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Abstract only
Douglas Morrey
and
Alison Smith

as the sources chosen bring with them some unusually cumbersome cultural baggage. Suzanne Simonin, la Religieuse de Denis Diderot (1966) is an apparently straightforward adaptation of Diderot’s classic eighteenth-century novel that is a staple of French literature courses, but whose anti-clericalism was still powerful enough to provoke a scandal on the occasion of Rivette’s film treatment. Hurlevent (1985) adapts Emily

in Jacques Rivette
An introduction
Richard J. Hand
and
Jay McRoy

The history of horror film is full of adaptations that draw upon fiction or folklore, or have assumed the shape of remakes of preexisting films. From its earliest days, horror film has turned to examples of the horror genre in fiction (such as the Victorian Gothic) or legend (as diverse as classical mythology, biblical stories or the ‘The Golem’ from Yiddish folklore) for source

in Monstrous adaptations
Abstract only
György Kurtág’s Samuel Beckett - Fin de partie, scènes et monologues
Olga Beloborodova

. 1 The present chapter is not an addition to the already copious literature on the subject of Beckett and music. Instead, I will examine György Kurtág's 2018 opera Samuel Beckett: Fin de partie, scènes et monologues as a particularly interesting case study to delve into the broader issues of the relationship between the original and the adaptation. To investigate this general issue, I will zoom in on Kurtág's intention to remain faithful to the text as much as possible, despite the obvious need to

in Beckett’s afterlives
Beckett on Film
Jonathan Bignell

The Beckett on Film project, completed in 2000, originated in the Dublin Gate Theatre's 1991 staging of all nineteen of Beckett's theatre works and led to the adaptations being screened at film festivals and as television broadcasts, sold as DVD box sets and distributed via online video streaming. 1 Because of its scale, Beckett on Film is perhaps the most salient ever example of adapting Beckett. This chapter argues that these evolutions of the project are more significant than simply

in Beckett’s afterlives
Jasmine Kilburn-Toppin

member of the craft bequeathed a building, usually a substantial timber-framed courtyard house, to a cluster of trustees, some of whom were guild members. Subsequently the guild made adaptations to the built fabric. 3 In January 1429/30, two carpenters gained the lease of five cottages and a waste piece of land from the Priory and Convent of St. Mary's Hospital in Brodestreet ward, located between Bishopsgate and Moorgate, which they regranted to twenty-nine fellow carpenters; the guild then demolished the cottages and

in Crafting identities
From the literary corpus to the transmedia archive
David Houston Jones

This chapter considers the presence of ‘borderline’ forms of Beckettian adaptation in new media. In particular, it examines the productive but critical engagement of those forms with key tenets of Linda Hutcheon's classic A Theory of Adaptation ( 2006 ), especially the constraints which Hutcheon's theory imposes upon adaptation where scope is concerned. Although Hutcheon's understanding of adaptation is broad, considering video games and interactive art, ‘brief echoes’ of works are excluded because they ‘recontextualise only short fragments

in Beckett’s afterlives
Catherine Constable

2 Adapting philosophy/ philosophy as adaptation T he first chapter explored the ways in which philosophical writing on The Matrix Trilogy used categories drawn from adaptation theory, particularly the criterion of fidelity to the original text. This chapter will begin with a brief survey of the philosophical models that inform adaptation theory, focusing on variants of the word/image dichotomy in which the ‘perceptual’ nature of the filmic image renders it necessarily incapable of the complex symbolisation and conceptual abstraction of language. This will be

in Adapting philosophy
Homer B. Pettey

12 Elle (2016), rape, and adaptation Homer B. Pettey While the primary subject of Paul Verhoeven’s Elle (2016) remains an examination of rape, the film places rape within a dark satire of contemporary French bourgeois life: the technological usurpation of emotions and sexuality; the uncertain future of a new generation of slacker male children; the shallowness of casual marital infidelity; and even the comically violent frustrations over the lack of parking in Paris. Elle especially addresses rape in contrast to a current culture of unquestioned feminist

in French literature on screen
Bernadette Connaughton

5306ST New Patterns-C/lb.qxd 1111 21 3 4 51 6 7 8 9 10 1 1112 3 411 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 211 3/9/09 16:45 Page 53 4 Political institutions and administrative adaptation Bernadette Connaughton Introduction Ireland is regarded as one of the most centralised liberal democracies (Lijphart, 1999). Its unitary political system is characterised by a strong central executive with subordinate local authorities answerable to and financially dependent on the centre. In 1922 the new state absorbed rather than transformed the

in Europeanisation and new patterns of governance in Ireland
Lucia Ardovini

strategy for the Brotherhood to move forward – are driving the Brotherhood's fragmentation into two overarching factions, dictated by the preferred strategies against repression. I named these the ‘adaptation’ and ‘stagnation’ camps, for reasons that I am about to unpack. Before I do so, however, a disclaimer is in order. These divisions over strategies are ongoing and arguably represent one of the most significant challenges to the Brotherhood's unity and message in the aftermath of 2013. Because of this, I understand these as broad ‘trends’ encompassing different

in Surviving repression