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Books on the topic 'The adaptation'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Steve, Parker. Adaptation. Oxford: Heinemann Library, 2006.

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2

Silverstein, Alvin. Adaptation. Minneapolis: Twenty-First Century Books, 2008.

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3

Adaptation. New York: Little, Brown Books for Young Readers, 2012.

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4

Kaufman, Charlie. Adaptation. New York: Newmarket Press, 2002.

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5

Building adaptation. 2nd ed. Amsterdam: Butterworth-Heinemann, 2006.

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6

Commission, Canadian Human Rights. Adaptation planning. [Ottawa]: Canadian Human Rights Commission, 1986.

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7

Film adaptation. New Brunswick, N.J: Rutgers University Press, 2000.

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8

Kameo, Yoshitaka, Ken-ichi Tsubota, and Taiji Adachi. Bone Adaptation. Tokyo: Springer Japan, 2018. http://dx.doi.org/10.1007/978-4-431-56514-7.

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9

Sternad, Dietmar. Strategic Adaptation. Vienna: Springer Vienna, 2011. http://dx.doi.org/10.1007/978-3-7091-0455-2.

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10

Smith, William K., Thomas C. Vogelmann, and Christa Critchley, eds. Photosynthetic Adaptation. New York, NY: Springer New York, 2004. http://dx.doi.org/10.1007/b138844.

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11

Cartmell, Deborah, and Imelda Whelehan. Screen Adaptation. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-11153-1.

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12

Demory, Pamela, ed. Queer/Adaptation. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05306-2.

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13

Building adaptation. Oxford: Butterworth-Heinemann, 2002.

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14

Richard, David Evan. Film Phenomenology and Adaptation. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722100.

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Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form. Across its chapters, this book brings the philosophy and research methodology of phenomenology into contact with adaptation studies, examining how vision, hearing, touch, and the structures of the embodied imagination and memory thicken and make tangible an adaptation’s source. In doing so, this book not only conceives adaptation as an intertextual layering of source material and adaptation, but also an intersubjective and textural experience that includes the materiality of the body.

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15

Palutikof, Jean. Climate adaptation futures. The Atrium, Southern Gate, Chichester, West Sussex, UK: Wiley-Blackwell, A John Wiley & Sons Inc., 2013.

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16

Fleagle, John G. Primate adaptation & evolution. San Diego: Academic Press, 1988.

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17

Timiras, Paola. Stress, adaptation, longévité. Paris: Economica, 2004.

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18

Fullick, Ann. Adaptation and competition. Chicago, Ill: Heinemann Library, 2005.

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19

Spilsbury, Richard. Adaptation and survival. New York: Gareth Stevens, 2013.

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20

Bigfoot and adaptation. Mankato, Minn: Capstone Press, 2011.

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21

Spilsbury, Richard. Adaptation and survival. New York: Rosen Central, 2010.

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22

Cristian, Mallea, ed. Bigfoot and adaptation. London: Raintree, 2012.

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23

Vaillant, George E. Adaptation to life. Cambridge, Mass: Harvard University Press, 1995.

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24

Endrőczi, Elemér. Stress and adaptation. Budapest: Akadémiai Kiadó, 1991.

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25

Adaptation and survival. London: Raintree, 2013.

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26

Spilsbury, Richard. Adaptation and survival. London: Wayland, 2009.

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27

Adaptation and survival. Chicago, Ill: Raintree, 2012.

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28

Elliott, Kamilla. Adaptation Theory and Adaptation Scholarship. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.39.

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Adaptation studies and adaptation scholars have persistently been faulted for theoretical failure. Developing the argument that this critique is the fallout of a dysfunctional relationship between adaptation and theorization in the humanities, this essay examines particular problems that have arisen in adaptation scholarship as a result of adaptation’s and theorization’s impasses: tensions between theoretical nostalgia and theoretical progressivism, theoretical sprawl, failures in citation, mythological field histories, and transtheoretical field myths, most notably the claim that adaptation studies has been primarily concerned with fidelity of adapting to adapted work. This is untrue. The essay concludes that scholars instead attend to and critique our attempts to force adaptations to be faithful to theories that all too often obscure, neglect, and abuse adaptation.

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29

Krämer, Lucia. Adaptation in Bollywood. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.14.

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Chapter 14 examines the role of adaptation as both genre and practice in contemporary Hindi mainstream cinema, with reference to Indian film history and adaptation in Hollywood. In Bollywood today, despite the relative scarcity of literary adaptations, the multiplex boom has led to new ways of marketing adaptations and to a greater number of best-seller adaptations in recent years. Intramedial adaptations of both local and foreign films, by contrast, are a fully established practice of risk management, whose policies of copyright and self-positioning in relation to foreign films, for example the switch from “Indianization” strategies toward attempts at global accessibility, have reflected Bollywood’s changing role within world cinema. Based on its investigation of adaptation in Bollywood, the essay proposes several corrective implications for adaptation studies that arise from testing analytical categories developed on the basis of Western adaptations against adaptation in a different cultural sphere.

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30

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

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

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31

Reynolds, Mack. Adaptation. Spastic Cat Press, 2013.

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32

1955-, Rose Michael R., and Lauder George V, eds. Adaptation. San Diego: Academic Press, 1996.

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33

Reynolds, Mack. Adaptation. Endymion Press, 2016.

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34

Adaptation. Capstone, 2013.

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35

Silverstein, Virginia B., Laura Silverstein Nunn, and Alvin Silverstein. Adaptation. Twenty-First Century Books (CT), 2007.

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36

Nicolas, Cage, Streep Meryl, and Jonze Spike, eds. Adaptation. Aylesbury: SONY V The Entertainment Network, 2003.

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37

Waldron, Melanie. Adaptation. Capstone, 2013.

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38

Adaptation. Little, Brown, 2013.

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39

Personogen. Adaptation. CreateSpace Independent Publishing Platform, 2018.

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40

Archer, Neil, and Andreea Weisl-Shaw, eds. Adaptation. Peter Lang UK, 2012. http://dx.doi.org/10.3726/978-3-0353-0226-4.

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41

Redmon, Allen H., ed. Next Generation Adaptation. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832603.001.0001.

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Next Generation Adaptation: Spectatorship and Process explores the ways in which cross-cultural adaptations often stage a collusion between competing cultural capital. The collusion conceals and reveals commonalities and differences between these cultural traditions before giving way to the differences that can distinguish one textual expression from another, just as it ultimately distinguishes one set of readers from another. An adaptation of any sort, but especially those that cross accepted stereotypes, or geographic or political boundaries, provide spectators space to negotiate attitudes and ideas that might otherwise lay latent in the text. Spectators are left to parse through each, often with special attention to the differences that exist between two expressions. Each new set of readers, each generation, distinguishes itself from an earlier set of readers, even as they exist along the same family tree. Given enough time, some new shared organizing strategy emerges until a new encounter or new expression of a text restarts the adaptational process every adaptation can trigger. Taken together, the chapters in Next Generation Adaptation each argue that the texts they consider foreground the kinds of space that exists between texts, between political commitments, between ethical obligations that every filmic text can open when the text is experienced as an adaptation. The chapters esteem the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another.

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42

Hunter, I. Q. Adaptation XXX. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.24.

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Pornographic adaptations—erotic parodies of mainstream films—have long been dismissed from critical notice as much because of their allegedly slapdash adaptation strategies as because of their demotic cultural associations. Focusing mostly on commercially produced US films, Chapter 24 traces the history of pornographic adaptations from the softcore exploitation films of the 1960s through “Golden Age” hardcore films such as The Opening of Misty Beethoven (1976) to contemporary DVD and online “XXX versions” and looks in detail at porn versions of Fanny Hill and Psycho (1960). The essay explores how far such film adaptations uncover disavowed erotic subtexts in their sources and considers what the process of porn adaptation can reveal about the more general processes of producing and consuming adaptations.

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43

Cai, Chengming. Personalized adaptation schedule for iterative adaptation. 2006.

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44

Gould, Marty. Teaching Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.36.

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Chapter 36 addresses the leading questions that arise from the use of adaptations in the classroom. Why must teachers engage with adaptation? How can adaptation promote the highest aims of English studies? How can it transform the focus of English and the humanities? How can teachers use adaptation theories as the basis for specific pedagogical practices? How can they use adaptation in assessing student learning? Arguing that adaptation reflects what English has always been about, even as it beckons toward a new model of English studies more responsive to a contemporary digital culture that treats texts and their meanings as constantly evolving rather than canonical, the essay urges teachers to help students to develop an active, productive literacy through adaptation.

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45

Newell, Kate. Adaptation and Illustration. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.27.

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Illustrations in illustrated editions are rarely theorized as adaptations in the field of adaptation studies. Chapter 27 attempts to redress that oversight by examining the disciplinary practices and medial assumptions that have shaped approaches to illustration and adaptation in their respective fields. Focusing on the manner in which illustration and adaptation have been defined, their engagement of source material, and assumptions related to static and dynamic modes of representation, the essay draws parallels between the fields of illustration and adaptation and proposes a cross-disciplinary approach to adaptation that illuminates common characteristics of adaptation across media and modes and common features across a given work’s adaptation history.

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46

Theorizing Adaptation. Oxford University Press, Incorporated, 2020.

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47

Traduction, adaptation. [Paris]: Publications de la Sorbonne nouvelle, 1990.

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48

P, Bensimon, Coupaye Didier, Centre de recherches en traduction et stylistique comparée de l'anglais et du français., and Centre national des lettres, eds. Traduction/adaptation. [Paris]: Publications de la Sorbonne nouvelle, 1990.

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49

Classification Adaptation. Classroom Complete Press, 2007.

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50

1927-, Harrison G. A., ed. Human adaptation. Oxford: Oxford University Press, 1993.

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