaptation expands Büchner's play text mainly through the addition of scientific lectures, mostly about human physiology, which present the human being as a biological organism: heart, sex organs, reproducing cells, nervous system as the source of feelings. These additional scenes focus attention on Woyzeck's body as an experimental model, along with other performative devices (slides of body parts, and a skeleton). The juxtaposition of the human body (human subject) with its scientific and technological fragmentation reflects the performance's central theme: it objectifies the human subjects in our modern world of genetic experiments, technological innovations and socio-political reactions, which threaten the destruction of humanity.
17
Mityagina, Vera, and Irina Volkova. "Localization in translation theory and practice: historical and cultural view (the case of fiction adaptation)." SHS Web of Conferences 69 (2019): 00129. http://dx.doi.org/10.1051/shsconf/20196900129.
Full textAbstract:
The paper deals with the concept of localization and historical prerequisites of its use within the field of translation studies. We show that the sphere of localization techniques use is not limited by computer-mediated products but spreads on purely linguistic procedures of text adaptation as well. Since today there is no consensus among researchers and translators about the status of localization in the modern translation studies, we make an attempt to clarify the role and relevance of this term for the theory and practice of translation using the examples of fiction adaptation. The research is based on the material of a number of original and translated poetry works, including plays by W. Shakespeare and poems by Robert Burns, Ivan Krylov and Walter Scott. It is shown that the techniques of linguocultural adaptation used by translators in the 18th – 19th centuries are in fact those peculiar of the modern localization process. This fact proves the terminological value of the concept under study as the one denoting a certain type of translation activity which implies communicative equivalence and vague ties between the two texts. The considered examples of free translation of fiction prove that the process of localization is conditioned by literary and translational traditions, in particular, by the conception of free translation, which focused on the popularization of foreign works and a given ideological impact.
18
Rybczak, Emil, and Emil Rybczak. "Hamlet, Performance and Chaotic Cultural Networks." Exchanges: The Interdisciplinary Research Journal 3, no. 1 (October 7, 2015): 41–64. http://dx.doi.org/10.31273/eirj.v3i1.125.
Full textAbstract:
Since the 1960s, chaos theory has become an important but controversial tool used by scientists and mathematicians to describe physical or theoretical systems or networks. It explains how the simple can generate the complex. Its central tenets can also provide an alternative language and means of literary interpretation. This article will explore how the principles of chaos theory can be used to close read and systematise various aspects of the language and performance of Shakespeare. The argument is built upon an analysis of Hamlet, in an effort to understand the play and its reproduction as the evolution of interconnected complex networks. Various aspects of the text will be discussed, including its language, structural and character patterning, and its reproduction through performance and cinematic adaptation. Each of these topics, and the characters, devices or ideas they discuss, constitute nodes of the complex network of Hamlet as both text and idea.Responding to the cultural analysis of other scholars, this article uses Hamlet as an ideal example of how the appropriation of scientific language can defamiliarise a particular literary or dramatic artefact. This allows fresh interpretation and understanding of its location within the broader networks of theatre and culture. I suggest the possibilities of close reading literary works through the lens of chaos and suggest how they might be applied and developed in conjunction with other texts, media or performances.
19
Sequeira Mendes, Maria. "Teatro Praga’s Omission of Shakespeare – An Intercultural Space." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 91–104. http://dx.doi.org/10.1515/mstap-2017-0007.
Full textAbstract:
Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a space in-between, as it were, which might be described as intercultural. “Inter,” as the OED clarifies, means something “among, amid, in between, in the midst.” Each of Teatro Praga’s Shakespearean adaptations, seems to exist in this “in-between” space, in the sense that they are named after Shakespeare, but are mediated by a combination of subsequent innovations. Shakespeare then emerges, or exists, in the interval between his own plays and the way they have been discussed, quoted, and misquoted across time, shaping the identities of those trying to perform his works and those observing its re-enactments on stage while being shaped himself. The fact that these adaptations only use Shakespeare’s words from time to time leads critics to consider that Teatro Praga is working against Shakespeare (or, to admirers of Henry Purcell, against his compositions). This process, however, reframes Shakespeare’s intercultural legacy and, thus, reinforces its appeal.
20
ROBSON, JAMES. "Transposing Aristophanes: The Theory and Practice of Translating Aristophanic Lyric." Greece and Rome 59, no. 2 (September 20, 2012): 214–44. http://dx.doi.org/10.1017/s0017383512000095.
Full textAbstract:
The reception of Aristophanes has gained extraordinary momentum as a topic of academic interest in the last few years. Contributions range from Gonda Van Steen's ground-breaking Venom in Verse. Aristophanes in Modern Greece to Hall and Wrigley's Aristophanes in Performance 421 BC–AD 2007, which contains contributions from a wide range of scholars and writers, a number of whom have had experience of staging Aristophanes' plays as live theatre. In Found in Translation, J. Michael Walton has also made strides towards marrying the theory of translation to the practice of translating Aristophanes (something I have myself also sought to do in print). And with the history of Aristophanic translation, adaptation, and staging being rapidly pieced together (in the English-speaking world at least, where Hall, Steggle, Halliwell, Sowerby, Walsh, and Walton, for example, have all made their own contributions), much of the groundwork has been laid for a study such as is attempted in this article. Here I aim to take a broad look across a range of translations in order to see how one particular text type within Aristophanic drama has been approached by translators, namely Aristophanes' lyric passages. The aim of this study will be to give both an insight into the numerous considerations that translators take into account when translating Aristophanic lyric and an impression of the range of end products that have emerged over the last two hundred years.
21
Mirowska, Paulina. "Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s "The Comfort of Strangers"." Text Matters, no. 3 (November 1, 2013): 171–85. http://dx.doi.org/10.2478/texmat-2013-0033.
Full textAbstract:
A careful analysis of Harold Pinter’s screenplays, notably those written in the 1980s and early 1990s, renders an illustration of how the artist’s cinematic projects supplemented, and often heightened, the focus of his dramatic output, his resolute exploration of the workings of power, love and destruction at various levels of social interaction and bold revision of received values. It seems, however, that few of the scripts did so in such a subtle yet effective manner as Pinter’s intriguing fusion of the erotic, violence and ethical concerns in the film The Comfort of Strangers (1990), directed by Paul Schrader and based on Ian McEwan’s 1981 novel of the same name. The article centres upon Pinter’s creative adaptation of McEwan’s deeply allusive and disquieting text probing, amongst others, the intricacies and tensions of gender relations and sexual intimacy. It examines the screenplay—regarded by many critics as not merely an adaptation of the novel but another, very powerful work of art—addressing Pinter’s method as an adapter and highlighting the artist’s imaginative attempts at fostering a better appreciation of the connections between authoritarian impulses, love and justice. Similarly to a number of other Pinter filmscripts and plays of the 1980s and 1990s, the erotic and the lethal alarmingly intersect in this screenplay where the ostensibly innocent—an unmarried English couple on a holiday in Venice, who are manipulated, victimized and, ultimately, destroyed—are subtly depicted as partly complicit in their own fates.
22
Jansen, Steen. "Avec Goldoni à travers l’Europe." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 49, no. 1 (May 27, 2014): 88–119. http://dx.doi.org/10.1075/rro.49.1.05jan.
Full textAbstract:
This paper looks at how a given text, Carlo Goldoni’s comedy Un curioso accidente, has been translated, received and used in different adaptations in France, Germany and Denmark. In France and Germany the comedy is met with great interest already in the 18th century, mostly through very different adaptations (in France by François Roger and in Germany by Johann Christian Bock) used with considerable success on stage, less for the actual translations. Later the comedy was forgotten in those two countries. In the rest of Europe, the comedy is not translated till the 19th century ; in Denmark it is discovered about 1850, not least because Johanne Louise Heiberg, leading actress at the Royal Theatre, is enchanted by the female lead character Giannina. At the end of the century the play is restaged, but now — in agreement with the general spirit of the time — in much more realistic productions by William Bloch.
23
Li, Mingshu, Fang Li, Qian Lin, Jingzheng Shi, Jing Luo, Qing Long, Qiping Yang, et al. "Cultural Adaptation, Validation, and Primary Application of a Questionnaire to Assess Intentions to Eat Low-Glycemic Index Foods among Rural Chinese Women." International Journal of Environmental Research and Public Health 17, no. 20 (October 18, 2020): 7577. http://dx.doi.org/10.3390/ijerph17207577.
Full textAbstract:
Different lines of evidence indicate that knowledge of low-glycemic index (GI) foods and the practice of eating them play important roles in blood glucose management and preventing T2DM in women with prior gestational diabetes mellitus (GDM). According to the theory of planned behavior (TPB), intention is a critical factor in complying with health-related behaviors. However, an instrument for assessing the intention to eat low-GI foods is lacking in China. We aimed to (1) adapt and validate a Chinese version of the intentions to eat low-GI foods questionnaire (CIELQ) and (2) apply the CIELQ among rural Chinese women to explore the associations between CIELQ scores and glycemic status. A cross-sectional study was conducted on 417 nondiabetic, nonpregnant participants with a history of GDM in Hunan, China. After cultural adaptation and validation, the CIELQ was applied in a target population. Glycemic status, anthropometric variables, dietary intake, and physical activity were measured; a self-developed, standard questionnaire was applied to collect relevant information. The CIELQ showed good internal consistency; model fitness was acceptable based on the confirmatory factor analysis results. Awareness of the glycemic index was low among the study population. TPB factors were found to be associated with each other; education level and parents’ diabetes history were associated with specific factors. The score for instrumental attitude showed a positive association with the risk for a high level of the 2-h 75-g oral glucose tolerance test (odds ratio, OR = 1.330), while the score for perceived behavior control (PBC) showed a negative association with the risk for a high level (OR = 0.793). The CIELQ was determined to be a valid instrument for assessing the intention to eat a low-GI diet among the study population. The awareness of the GI was poor among the study population. The score for instrumental attitude showed a positive association with the risk of a high level on the 2-h 75-g oral glucose tolerance test (OGTT), and the score for PBC showed a negative association with the risk for a high level on OGTT.
24
Cieślak, Magdalena. "“… the ruins of Europe in back of me.” Jan Klata’s Shakespeare and the European condition." Studia Anglica Posnaniensia 50, no. 4 (December 1, 2015): 67–77. http://dx.doi.org/10.1515/stap-2015-0033.
Full textAbstract:
Abstract Jan Klata’s Shakespearean productions are famous for his liberal attitude to the text, innovative sets and locations, and a strong contemporary context. His 2004 H., a Teatr Wybrzeże production performed in the Gdańsk Shipyard, reaches to the Polish history of the eighties (the importance of Solidarity and the fall of communism) to comment on the state of the democratic Poland twenty years later. The 2012 Titus Andronicus, a coproduction of Teatr Polski in Wrocław and Staatsschauspiel Dresden, explores the impact of historical traumas on national prejudice and relations within the new Europe. The 2013 Hamlet with Schauspielhaus Bochum again tries to diagnose the contemporary condition and is again deeply rooted in a specific geopolitical context. Discussing both Titus Andronicus and Hamlet, I would like to explore Klata’s formula of working with Shakespeare. Primarily, he takes advantage of the fact that Shakespeare’s texts are not simply source texts but hypertexts with multiple layers of meanings accumulated over the centuries of circulation, production and adaptation. Perhaps similarly to Heiner Müller, whose plays he willingly incorporates in his productions, Klata anatomizes the plays and then radically reconstructs them using other texts, literary and paraliterary. What Klata eventually puts on stage is a hybrid that is rooted in the Shakespearean hypertexts but also heavily draws from historical, cultural and political contexts, and that is relevant to him as the director and to the particular specificities of the venues, theatres and companies he works with. The hybridized and contextualized Shakespeare becomes for Klata a way to comment on current issues that he sees as vital, like dealing with the burden of the past, confronting the reality of the present, or understanding and expressing national identity, problems that are at once universal and specific for a person living in the EU in the twenty first century.
25
Lee, So-Rim. "Translation, Adaptation, and Appropriation in Brook's Mahabharata." New Theatre Quarterly 34, no. 1 (January 10, 2018): 74–90. http://dx.doi.org/10.1017/s0266464x17000690.
Full textAbstract:
In this article So-Rim Lee closely investigates the Mahābhārata in relation to – but quite distinct from – The Mahabharata: a Play (1985) by Peter Brook and Jean-Claude Carrière. Since the ancient text of the Mahābhārata does not have a definitive author, version, or form, So-Rim Lee argues that Brook and Carrière's framing of their modern reading as an adaptation of the ancient text poses a series of questions regarding the politics of recontextualizing a South Asian text in Western terms, the methodological process involved in doing this, and the ethical stance espoused by the transcultural adapters. She then questions whether the audience actually finds Brook and Carrière's international, multi - racial production as cosmopolitan and multicultural as the authors claim it to be. If The Mahabharata: a Play is a matter of cultural appropriation rather than adaptation, what transgressions are involved in reframing the source text and how does it produce what Gayatri Spivak calls ‘epistemic violence’? Lee is a doctoral candidate in the Department of Theater and Performance Studies at Stanford University. She has previously reviewed for Theatre Survey and Performance Research.
26
Turner, Alison, Abeda Mulla, Andrew Booth, Shiona Aldridge, Sharon Stevens, Mahmoda Begum, and Anam Malik. "The international knowledge base for new care models relevant to primary care-led integrated models: a realist synthesis." Health Services and Delivery Research 6, no. 25 (June 2018): 1–176. http://dx.doi.org/10.3310/hsdr06250.
Full textAbstract:
BackgroundThe Multispecialty Community Provider (MCP) model was introduced to the NHS as a primary care-led, community-based integrated care model to provide better quality, experience and value for local populations.ObjectivesThe three main objectives were to (1) articulate the underlying programme theories for the MCP model of care; (2) identify sources of theoretical, empirical and practice evidence to test the programme theories; and (3) explain how mechanisms used in different contexts contribute to outcomes and process variables.DesignThere were three main phases: (1) identification of programme theories from logic models of MCP vanguards, prioritising key theories for investigation; (2) appraisal, extraction and analysis of evidence against a best-fit framework; and (3) realist reviews of prioritised theory components and maps of remaining theory components.Main outcome measuresThe quadruple aim outcomes addressed population health, cost-effectiveness, patient experience and staff experience.Data sourcesSearches of electronic databases with forward- and backward-citation tracking, identifying research-based evidence and practice-derived evidence.Review methodsA realist synthesis was used to identify, test and refine the following programme theory components: (1) community-based, co-ordinated care is more accessible; (2) place-based contracting and payment systems incentivise shared accountability; and (3) fostering relational behaviours builds resilience within communities.ResultsDelivery of a MCP model requires professional and service user engagement, which is dependent on building trust and empowerment. These are generated if values and incentives for new ways of working are aligned and there are opportunities for training and development. Together, these can facilitate accountability at the individual, community and system levels. The evidence base relating to these theory components was, for the most part, limited by initiatives that are relatively new or not formally evaluated. Support for the programme theory components varies, with moderate support for enhanced primary care and community involvement in care, and relatively weak support for new contracting models.Strengths and limitationsThe project benefited from a close relationship with national and local MCP leads, reflecting the value of the proximity of the research team to decision-makers. Our use of logic models to identify theories of change could present a relatively static position for what is a dynamic programme of change.ConclusionsMultispecialty Community Providers can be described as complex adaptive systems (CASs) and, as such, connectivity, feedback loops, system learning and adaptation of CASs play a critical role in their design. Implementation can be further reinforced by paying attention to contextual factors that influence behaviour change, in order to support more integrated working.Future workA set of evidence-derived ‘key ingredients’ has been compiled to inform the design and delivery of future iterations of population health-based models of care. Suggested priorities for future research include the impact of enhanced primary care on the workforce, the effects of longer-term contracts on sustainability and capacity, the conditions needed for successful continuous improvement and learning, the role of carers in patient empowerment and how community participation might contribute to community resilience.Study registrationThis study is registered as PROSPERO CRD42016039552.FundingThe National Institute for Health Research Health Services and Delivery Research programme.
27
Nichols, Glen. "Interpreting Multi-text Analysis: Is a Theory of Adaptation Possible?" Theatre Research in Canada 13, no. 1-2 (January 1992): 152–67. http://dx.doi.org/10.3138/tric.13.1_2.152.
Full text
28
Pelkey, Jamin. "Emptiness and desire in the first rule of logic." Sign Systems Studies 46, no. 4 (December 31, 2018): 467–90. http://dx.doi.org/10.12697/sss.2018.46.4.04.
Full textAbstract:
Charles Sanders Peirce’s first rule of logic (EP 2.48, 1898) identifies the inception point of human inquiry. Taking a closer look at this principle, we find at its core a necessary relationship between emptiness and desire that underlies all genuine instances of human learning and adaptation. This composite relationship plays a critical role in the function or failure of learning but has received scant attention in the literature. As a result, the complexities of the first rule of logic are not well understood, often being mistakenly conflated with the rule’s famous corollary, ‘do not block the way of inquiry’, or passed over with cursory definitions, including ‘wonder’, ‘doubt’ and ‘the will to learn’. Following a background discussion highlighting the nature of reflexive inquiry and fallibilism that situate human consciousness both within and beyond animal being, I draw on multiple layers of evidence from a range of disciplines to better reveal the complex dynamics intrinsic to the first rule of logic. These layers include a closer reading and exegesis of the original passage and surrounding text; a semiotic reanalysis of this reading in light of recent advances in the semiotic theory of learning; a resituation of these distinctions within broader contemporary discussions of emptiness ontology to which I contribute in part via an original semantic/rhetorical analysis of a linguistic construction in Laozi; the introduction of a closely related pedagogical tool under development in the context of my own university-level teaching in ethnography and research methods; and the dialogic situation of this diagram within discourses of psychotherapy, philosophy and literature. Building on these principles and distinctions, the paper closes with a perspective shift on obstacles and desire in human learning and an expanded reformulation of the first rule of logic.
29
Mokrani, Youcef. "Adaptation of Monsky matrices for 𝜃-congruent numbers." International Journal of Number Theory 16, no. 02 (September 5, 2019): 377–96. http://dx.doi.org/10.1142/s1793042120500207.
Full textAbstract:
[Formula: see text]-congruent numbers are a generalization of congruent numbers. As in the classical case, there is a particular interest in finding infinite families of non-[Formula: see text]-congruent numbers with special properties, such as having an arbitrary number of prime factors. This paper presents methods to find families of non-[Formula: see text]-congruent numbers in the spirit of the initial result of Iskra, and extending the results of Girard, Lalín and Nair for [Formula: see text] and [Formula: see text] by adapting Monsky matrices following the ideas of Reinholz, Spearman and Yang. This paper also presents induction theorems using adapted Monsky matrices in order to find more general non-[Formula: see text]-congruent families than those presently known.
30
Wu, Yinghui. "Constructing a Playful Space: Eight-Legged Essays on Xixiang ji and Pipa ji." T’oung Pao 102, no. 4-5 (November 29, 2016): 503–45. http://dx.doi.org/10.1163/15685322-10245p06.
Full textAbstract:
This article examines the “playful eight-legged essay” as a form of literary parody and discusses its circulation in printed editions of The Story of the Western Wing and The Story of the Lute in late imperial China. The rise of the playful eight-legged essay was part of a philosophical and literary tradition of “game-playing,” and occurred in the context of publications that appropriated canonical genres for fashionable entertainment. Reading the playful compositions against the generic conventions of the standard examination essay, on the one hand, and the original drama commentary, on the other, the author explores the playful eight-legged essay as an increasingly autonomous mode of critical commentary that was independent from, yet still associated with, the dramatic text. Employing dramatic impersonation, the essays opened up a playful space for the staging of passion and extended the appeal of the original play by involving the reader in its imaginative performance. Cet article étudie les adaptations plaisantes des “dissertations en huit jambes” comme forme de parodie littéraire et en examine la diffusion à travers les éditions imprimées du Pavillon de l’ouest et de l’Histoire du luth à la fin de l’empire. L’émergence de telles adaptations, inscrites dans une tradition ludique à la fois philosophique et littéraire, est contemporaine de la parution d’ouvrages qui détournaient les genres canoniques à des fins de récréation élégante. La lecture de ces dissertations amusantes que propose l’auteur se réfère à la fois aux conventions présidant à la composition des dissertations d’examen et aux commentaires d’œuvres théâtrales proprement dits. Il en ressort que le genre de la dissertation parodique a acquis une autonomie croissante en tant que commentaire critique indépendant des œuvres dramatiques tout en y restant associé. En s’appropriant la voix des personnages des pièces, de tels textes ouvrent un espace de fantaisie propice à la mise en scène des passions et renforcent l’attrait des œuvres originales en impliquant le lecteur dans leur réalisation imaginée.
31
KAYNAR, GAD. "Pragmatic Dramaturgy: Text as Context as Text." Theatre Research International 31, no. 3 (October 2006): 245–59. http://dx.doi.org/10.1017/s0307883306002215.
Full textAbstract:
This essay attempts to theorize the decades-long practice of German and other dramaturgs, a practice that is rarely acknowledged by theatre research. It maintains that the dramaturgical interpretation of the specific play in the process of preparing it for stage realization is subject to ‘applied dramaturgy’. Dramaturgy in this sense is predominantly ‘circumstantial’ rather than play-oriented, accounting mainly for the contextual performance conditions, either extra-textual, extra-theatrical or both. Through concrete and partly personal examples drawn largely from the field of production dramaturgy, the article suggests that extrinsic parameters such as the management of the theatre; the definition of the theatrical institution; its implied spectators; the reality conventions within which it operates; its human artistic, technical, spatial and financial resources; its marketing methods; and so on might be no less important to academic play and performance analysis than they are for practical theatre purposes.
32
McDougle, Samuel D., Krista M. Bond, and Jordan A. Taylor. "Implications of plan-based generalization in sensorimotor adaptation." Journal of Neurophysiology 118, no. 1 (July 1, 2017): 383–93. http://dx.doi.org/10.1152/jn.00974.2016.
Full textAbstract:
Generalization is a fundamental aspect of behavior, allowing for the transfer of knowledge from one context to another. The details of this transfer are thought to reveal how the brain represents what it learns. Generalization has been a central focus in studies of sensorimotor adaptation, and its pattern has been well characterized: Learning of new dynamic and kinematic transformations in one region of space tapers off in a Gaussian-like fashion to neighboring untrained regions, echoing tuned population codes in the brain. In contrast to common allusions to generalization in cognitive science, generalization in visually guided reaching is usually framed as a passive consequence of neural tuning functions rather than a cognitive feature of learning. While previous research has presumed that maximum generalization occurs at the instructed task goal or the actual movement direction, recent work suggests that maximum generalization may occur at the location of an explicitly accessible movement plan. Here we provide further support for plan-based generalization, formalize this theory in an updated model of adaptation, and test several unexpected implications of the model. First, we employ a generalization paradigm to parameterize the generalization function and ascertain its maximum point. We then apply the derived generalization function to our model and successfully simulate and fit the time course of implicit adaptation across three behavioral experiments. We find that dynamics predicted by plan-based generalization are borne out in the data, are contrary to what traditional models predict, and lead to surprising implications for the behavioral, computational, and neural characteristics of sensorimotor adaptation. NEW & NOTEWORTHY The pattern of generalization is thought to reveal how the motor system represents learned actions. Recent work has made the intriguing suggestion that maximum generalization in sensorimotor adaptation tasks occurs at the location of the learned movement plan. Here we support this interpretation, develop a novel model of motor adaptation that incorporates plan-based generalization, and use the model to successfully predict surprising dynamics in the time course of adaptation across several conditions.
33
Saltz, David Z. "When is the Play the Thing?—Analytic Aesthetics and Dramatic Theory." Theatre Research International 20, no. 3 (1995): 266–76. http://dx.doi.org/10.1017/s0307883300008701.
Full textAbstract:
When the Prague semiotician Jiri Veltrusky maintains that ‘in theater, the linguistic sign system, which intervenes through the dramatic text, always combines and conflicts with acting, which belongs to an entirely different sign system’, he makes explicit a commonplace premise: that the performance and the play constitute two distinct and parallel sign systems. This premise underlies the standard distinction between the dramatic text and the performance text, and forms the basis of what I will call the ‘two-text’ model of the play/performance relationship. The difference between a play and its performance is a difference between the ‘languages’ in which the two ‘texts’ are ‘written’: a play is a text constructed of linguistic signs, and a performance, a text constructed of theatrical signs.
34
Iordăchescu, Grigore-Dan. "Ambigapathy Pandian, Thomas Chow Voon Foo, and Shaik Abdul Malik Mohamed Ismail, (Eds.) Curriculum Development, Materials Design and Methodologies: Trends and issues. Pulau Pinang: Penerbit Universiti Sains Malaysia, 2011. Pp. 1-342. ISBN 978-983-861-493-1 (Print). e-ISBN 978-967-461-089-0." JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 12, no. 1 (April 30, 2019): 169–71. http://dx.doi.org/10.29302/jolie.2019.12.1.13.
Full textAbstract:
The book titled Curriculum Development, Materials Design and Methodologies: Trends and Issues, brings together contributions that offer an insight into innovative strategies, noteworthy ideas and stimulating methods of teaching English used by teachers in their ESL Classrooms. The main objective of this book is to provoke the reader to bring in his or her own expertise and expand the learning possibilities in language teaching methods. It invites to self-reflection, and ultimately to self-improvement and development in order to achieve successful teaching and learning. It is structured into six major sections, dealing with various topics, as follows: I. Innovative teaching strategies (Chapters 1-5), II. Teaching strategies and language learning issues (Chapters 6-9), III. A review of past language teaching methodology – principles and practices (Chapters 10-15), IV. Using multimedia in English language teaching (Chapters 16-18), V. Curriculum design in the ELT/EFL context (Chapters 19-25) and VI. Teachers’ involvement in the creation, adaptation and selection of teaching materials (Chapters 26-29). Sarjit Kaur and Malini Ganapathy’s contribution, Innovative Ideas to Promote Creative Literacy Practices, tackles the concept of multiliteracy and its association with ICT’s and multimedia that underpin culturally-specific forms of literacy in pluralistic societies. Shobha Shinde, in Innovative Strategies in English Teaching – Learning in the Rural Context deals with strategies that teachers can adopt in a rural learning environment, where students are little exposed to authentic English language. The Use of Adapted Movies from Novels (The Kite Runner and The Namesake) as a Way to Stimulate Reading for Malaysian Students by Saabdev Kumar Sabapathy and Swagata Sinha Roy investigates the benefits of classroom reading practice, through watching a movie. Siti Rafizah Fatimah Osman and Mohamad Jafre Zainol Abidin’s contribution, Role-Play: Taking the Line of Least Resistance presents the way in which experiential learning, through role-play, contributes to the development of learner autonomy. The fifth chapter, A New Horizon in Writing Classes: Increasing Learners’ Autonomy, by Leily Ziglary and Rouzbeh Khalili explores the importance of collocations in language teaching. Language Learning Strategies: Current Issues, by Nafiseh Salehi and Rahim Kaviani examines learning strategies that are conducive to learner autonomy and empowerment. Mariah Ibrahim and Mohamad Jafre Zainol Abidin discuss in their chapter, Pedagogy of the Heart: Understanding Resistance in the English Language Classroom, the way in which students’ skills, behaviours, attitudes and interests are affected by what students actually bring from outside the classroom. The eighth chapter, Students’ and Teachers’ Preferences of ESL Classroom Activities, by Punitha Vayaravasamy and Anna Christina Abdullah brings forth the results of research into how teachers’ teaching is being received by Malaysian rural secondary school students. Innovative Ways of Teaching English and Foreign Languages by Peggy Tan Pek Tao looks into how drama and games improve students’ confidence and communicative skills. Collin Jerome’s contribution, titled What Do They Really Need? Developing Reading Activities to Explore the Elements in Literary Texts investigates the attitudes and opinions of undergraduate TESL and ESL students currently taking a specialised literature course. Chapter 11, The Teaching of Writing: Looking at the Real Classroom Scenes, by Mohd. Saat Abbas, Suzihana Shaharan and Yahya Che Lah discusses the efficiency of teaching methods for the development of writing skills in the case of rural secondary school students. Feedback in Process Genre-Based Approach to Teaching Technical Writing, by Shahrina Md Nordin, Norhisham Mohammad and Ena Bhattacharyya examines the role feedback plays in boosting students’ motivation for further study. Sohel Ahmed Chowdhury’s chapter, Lesson Plan and Its Importance in English Language Classroom, analyses the importance of planning, especially in schools with limited resources and teaching aids. Chapter 14, Unteaching Strategies: An Approach Based on Error Analysis, Learners’ Learning Strategies and Task-Based Instruction, by Ma’ssoumeh Bemani Naeini and Ambigapathy Pandian Su-Hie Ting and Mahanita Mahadhir’s contribution, Letting Communicative Purpose Direct Teaching of Grammar: Using the Text-Based Approach, introduces the idea of using the mother tongue in order to achieve the success of their tasks. Annotations in Multimedia On-Screen Text in Comparison to the Printed Text in Enhancing Learners’ of Process-Based Expository Text in Malaysia, by Saraswathy Thurairaj assesses whether the annotations identified in a multimedia on-screen text enable and enhance learners’ comprehension ability. Chapter 17, by Sarjit Kaur and Wong Chiew Lee, titled Transforming ESL Teaching by Embedding Information and Web Literacies into the Classroom, aims at identifying a what a computer-literate student’s skills are and how computer literacy should be integrated within the ESL classroom. Inranee R. Liew’s text, Scary Spiders and Beautiful Butterflies: A Creative Multimedia Approach to Develop Information Literacy Skills in the Integrated Science and English Classroom reinforces the importance of developing and using information literacy skills for lifelong learning. Chapter 19, The ESL Curriculum as an Additional Resource for Making Meaning, by Amy B.M. Tsui provides methodological guidelines as to teaching through story-writing. Mohamed Abu Bakar discusses the importance of teaching presentation skills in his chapter titled Speaking in the Language Curriculum: The Challenges of Presenting. In Chapter 21, GOLDEN RICE: Using Simulations in EAP Classes, Shashi Naidu tackles the issue of adapting simulations for Malaysian EAP classrooms at tertiary level. Are the Teaching Practices of Preschool Teachers in Accordance with the Principles and Learning Components of the National Preschool Curriculum? by Lily Law presents the result of a study aiming at assessing activities meant to meet the requirements of the National Preschool Curriculum. Mohammad Alshehab discusses in his chapter, The Contribution of Language Planning on Military Terminology provides practical suggestions as to the development of military students’ specialised lexicon. Chapter 24, The EFL Constructivist Classroom, by Hosna Hosseini, provides useful information for syllabus designers in organizing the curriculum based on “constructivist epistemology”. Zhang Xiaohong’s contribution, The Role of EFL Teachers’ Knowledge in Current EFL Curriculum Reform: An Understanding from a Reconstructionist Perspective tackles the importance of reconstructionist philosophy for teacher continuous education. Chapter 26, Using Materials Development to Bridge the Gap Between Theory and Practice, by Brian Tomlinson advocates the process of materials development in boosting teacher’s confidence and students’ involvement. Ting Su Hie and Diana Carol discuss in Teething Problems in Materials Development for Teaching Social Interaction Skills in English an experience of adopting a genre-based approach to creating a set of materials aimed at both students and teachers for the teaching of social interaction skills in English. In the chapter Principles to Follow When Adopting and Adapting Textbooks and Materials Earl D. Wyman brings forth a matrix for selecting, adopting or adapting teaching materials. Norhisham Mohamed and Alauyah Johari investigate in Politeness Strategies as an Incorporated Component in Material Development politeness strategies considered as such in a Malay academic setting. All in all, the book is an interesting source of information about the Malaysian educational settings.
35
Murdock-Hinrichs, Isa. "Adaptation, Appropriation, Translation." boundary 2 47, no. 3 (August 1, 2020): 133–63. http://dx.doi.org/10.1215/01903659-8524455.
Full textAbstract:
The essay analyzes Grant Gee’s and Stan Neumann’s transformations of W. G. Sebald’s The Rings of Saturn and Austerlitz into the cinematic medium. In reproducing Sebald’s methods, both filmmakers undermine traditional filmmaking conventions. By translating and appropriating the stylistics of Sebald’s text, Gee’s work echoes polyvocality and renders the influences and psychological associations of Sebald’s text into externalized fragments that convey the interwoven processes of memory, perception, and spatialization. Neumann reproduces Austerlitz’s observations more faithfully but alters the sequencing of the textual events and incorporates different media into the film. Neumann’s invention of himself as a “character” further undermines the text’s claims to authenticity and, more broadly, the notion of a stable system of signifiers. This intervention of the persona of the translator-filmmaker emphasizes the agency of the translator. Both films are neither adaptations nor translations, but they appropriate elements of Sebald to trace the effects of his techniques.
36
Davidson, Debra J. "Rethinking Adaptation." Nature and Culture 13, no. 3 (December 1, 2018): 378–402. http://dx.doi.org/10.3167/nc.2018.130304.
Full textAbstract:
Understanding that climate change poses considerable threats for social systems, to which we must adapt in order to survive, social responses to climate change should be viewed in the context of evolution, which entails the variation, selection, and retention of information. Digging deeper into evolutionary theory, however, emotions play a surprisingly prominent role in adaptation. This article offers an explicitly historical, nondirectional conceptualization of our potential evolutionary pathways in response to climate change. Emotions emerge from the intersection of culture and biology to guide the degree of variation of knowledge to which we have access, the selection of knowledge, and the retention of that knowledge in new (or old) practices. I delve into multiple fields of scholarship on emotions, describing several important considerations for understanding social responses to climate change: emotions are shared, play a central role in decision-making, and simultaneously derive from past evolutionary processes and define future evolutionary processes.
37
Reifsnider, Eric S., and Daniel Tranchina. "Background contrast modulates kinetics and lateral spread of responses to superimposed stimuli in outer retina." Visual Neuroscience 12, no. 6 (November 1995): 1105–26. http://dx.doi.org/10.1017/s0952523800006751.
Full textAbstract:
AbstractSurround enhancement (sensitization) is a poorly understood form of network adaptation in which the kinetics of the responses of retinal neurons to test stimuli become faster, and absolute sensitivity of the responses increases with increasing level of steady, surrounding light. Surround enhancement has been observed in all classes of retinal neurons in lower vertebrates except cones, in some primate retinal ganglion cells, and in human psychophysical studies. In theory, surround enhancement could be mediated by two broad classes of mechanisms, which are not mutually exclusive: one in which the kinetics of the transduction linking cone voltage to postsynaptic current in second-order neurons is modulated, and another in which the transformation of postsynaptic current to membrane voltage is modulated. We report here that both classes of mechanism play a role in surround enhancement measured in turtle horizontal cells (HCs). We stimulated the retina by modulating sinusoidally the illuminance of a bar placed at various positions in the HC receptive field. The bar was surrounded by either equally luminant or dim, steady light. Interpretation of responses in the context of a model for the cone-HC network led to the conclusion that the speeding up of response kinetics —due to selective increase in response gain at high temporal frequencies — by surround illuminance is almost completely accounted for by the change in the kinetics of the transduction linking cone membrane potential to HC postsynaptic current. However, surround illuminance also had an additional, surprising effect on the transformation between postsynaptic current and voltage: the space constant for signal spread in the HC network for the dim-surround condition was roughly twice as large as that for the bright-surround condition. Thus, increasing surround illuminance had analogous effects in the spatial and temporal domains: it restricted the time course and the spatial spread of signal. Both effects were dependent on the contrast between the mean bar illuminance and that of the surround, rather than on overall light level. When the stimulus with the bright surround was dimmed uniformly by a neutral density filter, the space constant did not increase, and response gain at high temporal frequencies did not decrease. Pharmacological experiments performed with dopamine and various agonists and antagonists indicated that, although exogenous dopamine can influence surround enhancement, endogenous dopamine does not play an important role in surround enhancement. We conclude that contrast in background light modulates the spatiotemporal properties of signal processing in the outer retina, and does so by a non-dopaminergic mechanism.
38
Aderemi Adeoye, Michael. "Ẹnu dùn ń rò’fọ́…: Theatre design, audience cognition and dramatic adaptation of Fagunwa’s texts." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 185–202. http://dx.doi.org/10.1386/jafp_00027_1.
Full textAbstract:
The stage performance of Langbodo, a play, which Nigerian dramatist Wale Ogunyemi adapted from Soyinka’s The Forest of a Thousand Daemons, which, in turn, is a translation of D. O. Fagunwa’s prose, Ògbójú Ọdẹ Nínú Igbó Irúnmalẹ̀. 'The bold hunter in the daemon-infested forest', exposed the limitation of the text as a bearer of meaning in the theatrical adaptation context. The limitation is analysed in this work to justify the centrality of adaptation in bridging the text-design-audience semiotic gap. This study examines the technical challenges of theatre design in D. O. Fagunwa’s works resulting from their adaptation as drama. The Yoruba apothegmatic idiom, Ẹnu ‘dùn ń rò’fọ́, agada ọwọ́ ṣeé ṣán’ko (which means, literally, that ‘vegetable soup can be prepared orally if a mere hand suffices for a cutlass’), a traditional derision for the inadequacies of the text, and the Barthesian notion of intertextuality serve as a dual theoretical structure in this study. A combination of methodologies including participant observation and ethnographic approach suffice for the retrieval and analysis of performance materials, respectively. Therefore, the study contends that the process of stage adaptation in Wale Ogunyemi’s play, Langbodo, used the technical contributions of theatre design, as a catalyst for connecting Fagunwa’s ideas to the final audience.
39
Pilipoveca, Tatjana. "Interpreting “The Snow Queen”: A comparison of two semantic universes." Sign Systems Studies 45, no. 1/2 (July 5, 2017): 181–93. http://dx.doi.org/10.12697/sss.2017.45.1-2.12.
Full textAbstract:
The article compares the famous fairy tale “The Snow Queen” by the Danish writer Hans Christian Andersen with a Soviet play of the same title by Evgenij Schwartz. Schwartz changed the original ideas and narrative structure of Andersen’s complex and religious text in order to make the play more attractive, spectacular and relatable for Soviet viewers. With the help of A. J. Greimas’ actantial model and semiotic square, the article tries to distinguish and analyse the discursive transformations of the source text in the process of adaptation.
40
Dalziel, Fiona, Anna Santucci, and Giampaolo Spedo. "Rewriting the ‘Duchess of Malfi’." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 1 (January 1, 2011): 5–20. http://dx.doi.org/10.33178/scenario.5.1.2.
Full textAbstract:
This article addresses issues of text adaptation in full-scale ESL drama production. After choosing to present Webster’s The Duchess of Malfi, participants in the English Drama Workshop at Padua University set about the task of adapting the play in order to make it more suitable for a group of non-native speakers of English acting in front of an audience made up predominantly of non-native speakers. Substantial changes were made during the adaptation process: as well as cutting and simplifying the text, certain characters were eliminated while others were doubled (or rather tripled) and one scene was totally rewritten. When implementing these changes, the group had to take account of both the student-actors’ linguistic competence and the size and composition of the cast, most of the members of which were female. It is argued that text adaptation in ESL drama is not only a way of creating a more appropriate product, but also greatly enriches the process leading up to the performance. The students gained deeper insights into the text and were also able to achieve a strong sense of ownership of the final production. This article addresses issues of text adaptation in full-scale ESL drama production. After choosing to present Webster’s The Duchess of Malfi, participants in the English Drama Workshop at Padua University set about the task of adapting the play in order to make it more suitable for a group of non-native speakers of English acting in front of an audience made up predominantly of non-native speakers. Substantial changes were made during the adaptation process: as well as cutting and simplifying the text, certain characters were eliminated while others were doubled (or rather tripled) and one scene was totally rewritten. When implementing these changes, the group had to take account of both the student-actors’ linguistic competence and the size and composition of the cast, most of the members of which were female. It is argued that text adaptation in ESL drama is not only a way of creating a more appropriate product, but also greatly enriches the process leading up to the performance. The students gained deeper insights into the text and were also able to achieve a strong sense of ownership of the final production.
41
Yanuartuti, Setyo, Anik Juwariyah, Peni Puspito, and Joko Winarko. "Adaptation of The Wiruncana Murca Play in The Wayang Topeng Jatiduwur (Jatiduwur Mask Puppet) Jombang Performance." Harmonia: Journal of Arts Research and Education 20, no. 1 (June 9, 2020): 58–72. http://dx.doi.org/10.15294/harmonia.v20i1.24807.
Full textAbstract:
Wiruncana Murca play is the only Panji play in the Mask Puppet Performance in Jatiduwur Jombang which still performances its dramatic structure after the Mask Puppet is extinct. Wiruncana Murca play in the Wayang Topeng Jatiduwur Performance in the past was used for nadzar rituals. When the Mask Puppet was rebuilt, the Wiruncana Murca play was performed in a different context, the Panji Festival. This study aims to analyze the transformation process of the Wiruncana Murca play with an adaptation approach. The scope of this research includes text and context. The research method is descriptive qualitative analytical. The data collection used is observation, interview, and document study. The analysis uses an analytical descriptive method. The results performance that the adaptation of Wiruncana Murca in the Wayang Topeng Jatiduwur performance was carried out because there was a different contextuality from the ritual cultural context of the Jatiduwur village community to the context of the National Panji Festival performance in 2017 in Kediri. The transformation was carried out by the stages of identification of story ideas, the embodiment of the text, the embodiment of the dramaturgy, and staging. Adaptation to the process of intellectual transformation is based on a new contextual approach using fidelity or maintaining the originality of the source. The original uniqueness of the existing art is still used as a source of inspiration or a source of reference used as material to develop new performance products. The adaptation of the Wiruncana Murca play in the context of the Wayang Topeng Jatiduwur performance at the 2017 National Panji Festival performances the creative process of mask artists. While the result is a manifestation of a new product from Mask Puppet in Jatiduwur Jombang.
42
Collins, J. "The Fidelity Game: Who Gets to Play?" Adaptation 6, no. 2 (July 20, 2013): 239–41. http://dx.doi.org/10.1093/adaptation/apt010.
Full text
43
Willems, Gertjan. "Radio drama as art and industry: A case study on the textual and institutional entanglements of the radio play The Slow Motion Film." Radio Journal: International Studies in Broadcast & Audio Media 18, no. 2 (October 1, 2020): 227–41. http://dx.doi.org/10.1386/rjao_00026_1.
Full textAbstract:
This article argues that in order to obtain a deeper comprehension of the radio play as a work of art, one should complement the dominant method of textual analysis with industry analysis. This argument is illustrated by means of a case study on the 1967 Belgian radio play The Slow Motion Film. This radio play is an adaptation (in fact, a re-adaptation as there had been radio adaptations in 1940 and 1950) of the innovative theatre play The Slow Motion Film (1922) by Herman Teirlinck. In order to explain the creative choices of the radio play, which are largely based on the pursuit of fidelity to the source work, the institutional aspect is of great importance. The goal of honouring Teirlinck and highlighting the cultural-historical importance of his work fitted within the broader cultural-educational mandate of the public broadcaster, which prevented a more inventive adaptation. This article argues that in order to gain a better understanding of the radio play as a text, the industrial context also needs to be studied. Furthermore, this article contributes to the largely unwritten history of the radio play in the Low Countries.
44
Siuta, Halyna. "Terminology of receptive stylistics: the adaptation of other-disciplinary concepts." Terminological Bulletin, no. 5 (2019): 104–11. http://dx.doi.org/10.37919/2221-8807-2019-5-13.
Full textAbstract:
Receptive stylistics is the latest trend in the stylistics of text. It studies the mechanisms of text perception, in view of the account time, socio-cultural and individual psychological factors of perception. This integrative model of textology combines the ideas of hermeneutics, phenomenology, receptive aesthetics and poetics, traditional poetics, linguоsynergetics etc. Maximum openness to the researching of the intellectual and communicative nature of the text is reflected in the terminology of receptive stylistics. One of the theoretical platforms of receptive stylistics is receptive aesthetics (aesthetics of the reception). Terminology of this scientific branch was actively accepted and integrated into the special language of the new stylistic direction. First of all, we are talking about key concepts such as aesthetic experience and horizon [expectations] of the author / reader, horizons of perception / understanding. empty spaces / semantic gaps in the structure of the text, identification of the reader with the text, specification of the text, actual dimension of the text, etc. Today, the Ukrainian receptive theory is structured by the concept of actualization of the text, the horizon of the text, the constitution of the text, the communicative certainty / uncertainty of the text. Emphasizing theoretical and methodological cores of contemporary Ukrainian receptive theory, it is necessary to focus on the national historical and cultural context of its constructing. Especially important from this point of view is the treatise by Ivan Franko From the Secrets of Poetic Art. Most of the theses of this work present a progressive vision of the deep psychological mechanisms of reading the artistic text in the measure of active perception, as lingual and aesthetic communication, dialogue between the author and the reader through the text. Also, the concurrence of Ivan Franko’s views with fundamental receptive principles of studying artistic text constitutes the scientific concepts of aesthetics, inductive aesthetics, perception, reception, suggestion, resonance, sensory vibration, etc. Consequently, the concept of reading and interpreting works of verbal art, formed in the treatise From the Secrets of Poetic Creativity, implicitly contains the basic principles of receptive aesthetics and poetics. Cardinally new philosophy of reconnaissance of the nature of artistic text, psycholinguistic mechanisms of influence on the reader, regularities of reception and interpretation at the end of the 20th century presented linguistic synergetic. Actual, and in some aspects methodological for receptive theory has become the following concepts of linguistic synergetic: nonlinearity of development, stability / instability of development, openness of the system, rhizomes, energy of the text, energy resonance, author’s energy, reader energy, etc. In contemporary receptive stylistic studies they do not stagnate, but are in a state of active deepening, refinement. For example, the concept energy of the text is coordinated with such established, well-known categories of stylistics as linguistic and literary tradition, lingual and cultural memory, reception and interpretation. Process of terminological borrowing and assimilation of units of other disciplines contributes to the development of an integrative terminological paradigm optimally adapted to the needs of the reciprocal description of the nature of artistic text.
45
Masciandaro, Franco. "Madonna Isabella's Play and the Play of the Text ( Decameron VII.6)." MLN 118, no. 1 (2003): 245–56. http://dx.doi.org/10.1353/mln.2003.0026.
Full text
46
Seelbach, Sabine. "ZWISCHEN KANONISIERUNG UND ADAPTATION: HEDWIG VON SCHLESIEN." Daphnis 40, no. 3-4 (March 30, 2011): 411–36. http://dx.doi.org/10.1163/18796583-90000842.
Full textAbstract:
Die Hedwigslegende ist in zwei Redaktionen mit jeweils konstantem Text trotz unterschiedlichster Kontexte überliefert. Was als Sakralisierung des Textes wahrgenommen wurde, läßt sich mit dem Instrumentarium einer kulturwissenschaftlich orientierten Philologie weitergehend interpretieren. Der Vergleich der Redaktionen, die Untersuchung der jeweiligen Paratexte, die kodikologischmediale Betrachtung der äußeren Einrichtung und Ausstattung der Handschriften, der Mitüberlieferung sowie der sprachlichen Minimalabweichungen geben Auskunft über adressatenabhängige Veränderungen des Heiligendesigns.
47
Ármeán, Otília. "In-Betweenness and Interactional Presence in Adrian Sitaru’s VR Play, Illegitimate." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 131–42. http://dx.doi.org/10.2478/ausfm-2019-0019.
Full textAbstract:
Abstract This paper will present the role of the loops and the peculiarities of the mixed reality experience in the case of the performance of Illegitimate (stage adaptation by Adrian Sitaru, based on an original text by Adrian Sitaru and Alina Grigore). The author argues that the loops, defined by Manovich as “a new narrative form appropriate for the computer age” are also the key for the possible reality switches and joinings.
48
Royle, Nicholas. "Miracle Play." Oxford Literary Review 34, no. 1 (July 2012): 123–53. http://dx.doi.org/10.3366/olr.2012.0033.
Full textAbstract:
This text considers the notion of miracle in relation to the writings of Shakespeare and Derrida. Royle shows how the word ‘miracle’ (and cognates including ‘miraculous’) comes, in the later sixteenth century, to acquire less narrowly religious senses, and how this dehiscence is at play in Shakespeare, especially in the figure of Falstaff, in Henry IV Part One. He explores some of the ways in which the history and development of the ‘miraculous’ prefigure the emergence of ‘the uncanny’ some two hundred years later. Particular attention is given to the affinities between the writings of Shakespeare and Cixous that transpire from reading Derrida on the miracle.
49
Groeneveld, Leanne. "Modernist Medievalism and the Expressionist Morality Play: Georg Kaiser’s From Morning to Midnight." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 81–101. http://dx.doi.org/10.2478/ausfm-2019-0005.
Full textAbstract:
Abstract This article examines the modernist medievalism of Georg Kaiser’s From Morning to Midnight (Von morgens bis mitternachts), discussing the influence of the morality play genre on its form. The characterization and action in Kaiser’s play mirrors and evokes that of morality plays influenced by and including the late-medieval Dutch play Elckerlijc and its English translation as Everyman, in particular Hugo von Hofmannsthal’s Jedermann, first produced in Berlin in 1911. The medievalism of Kaiser’s play is particularly evident when it is compared to Karl Heinz Martin’s film version of the text, produced in 1920. The play’s allegory and message, though contemporary, are less specifically historically contextual than the film’s, while its central protagonist is more representative of generic capitalist subjectivity. The detective film shapes Martin’s adaptation, obscuring the morality play conventions and therefore medievalism of Kaiser’s earlier text.
50
Leggatt, Alexander, and Richard Hillman. "Shakespearean Subversions: The Trickster and the Play-text." Shakespeare Quarterly 46, no. 4 (1995): 473. http://dx.doi.org/10.2307/2870988.
Full text