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A literary criticism of the play "All Is True" by John Fletcher and William Shakespeare is presented. It explores the adroit manipulation of temporalities and material historiography in another set of obsolete gilt masks: those featured in Katherine's vision. It outlines the characters and explores their symbolic significance.

Nathaniel Hawthorne's The Scarlet Letter has generated numerous adaptations. Its depiction of race has made it a problematic 'master text', however, especially since it was published in the same year as the US Fugitive Slave Act. This essay examines three recent adaptations across a variety of media that focus on the relationship between race and motherhood, revealing the ways in which Hester Prynne can be integrated into society as a single mother in ways that non-white mothers cannot. Suzan-Lori Parks' 1998 play In the Blood stages 'Hester, La Negrita' as a homeless mother of five who cannot escape the 'hand of fate' of racial oppression. Celeste Ng's 2017 novel Little Fires Everywhere reinvents Hester as a surrogate mother whose efforts on behalf of a birth mother in a trans-racial adoption dispute highlight how race differentially impacts maternal rights. The 2020 Hulu television adaptation of Ng's novel casts the Hester and Pearl figures, along with an artist named Hawthorne, as black women whose activism forces the Richardson family to acknowledge their white privilege. Together, these adaptations examine how the 'monstrous birth' of slavery that Hawthorne only belatedly acknowledged has had a lingering afterlife in constructions of race and motherhood. [ABSTRACT FROM AUTHOR]

This essay examines the depiction of women, travel, natural science, and race in Elizabeth Gaskell's Wives and Daughters (1864–66) and Andrew Davies's BBC adaptation of the novel (1999). It argues that the adaptation offers a recognizable transposition of Gaskell's text, but makes some significant adjustments that reveal its contemporary reimagining of the novel's gender and racial politics. In particular, Davies transforms Gaskell's unexceptional female protagonist Molly Gibson into a proto-feminist naturalist adventurer, and revisions the casual racism the novel expresses towards black people in line with late-twentieth-century sensibilities. Each text, novel and film, reveals the period-specific ideological forces that shape its portrayal of Englishwomen and African people. [ABSTRACT FROM AUTHOR]

At a historical moment in which we attempt to come to grips with the legacy of racial inequality, this essay considers two twenty-first-century adaptations of Chaucer's 'Man of Law's Tale', which respond to the xenophobic and imperialist ideology of the original by representing its noble white heroine as a black asylum seeker, and replacing the dynastic genealogy of Chaucer's tale with a celebration of an inter-racial marriage that defies cultural norms. Chaucer's text might not seem promising for modern adaptation: its passive heroine embodies the abstract principle of constancy, and the action of the tale serves an ideological purpose that seems, to modern eyes, to be profoundly and unpleasantly imperialist, xenophobic, and Islamophobic. And yet, the 2003 BBC adaptation made the work remarkably legible for a twenty-first-century audience, by highlighting, rather than suppressing, the tale's concerns with issues of family, race, and religion, and by imagining its central heroine as a Nigerian Christian, fleeing religious persecution. These concerns with migration and racial and religious intolerance are developed brilliantly in Patience Agbabi's Telling Tales , a poetic revision of Chaucer's work as filtered through the lens of the television adaptation. In these texts, mixed marriages become a powerful tool with which to challenge the racist legacy of the past and to interrogate the relationship of the adaptation to its canonical forebears. [ABSTRACT FROM AUTHOR]

The use of non-standard language varieties in fiction is an effective writing technique, and at present, such varieties appear both in popular fiction and films or television series, incorporating specific linguistic, stylistic and cultural elements. The use of Scots in fiction and other cultural products is relevant to the study of the English language and culture, as there is an overlap between these varieties, due to their shared history and prolonged contact. There is much discussion on various websites on the use of Scots (and Scottish Gaelic) in the highly popular novel Outlander, by Diana Gabaldon, and its television adaptation. However, academic research conducted on the use of such language varieties in popular historical romance fiction is rather scarce. This study was conducted with a descriptive-analytical approach, performing a literature review on the topic of Scottish languages and their use in literature, and a comparative analysis of the selected first three chapters of the novel Outlander, the script for the first episode of the eponymous television series, and the episode itself. The use of Scots grammatical features and lexical items has been presented, and the use of Scottish symbols and other cultural elements in the selected texts and episode have been discussed. While the novel cannot be considered an authentic representation of Scottish identity and culture, the featuring of Scots in such a popular work of fiction and the internationally acclaimed television adaptation has generated interest in and discussion around the topics of Scottish languages, culture and history. Our intention throughout this article is to underline the role of Scots being used not only as an identity marker of its speakers but also as a form of resistance to the oppressive presence of the English on the Scottish territories. [ABSTRACT FROM AUTHOR]

Copyright of Investigaciones Feministas is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As the screen superhero genre enters the revisionist phase of its evolution, its status as a genre overwhelmingly dependent on the adaptation of preexisting material provides a challenge to established models of generic revision. The faithful adaptation of a revisionist comic does not in itself constitute a revisionist film or series. HBO's miniseries adaptation of Watchmen serves as an example of how, through a series of adaptational strategies, an adapted genre text can retain a reverence to its source material while also serving a revisionist function in its new medium. [ABSTRACT FROM AUTHOR]

This article discusses two BBC television adaptations of M. R. James's classic ghost story 'Oh, Whistle and I'll Come to You, My Lad' (1904), the first directed by Jonathan Miller (1968) and the second by Andy de Emmony (2010). Arguing that de Emmony's film takes Miller's as a point of departure, it attempts to track the progressive 'psychologization' of James's tale, a development that it explores with reference to Sarah Cardwell's notion of 'meta-textual' lineage. The article outlines how Miller knowingly reimagines James's story as a Freudian parable by drawing on the resources of classical psychoanalysis and its understanding of neurosis as the expression of a dynamic interior conflict, one in which something repressed menacingly returns. It goes on to read de Emmony's film, which reorganizes the story around a case of dementia, as an effort to extend the tale into the psychic terrain of the 'new wounded', a term coined by philosopher Catherine Malabou to describe emergent psychopathologies unique to neurological injury or degeneration. Taking conceptual support from Malabou, the article demonstrates both the self-consciousness with which the later adaptation builds from its antecedent and its reinscription of the story within a frame of reference that specifically exceeds the psychoanalytic ontology presupposed by Miller. The films reimagine and contemporize the Jamesian haunting – with its climactic coming of a mysterious other – in ways that are utterly distinct but also cumulatively psychological. Looked at in apposition, the article suggests, they exemplify adaptation not simply as a revival or reconstitution of a past text but as an ongoing, intertextual and incremental labour of reinvention. [ABSTRACT FROM AUTHOR]

What is long-form television precisely? There is a consensus that seems to accept it as a creative departure from and adaptation of traditional television, cinema, and—most importantly—the serial novel. Nevertheless, this is a claim that must survive Jason Mittell's argument in Complex TV: The Poetics of Contemporary Television Storytelling. Mittell rejects the view that the new kind of television is a hybrid form, instead, affirming that it is a form unique to television itself and so different in kind from the novel and the cinema. Accordingly, Mittell tries to develop a medium-specific terminology to capture and circumscribe this supposedly new conceptual space. I contend, however, that the form resists this categorical purification; it is so utterly bound up with the novel and cinema that it would simply cease to exist without them. Mittell's definition of "complex TV" unintentionally exposes how central the analogy to the novel and the cinema is to the conception of long-form television and, ultimately, his position is parasitically dependent on that analogy. His resistance to the cinematic and novelistic is consequential: we see how his assertion of the independence of television impoverishes his reading of arguably the greatest long-form series, The Wire. [ABSTRACT FROM AUTHOR]

This essay views Dickensian (2015–16), a BBC television series inspired by the works of Charles Dickens, as an intertextual experiment. Theoretically relying on Michael Riffaterre's understanding of intertextuality, it examines the ways in which the viewer of the series is stimulated to make connections to its intertext, that is to the texts of Charles Dickens. Based on their reliance on the original texts as well as their employment of intertextual signals, three different modalities of Dickensian storylines are observed. It is argued that certain instances of intertextuality invite the viewer to question how the adaptation was constructed, and it is suggested that its full meaning lies somewhere beyond its own text. In that sense, Dickensian has a meta-intertextual capacity, as it overtly and self-consciously points to its intertextual nature. [ABSTRACT FROM AUTHOR]

TV formats provide an excellent lens to study the transnationalisation of television, but actual format production has rarely been examined. This article discusses three interrelated limitations of current format scholarship: (1) a gap between industrial and textual studies; (2) a selective focus on localisation; and (3) a lack of insight into daily practices of format production. Using the Flemish adaptation of The Great British Bake Off (2010 –2016, 2017–present) as a case study and drawing on participant observations, this article analyses transnational power dynamics in the TV industry and the meaning of the format on the micro-level of TV production. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores how an official and prestige TV adaptation effectively uses creative practices typical for fan generated content, using a close reading of the series Hannibal (2013--2015, NBC, Bryan Fuller) as an example. The focus lies in serialized narratives, where two different types of source material are identified: the external, pre-existing source and the adapted series itself as it spans several seasons. The objective of the article is to propose a framework for analyzing contemporary adapted works that engage with their source material in a transgressive and/or revisionist manner. [ABSTRACT FROM AUTHOR]

Starting from Rodrigo S.M.'s reflections in the novel A Hora da Estrela, by Clarice Lispector, the article aims to discuss some of the narrative options in two audiovisual adaptations of the literary work. In the first work, the homonymous film A Hora da Estrela, from 1985, director Suzana Amaral chooses to focus only on the story of Macabéa, leaving out the elocobracoes of a guilty narrator. In a second moment, the 2003 Cena Aberta television program, by director and screenwriter Jorge Furtado, adjusts its focus precisely to the problem of speaking for the other class. Our initial hypothesis suggests a difficulty for cinema to deprive the traditional intellectual of his power to narrate, in the case of Suzana Amaral's film. But it also points to the loss of the former shock power that metalanguage proposed. This same metalanguage is the first invoice instrument used by Jorge Furtado in the adaptation of Lispector for the TV Globo program. [ABSTRACT FROM AUTHOR]

Different versions of novels in the new era through the writers' revision or rewriting has not been paid due academic attention. Different versions of novels are produced in three periods particularly. Among these revisions and rewritings, the "substantive textual variants" center round expressions that are politically sensitive or that are concerned with sex scenes. Other changes are made concerning artistic perfection and socio-historical requirements. Apart from political factors, literary awards, commercialization, film and television adaptation, copyright, regional culture, network and new media, as well as changes in the context of globalization, are also contributing reasons for textual modification and variation. Textual criticism of novels in the new era is of great academic value in promoting the collation and indexing of contemporary literary texts and documents, enriching the awareness of problematization and methodologies in contemporary literary research, and advocating accuracy in literary history research. [ABSTRACT FROM AUTHOR]

One of the strengths of the book is that Cox offers not just compelling readings of neo-Victorian texts, but also new readings of sensation novels as well. I The Woman in White i (1859), perhaps the most influential sensation novel, features as an ur-text; Cox uses it in the introduction to demonstrate the impact of sensationalism on neo-Victorianism and frequently returns to it. Further, Cox suggests that if neo-Victorianist scholars insist on using the murky concepts of "self-conscious" or knowing texts, they also risk mimicking those Victorian critics who dismissed popular sensation novels as unworthy of serious discussion. [Extracted from the article]

This article examines how audiences engage with popular culture in ways that forge political awareness and civic engagement. Through exploring the various levels of engagement of Hungarian women with the 2017-2020 television adaptation of The Handmaid's Tale, this study answers questions such as: How do Hungarian female audiences engage with topics raised in The Handmaid's Tale? How does their engagement with the show encourage cultural citizenship? Based on in-depth interviews with twenty-two Hungarian women, this qualitative empirical research sheds light on the role of television drama series in facilitating the manifestation of cultural citizenship as an arena of identity-construction and community-formation. [ABSTRACT FROM AUTHOR]

King Lear traces the trajectory of a body that moves from regal dignity to bare, forked animal, from the supposed protections of civilization to unaccommodating wild nature. Lear is a play obsessed with the body, exploring the fragile boundary between a royal body, revered and nurtured, and the naked beggar's body of Poor Tom; between the whole body, integrating body and sound mind, and madness, where the mind wanders free from the body. Television is acknowledged as a particularly intimate medium, one that presents challenges for adapting Lear. This article considers how various TV productions have represented Lear's body, examining their aesthetic and framing choices from four perspectives: the theory of the king's two bodies; the royal body in relation to the land; violence and the body; and the symbolic motif of the wheel of fortune. It argues that television adaptations have commonly engaged with these key themes of the play, providing us with new insights into one of Shakespeare's most searing tragedies. [ABSTRACT FROM AUTHOR]

This paper examines how spoken discourse is represented and then dubbed into Italian in the four sound cinema adaptations of Little Women (Cukor 1933, LeRoy 1949, Armstrong 1994, Gerwig 2019). One of the peculiarities of Little Women, both as a novel and film, is the central narrative role played by conversations and conversational styles. The storyline, in fact, mainly focuses on the daily life of the characters and their social chit-chat with their relatives and friends. Conversation and the selection of different features of spoken discourse are the chief ingredients employed to structure the plot and to build character identity. By taking a comparative perspective across original and dubbed versions spanning several decades during which conversational styles and audiences have radically changed, we aim to shed light on the features of spoken discourse that have been considered crucial in representing believable and effective interactions in original and dubbed films at different moments in time. [ABSTRACT FROM AUTHOR]

Copyright of Estudios de Traducción is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Television content has traditionally been associated with the cultural identity of a given territory, although in an increasingly global world, this relationship is under debate. From a comparative qualitative analysis of the Spanish scripted television format (STF) series Los Misterios de Laura and its adaptations for the United States and Italy, this research identifies differences between these versions in terms of narrative approach, television conventions, production context, and the use of the cultural imaginary. The findings imply the existence of aesthetic and narrative mechanisms associated with the production of cultural identity in STF fiction. They also reveal the existence of a belief within television culture that some audiences have tastes and expectations that depend on their cultural proximity to the content. This research highlights the relevance of the cultural and televisual productive contexts of each country to understand their adaptation processes. [ABSTRACT FROM AUTHOR]

Copyright of Index.Comunicación is the property of Index.comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Niels Klim's Underground Travels (1741) was the European breakthrough for the Norwegian Enlightenment polymath Ludvig Holberg. The emerging novel format inspired Holberg to trust his readers to use their own rationality to decide on the contentious issues of their era. The intellectual contrarian had always been sceptical of his contemporaries' ability to reason, but he died content that his writings had made a positive impact. Over two centuries later, a Danish TV adaptation of Niels Klim casts a more misanthropic verdict. The mini-series concludes that humanity lacks reason and is an environmentally disastrous mistake. This article compares narrative and thematic argument in these two works to explore the evolution of Western views on rationality, nationality, gender, and environmentalism. If it is the case that, as the TV adaptation and many modern critics suggest, human reason is unlikely to solve the twenty-first-century's existential threats, what is the alternative for humanity? [ABSTRACT FROM AUTHOR]

Babylon Berlin (henceforth BB) premiered in Germany on the pay channel Sky TV in October 2017 and in the United States on the streaming service Netflix in January 2018. It is based on Volker Kutscher's series of crime novels set in late Weimar Republic and early Nazi-era Berlin. At its center are the lives and investigations of the laconic and tormented police detective Gereon Rath and his charismatic and irrepressible assistant Charlotte (Lotte) Ritter. In anticipation of the series premiere on public television, marathon screenings took place in 150 cinemas across Germany, where audience members dressed up in 1920s fashion and enjoyed a Currywurst break. Its viewership in the Federal Republic was topped only by the global fantasy behemoth Game of Thrones. The series is clearly modeled on American series such as Mad Men (2007–2015) and The Wire (2002–2008) as it unfolds a complex web of characters and subplots with loving attention to the history and fashions of the time. Indeed, this collaboration of seasoned directors Tom Tykwer, Achim von Borries, and Henk Handloegten is the most expensive German TV series to date. The fact that BB premiered on pay TV while having been largely produced with public funds drew some ire. German reviewers questioned both the circumstances of its production and its creative ambition. While Der Spiegel called it "a masterpiece," one much debated blog review went so far as to call it "pure crap," which neither reflected historical truth nor carried artistic merit. Many critics faulted the series for trading in postcard clichés and creating a 1920s "Berlin Disneyland." The weekly Die Zeit complained that there was a little too much cute dialect, such as "icke" and "kiek ma," which made the critic sometimes feel like wiping the dirt makeup off the proletarian faces. (And indeed, one of the numerous intertexts of this series are Heinrich Zille's unflinching depictions of proletarian misery.) [ABSTRACT FROM AUTHOR]