ADAPTATION:
THE TWO HEADED DUCK
Adaptation is “[a]n acknowledged transposition of a
recognizable other work or works; a creative and an
interpretive act of appropriation/salvaging; an
extended intertextual engagement with the adapted
work” (Hutcheon 8).
1. ADAPTATION IS
EVERYWHERE;
ADAPTATIONS ARE
EVERYWHERE
1. ADAPTATION IS EVERYWHERE
2.ADAPTATION TAKES ON A WHOLE
CONSTELLATION OF TROPES:
TRANSLATION, READING,
DIALOGIZATION, CANNIBALISM,
TRANSMUTATION, TRANSFIGURATION,
SIGNIFYING, CONDENSATION, PARODY,
SEQUELS, MULTIMEDIA HYBRIDS, FANFICTION, TOYS…
ACCORDING TO STAM, “ART RENEWS
ITSELF THROUGH CREATIVE
MISTRANSLATION.”
1. ADAPTATION IS EVERYWHERE
2. ADAPTATION TAKES ON A WHOLE SLEW OF SHAPES
3. WE FIND PLEASURE IN ADAPTATION
(PLASIR AND JOUISSANCE)
1. ADAPTATION IS EVERYWHERE
2. ADAPTATION TAKES ON A WHOLE SLEW OF
3. WE FIND PLEASURE IN ADAPTATION
SHAPES
4. ADAPTATION THEORY COMES FROM
POSTMODERNITY; IT’S EASY TO ARGUE
THAT OUR CULTURAL OBSESSION
WITH ADAPTATION IS ALSO A
REFLECTION OF A POSTMODERN
PARADIGM
1.
2.
3.
4.
ADAPTATION IS EVERYWHERE
ADAPTATION TAKES ON A WHOLE SLEW OF SHAPES
WE FIND PLEASURE IN ADAPTATION
ADAPTATION IS POST MODERN
5. FIDELITY CRITICISM IS LIMITING
1.
2.
3.
4.
5.
ADAPTATION IS EVERYWHERE
ADAPTATION TAKES ON A WHOLE SLEW OF SHAPES
WE FIND PLEASURE IN ADAPTATION
ADAPTATION IN POST MODERN
FIDELITY CRITICISM IS LIMITING
6. ADAPTATION CAN BE ABOUT
CULTURAL ANXIETIES (RESTORATIVE OR
SUBVERSIVE)
1. ADAPTATION IS EVERYWHERE
2. ADAPTATION TAKES ON A WHOLE SLEW OF SHAPES
3. WE FIND PLEASURE IN ADAPTATION
4. ADAPTATION IN POST MODERN
5. FIDELITY CRITICISM IS LIMITING
6. ADAPTATION CAN BE ABOUT CULTURAL ANXIETIES
(RESTORATIVE OR SUBVERSIVE)
7. YA ADDS A WHOLE NEW LAYER TO A
DISCUSSION OF ADAPTATIONS
1. ADAPTATION IS EVERYWHERE
2. ADAPTATION TAKES ON A WHOLE SLEW OF SHAPES
3. WE FIND PLEASURE IN ADAPTATION
4. ADAPTATION IN POST MODERN
5. FIDELITY CRITICISM IS LIMITING
6. ADAPTATION CAN BE ABOUT CULTURAL ANXIETIES
(RESTORATIVE OR SUBVERSIVE)
7. YA ADDS A WHOLE NEW LAYER TO A DISCUSSION OF
ADAPTATIONS
8. THERE ARE TCP YA ADAPTATIONS,
TOO
1. ADAPTATION IS EVERYWHERE
2. ADAPTATION TAKES ON A WHOLE SLEW OF SHAPES
3. WE FIND PLEASURE IN ADAPTATION
4. ADAPTATION IN POST MODERN
5. FIDELITY CRITICISM IS LIMITING
6. ADAPTATION CAN BE ABOUT CULTURAL ANXIETIES
(RESTORATIVE OR SUBVERSIVE)
7. YA ADDS A WHOLE NEW LAYER TO A DISCUSSION OF
ADAPTATIONS
8. THERE ARE
9.
TCP YA ADAPTATIONS, TOO
HYPOTEXT/HYPERTEXT/URTEXT/WEB
1. ADAPTATION IS EVERYWHERE
2. ADAPTATION TAKES ON A WHOLE SLEW OF SHAPES
3. WE FIND PLEASURE IN ADAPTATION
4. ADAPTATION IN POST MODERN
5. FIDELITY CRITICISM IS LIMITING
6. ADAPTATION CAN BE ABOUT CULTURAL ANXIETIES
(RESTORATIVE OR SUBVERSIVE)
7. YA ADDS A WHOLE NEW LAYER TO A DISCUSSION OF
ADAPTATIONS
8. THERE ARE TCP YA ADAPTATIONS, TOO
9. HYPOTEXT/HYPERTEXT/URTEXT/WEB
10. ADAPTATIONS CAN HAVE THEIR OWN
PROBLEMS EITHER WHEN THEY ARE
FAITHFUL TO OR WHEN THEY DIVERGE
FROM HYPOTEXT. STAM CALLS IT AN
“IDEOLOGICALLY DRIVEN FAILURE
OF NERVE” (75).
1. ADAPTATION IS EVERYWHERE
2. ADAPTATION TAKES ON A WHOLE SLEW OF
SHAPES
3. WE FIND PLEASURE IN ADAPTATION
4. ADAPTATION IN POST MODERN
5. FIDELITY CRITICISM IS LIMITING
6. ADAPTATION CAN BE ABOUT CULTURAL
ANXIETIES (RESTORATIVE OR SUBVERSIVE)
7. YA ADDS A WHOLE NEW LAYER TO A
DISCUSSION OF ADAPTATIONS
8. THERE ARE TCP YA ADAPTATIONS, TOO
9. HYPOTEXT/HYPERTEXT/URTEXT/WEB
10. ADAPTATIONS CAN HAVE THEIR OWN
PROBLEMS