Abstract
Many literary critics refer to the media adaptations of great literary works of literature, as inferior and subsidiary, lacking inborn aesthetic techniques which the original literary text enjoys. Thus, a fundamental question is posed regarding the very source and origin of a literary adaptation; why and how does an adaptation come into being, and what factors are involved in an author's canonization and in a literary media adaptation’s success or failure? In response to such central questions, one must refer to an individual’s primary fascination with a particular piece of a literary work as a film director, which in turn ends up in a pictorial representation of his/her joyful aesthetic experience, attaining an interpersonal scope through an active participation of an audience. Hence, the current article seeks to discuss how a media adaptation of a great 19th century literary work, like George Eliot’s Middlemarch, can operate as a potential means of communication and transformation between the author and the audience, as the original text, through media culture with the help of virtual reality and narratology techniques. In turn, such goals can be achieved by a multidimensional analysis of the mentioned elements through George Eliot’s Middlemarch as the original text and its filmic adaptation as an independent work of art.
Keywords: George Eliot, Middlemarch, Adaptation, Narratology, Media culture, Virtual reality
References
- Bordwell, David. (1985). Narration in the Fiction Film. Madison: University of Wisconsin.
- Cardwell, Sarah. (2013). Andrew Davies TELEVISION SERIES. Manchester University Press.
- Carter, Jennifer. (2012). “The Art of Storythelling: Women’s Nineteenth Century Fictional Narration.” The California Journal of Women Writers, 19 (7).
- Chase, Karen. (2006). Middlemarch in the Twenty-First Century. Cambridge.
- Greenwald, A. G. (1980). “The Totalitarian Ego: Fabrication and Revision of Personal History.” American Psychologist, vol. 35.
- Huszar, Erika. (2011). “What Is Translated From Novel to Film? Some Criticism of Brian McFarlane’s Adaptation Analysis Method.” Sino-US English Teaching 8 (8).
- Hutcheon, Linda. (2006). A Theory of Adaptation. New York: Routledge.
- Jockers, Matthew L. and Mimno, David. (2012). “Significant Themes in 19th-Century Literature.” Faculty Publications—Department of English, 8 (1).
- Johnson, John A., Carrol, Joseph et al. (2010). “Portrayal of personality in Victorian novels reflects modern research findings but amplifies the significance of agreeableness.” Journal of Research in Personality.
- Kellner, Douglas. (2014). The PhiPapers Foundation. Web.
- Leitch, Thomas. (2008). “Adaptation Studies at Crossroads.” Adaptation, 1 (1).
- McFarlane, Brian. (1996). Novel to film: an introduction to the theory of adaptation. Oxford: Clarendon.
- McQueen, Sean. (2012). “Micheal Foucault’s ‘What is an Author?’ and Adaptation.” COLLOQUY Text Theory Critique, vol. 24.
- Marciniak, Małgorzata. (2007). “The Appeal of Literature-to-Film Adaptations.” Lingua ac Communitas, vol.17.
- Niiniluoto, Ilkka Maunu. (2011). “Virtual Worlds, Fiction, and Reality.” Discusiones Filosoficas 12 (19).
- Stam, Robert. (2000). “Beyond Fidelity: The Dialogics of Adaptation.” Film Adaptation. Ed. James Naremore. New Brunswick: Rutgers University Press.
- Taylor, Shelley E. (1983). “Adjustment to Threatening Events- A Theory of Cognitive Adaptation.” American Psychologist 38 (11).
- Young, Kay. (2003). “Middlemarch and the problem of Other Minds.” Literature Interpretation Theory, vol. 14.
Abstract
References
- Bordwell, David. (1985). Narration in the Fiction Film. Madison: University of Wisconsin.
- Cardwell, Sarah. (2013). Andrew Davies TELEVISION SERIES. Manchester University Press.
- Carter, Jennifer. (2012). “The Art of Storythelling: Women’s Nineteenth Century Fictional Narration.” The California Journal of Women Writers, 19 (7).
- Chase, Karen. (2006). Middlemarch in the Twenty-First Century. Cambridge.
- Greenwald, A. G. (1980). “The Totalitarian Ego: Fabrication and Revision of Personal History.” American Psychologist, vol. 35.
- Huszar, Erika. (2011). “What Is Translated From Novel to Film? Some Criticism of Brian McFarlane’s Adaptation Analysis Method.” Sino-US English Teaching 8 (8).
- Hutcheon, Linda. (2006). A Theory of Adaptation. New York: Routledge.
- Jockers, Matthew L. and Mimno, David. (2012). “Significant Themes in 19th-Century Literature.” Faculty Publications—Department of English, 8 (1).
- Johnson, John A., Carrol, Joseph et al. (2010). “Portrayal of personality in Victorian novels reflects modern research findings but amplifies the significance of agreeableness.” Journal of Research in Personality.
- Kellner, Douglas. (2014). The PhiPapers Foundation. Web.
- Leitch, Thomas. (2008). “Adaptation Studies at Crossroads.” Adaptation, 1 (1).
- McFarlane, Brian. (1996). Novel to film: an introduction to the theory of adaptation. Oxford: Clarendon.
- McQueen, Sean. (2012). “Micheal Foucault’s ‘What is an Author?’ and Adaptation.” COLLOQUY Text Theory Critique, vol. 24.
- Marciniak, Małgorzata. (2007). “The Appeal of Literature-to-Film Adaptations.” Lingua ac Communitas, vol.17.
- Niiniluoto, Ilkka Maunu. (2011). “Virtual Worlds, Fiction, and Reality.” Discusiones Filosoficas 12 (19).
- Stam, Robert. (2000). “Beyond Fidelity: The Dialogics of Adaptation.” Film Adaptation. Ed. James Naremore. New Brunswick: Rutgers University Press.
- Taylor, Shelley E. (1983). “Adjustment to Threatening Events- A Theory of Cognitive Adaptation.” American Psychologist 38 (11).
- Young, Kay. (2003). “Middlemarch and the problem of Other Minds.” Literature Interpretation Theory, vol. 14.
Details
| Primary Language | English |
|---|---|
| Journal Section | Articles |
| Authors | |
| Publication Date | August 31, 2015 |
| Submission Date | August 30, 2015 |
| Published in Issue | Year 2015Volume: 1 Issue: 2 |
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