Jump to ContentJump to Main Navigation
Theorizing Adaptation$
Users without a subscription are not able to see the full content.

Kamilla Elliott

Print publication date: 2020

Print ISBN-13: 9780197511176

Published to Oxford Scholarship Online: June 2020

DOI: 10.1093/oso/9780197511176.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 19 June 2021

Theorizing Adaptation in the Sixteenth to Nineteenth Centuries

Theorizing Adaptation in the Sixteenth to Nineteenth Centuries

Chapter:
(p.33) 2 Theorizing Adaptation in the Sixteenth to Nineteenth Centuries
Source:
Theorizing Adaptation
Author(s):

Kamilla Elliott

Publisher:
Oxford University Press
DOI:10.1093/oso/9780197511176.003.0003

Chapter 2 documents that, in contrast to more recent theories that have rendered adaptation a bad theoretical object, prior to the late eighteenth century, adaptation was theorized as a good theoretical object, fostering an innovative, progressive, national aesthetic culture and situating artists in a long lineage reaching back to classical Greece. Subsequently, late eighteenth-century Romantic theories of originality and theories of the arts as separate species militated against adaptation in the same way that theologies of original creation and scientific theories of separate species would militate against theories of biological adaptation in the late nineteenth century. Even so, some nineteenth-century theorists continued to valorize adaptation equivocally as a means of civilizing the lower classes and foreign cultures, even as its aesthetic deficiencies offended the higher ranked, fiercely nationalist arbiters of civilization and culture. Copyright laws, which did not apply when a work changed medium until the early twentieth century in Britain and other nations, intensified the opprobrium cast upon adaptation in a rhetoric of theft at home and piracy abroad. Even so, some critics maintained that adaptation is original when created by an original genius; others valorized intermedial adaptation in a pseudo-religious discourse of realization of the word made flesh; yet others pitted sister arts theories against theories of the arts as separate species that cannot mate to produce adaptation, although both militated against the reproductive, generative capacities of adaptation. These discourses were not limited to academics and reviewers, but extended to the adaptation industry.

Keywords:   adaptation history, adaptation theory, sixteenth–nineteenth centuries, theatrical adaptation, copyright law, adaptation and fidelity, medium specificity, sisters arts, adaptation and class, adaptation and nation

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .