Adaptation: the Two Headed Duck

1. 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).

2. 1. Adaptation is everywhere; Adaptations are everywhere

3. 1. adaptation is everywhere2.adaptation takes on a whole constellation of tropes: translation, reading, dialogization, cannibalism, transmutation, transfiguration, signifying, condensation, Parody, sequels, multimedia hybrids, fan-fiction, toys…According to Stam, “art renews itself through creative mistranslation.”

4. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation(plasir and jouissance)

5. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. Adaptation Theory comes from postmodernity; IT’S EASY TO ARGUE THAT OUR CULTURAL OBSESSION WITH ADAPTATION IS ALSO A REFLECTION OF A POSTMODERN PARADIGM

6. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation is post modern5. fidelity criticism is limiting

7. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern5. fidelity criticism is limiting6. adaptation can be about cultural anxieties (restorative or subversive)

8. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern5. fidelity criticism is limiting6. adaptation can be about cultural anxieties (restorative or subversive)7. YA adds a whole new layer to a discussion of adaptations

9. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern5. fidelity criticism is limiting6. adaptation can be about cultural anxieties (restorative or subversive)7. YA adds a whole new layer to a discussion of adaptations8. there are TCP YA adaptations, too

10. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern5. fidelity criticism is limiting6. 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, too9. hypotext/hypertext/urtext/web

11. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern5. fidelity criticism is limiting6. 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, too9. 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).

12. 1. adaptation is everywhere2. adaptation takes on a whole slew of shapes3. we find pleasure in adaptation4. adaptation in post modern5. fidelity criticism is limiting6. 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, too9. hypotext/hypertext/urtext/web 10. adaptations can have their own problems