关键词:
LITERARY adaptations
NONFICTION
摘要:
It is fitting thatAdapting Nineteenth-Century France, the result of a collaborative enterprise, has been co-written, since one of the major angles from which it engages with the notion of adaptation is the twofold question of authorship and intertextuality. This extremely informative monograph deals with the various ways in which the adaptive process not only lies at the heart of transpositions into other media of the works of nineteenthcentury canonical authors, but also that it constitutes, first and foremost, an integral part of the original writing, in so far as adaptation involves rewriting other texts. Kate Griffiths and Adam Watts’s analysis of the multiple senses and directions that adaptation takes draws on a solid theoretical basis (in particular Julie Sanders’s workAdaptation and Appropriation(London: Routledge, 2006)) and offers an invaluable insight into sometimes unexpectedly strong connections between specific literary texts and different media, some of which have hitherto been neglected in adaptation studies. For instance, the first chapter focuses on adaptations for radio—often regarded as a ‘blind’ medium—of Zola’s highly ‘visual’Germinal. The second chapter stresses in particular the relation between adaptation and theft; it examines the way in which Balzac’s verbosity is based on silence(s) and is thus well suited to being ‘poached’ by silent cinema. Chapter 3, focusing on two rewritings ofMadame Bovary(as detective fiction and as graphic novel), deals with the part played by time in the adaptive process as well as in what is viewed as original writing, even when this writing relies, in the case of Flaubert especially, on the mosaic-like piecing together of earlier texts. The fourth chapter engages with the ways in which Hugo’s ‘linguistic exuberance’ lends itself to forms of excess and processes of trimming. Chapter 5 looks at adaptations of Maupassant for the ‘small screen’ in relation to the notion and practice of fragmentation and repetition,