Hutcheon argues that, rather than expecting adaptations to strictly reproduce the details of the source material, we might more productively view adaptation as “a process of creation…that involves (re-)interpretation and (re-)creation” (Hutcheon 8).Īlong with Hutcheon, we might think of adapting a text like translating a language.
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In her work on adaptation, Hutcheon urges us to think twice before nodding along with detractors of a film whose primary criticism is that the movie is “unfaithful” to the original material-often meaning that a number of details have been changed. She calls out the idea that a re-telling of a story is “bad” because it changes the details of the original material and questions such “morally loaded discourse of fidelity” (Hutcheon 7). Linda Hutcheon, in A Theory of Adaptation, speaks to these questions in a way that can help us work out our own response to film adaptations. But should we reject the movie version of that book we love as “unsuccessful” just because it’s “unfaithful” to the original material? Should we be wary of a film just because it makes changes to the story as it appears on the page? “No, no, this is all wrong, Katniss and Peeta kiss WAY more often in the book than they do in the movie!”Ĭlearly, there are good reasons to reject a film adaptation of a book as an unsuccessful re-telling of the story. “That’s not what Hermione looks like! The book says…” But, as many of us know in the age where the printed stories we love are being re-told onscreen in droves ( Harry Potter, The Hunger Games, The Lord of the Rings all come to mind), the thrill of experiencing a new angle on our favorite fiction can sour into disappointment when the films are different than what we expect from our first encounter with the story: The thrill of the familiar becoming unfamiliar can be delightful. Part of the magic in storytelling is that we can re-tell the stories that shape us. Karin Westman, Associate Professor and Department Head / Instructor for ENGL 801 (Fall 2020) Now, on to “ The Prince of Egypt: The Exodus Story in (Re-)Translation” by Jefferson Storms (MA ’22)! Read more about the assignment and the first publication, “Judith and the Vikings” by Caitlin Radonich (MA ’22), in the post for December 1 and the second publication, “Uncle Iroh’s Got Abs?” by Morgan Shiver (MA ’22), in the post for December 3. The game ends once all cards are moved onto the foundation piles.Today we share the final entry selected for publication from an assignment in ENGL 801 “Introduction to Graduate Studies”: a piece of public scholarship (700-1,000 words) which tailors an academic paper and its scholarly intervention of 10-12 pages for a general-interest audience.
Cards of the same suit can then be played on each Ace in ascending order, from low (2) to high (King). Foundation piles can contain cards starting from Ace so as Aces become available, it can be placed in one of the foundation piles.Complete or partial tableaus which are built in alternate colors can also be moved to existing tableaus, or an empty tableau.Top card from the waste pile is allowed to be moved onto the tableau or foundation piles.One redeal is allowed so when all cards from the stock pile are moved to the waste pile, it can be moved back to the stock pile by clicking on empty stock pile. Player can click on the stock pile anytime which deals 1 card face-up onto the waste pile.
An empty pile in tableau can only be filled with a King and can then be played in descending order and alternate colors.On the tableau, cards are played in descending order, alternate colors.
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