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, Bertha Mason figures heavily in critical and creative reiterations of Brontё’s novel. She has become, as Laurence Lerner observes, ‘one of the major characters of English fiction […] central not only to the plot of Jane Eyre but also to its emotional economy and its construction of woman’ (1989: 273). This chapter explores the legacy of Jane Eyre through a consideration of reimaginings of Bertha Mason –a character presented in unequivocally negative terms in Brontё’s narrative but variously reinvented in subsequent adaptations as object of pity, femme fatale, proto
Having considered the nature and effectiveness of network adaptation under the Blair and Ahern governments in detail, this final chapter sets out to reconnect these important empirical and comparative insights with the wider conceptual debate about the impact of EU membership at the national level. It employs the innovative strategic-projection model of Europeanisation outlined in Chapter 3 to address the third research question: to what extent can we attribute strategic adaptation in the UK and Ireland to wider domestic reform
Europeanisation of member state institutions. The chapter is divided into four sections. In the first, the UK response to Europeanisation is located in comparative perspective using France and Germany as comparisons. In a second section, we summarise the EU’s impact on the working lives of civil servants and ministers across the EU. In a third section we step back further and seek to identify analytical patterns of adaptation in central governments and government institutions more widely. We then develop a set of propositions, drawn from our model in Chapter 8, which offer an
was broadcast as a widely acclaimed and successful TV adaptation on BBC3, evocatively directed by Lenny Abrahamson and Hettie Macdonald. 5 A great deal has been written about the loss of innocence of the two main characters, Connell and Marianne, in this modern Irish tale. A political reading, based on class analysis, has also received some attention. And then there is the sex. Lots of sex. And like the sex in the novel, since the television adaptation was aired this aspect of the story has incessantly, relentlessly been written about, talked about, debated
Migrant adaptation and settlement constitute a key research topic today, when spatial mobility is a global feature and migrants and their descendants represent a substantial share of European and other industrialised societies (Castles and Miller 2009 ; Massey et al. 1998 ). The United Nations (UN) figures – even if treated with the particular caution required in the case of migration data – estimate that in 2017 the global stock of international migrants officially residing outside their countries of birth was over 257.7 million, with 77
popular culture. Although the movie is a very loose adaptation of Shakespeare’s play, without any attempt to replicate the language, in fact the differences are quite superficial compared with the central structure and narrative, which are surprisingly close to the play’s. It could have been set in any two places as it has been in countless local stage productions – New York and Boston, London and
, the chapter will address the concept and practice of adaptation, but it will also seek to move beyond the usual definitions to ask, through the lens of Derrida’s citational theory, what happens to the notion of adaptation once there is no longer any sense of an ‘original’ to which it can Apparitions of the real 82 refer. I will initially examine how citational aesthetics can be employed to support Hal Foster’s account of a resistant politics, as noted in Chapter 1, in order to expose the workings of the simulacrum from within and thus disable the authority of the
already appeared in several other comics and continues to appear in various comic-book publications to this day. These appearances range from direct adaptations of Mary Shelley’s novel to the appropriation of characters from the original story into any number of comic-book genres, from horror to comedy to superhero. Like those in other media, comic-book adaptations of Frankenstein represent varying degrees of fidelity to their source texts. Many adaptations seem to appropriate the larger popular-culture conceptions of the Creature rather than
the other. Despite the gradual recognition of environmental protection as an ‘independent’ policy field within the EU, this link continues to play an important role up to the present day. Thirdly, important patterns are linked to the multi-level character of the EU, such as the phenomenon of regulatory competition between the member states and the typical problems of national adaptation to European requirements in the implementation phase. Finally, the notorious implementation problems that characterize this policy field must be mentioned. These patterns have been
W HILE FILMS AND TV shows such as Frankenweenie (2012), I, Frankenstein (2014), and Penny Dreadful (2014) adapt, revise, and extend Mary Shelley’s Frankenstein (1818) for the screen, with notable differences in mood and message, other films echo and expand on Shelley’s classic tale of creation gone awry in ways that are more indirect and unexpected. In a sense, these indirect adaptations have more freedom to complicate and modernise Shelley’s text, since they transpose her characters and conflicts into fresh contexts with