This book explores the intersection between adaptation studies and what James F. English has called the “economy of prestige,” which includes formal prize culture as well as less tangible expressions such as canon formation, fandom, authorship, and performance. The chapters explore how prestige can affect many facets of the adaptation process, including selection, approach, and reception. The first section of this volume deals directly with cycles of influence involving prizes such as the Pulitzer, the Man Booker, and other major awards. The second section focuses on the juncture where adaptation, the canon, and awards culture meet, while the third considers alternative modes of locating and expressing prestige through adapted and adaptive intertexts. This book will be of interest to students and scholars of adaptation, cultural sociology, film, and literature.

This book is the first scientific study to focus on awards in architecture and the built environment investigating their exponential growth since the 1980s. The celebration of excellence in architecture and related fields remains a phenomenon on which there is strangely little scientific scrutiny. What is to be understood from the plethora of award-winning projects, award-winning buildings and awarded professional practices in the built environment, year after year? Glossy images partake in an intense ballet at every local, regional, national or international award ceremony and they are meant to embody proofs of architectural excellence. However, it is necessary to take a critical distance to question what awards are meant to embody, symbolize, and perhaps measure. Each of the 10 chapters in this volume is centered on one question related to themes as varied as the comparison of Pritzker and Nobel Prizes, the Prix de Rome, the redefinition of quality through awards, green awards and sustainability, the multiplication of sustainable awards, heritage awards, architecture book awards, the awarding of school architecture, awards as mediations and awards as pedagogical devices. Many fields, once consolidated, have featured a sharp increase in related prizes. The original data, compiled and summarized in 4 appendices cover more than 150 award-granting organizations in some 30 countries. Our inventory includes upwards of 24,000 prizes awarded at more than 3,100 events, the earliest of which is the first instance of Western architecture’s seminal Grand Prix de Rome in France in 1720. A history of contemporary architecture is thus written through press releases that praise the merits of the heroes as much as their works and achievements. And while awards can be vehicles that propel architecture forward, they can also be Trojan horses in an era that is constantly on the lookout for event-driven products, small and big news, and brand imaging.

The Routledge Companion to Global Literary Adaptation in the Twenty-First Century offers new perspectives on contemporary literary adaptation as a dynamically global field. Featuring contributions from an international team of established and emerging scholars, this volume considers literary adaptation to be a complex global network of influences, appropriations, and audiences across a diversity of media. It offers site-specific case studies that situate literary adaptation within global market forces while challenging the homogenizing effects of globalization on local literatures and adaptation practices. The collection also provides a multi-disciplinary and transnational discussion around a wide array of topics in literary adaptation in a global context, such as soft power, decolonization, global justice, the posthuman, eco criticism, and forms of activism. This Companion provides scholars, researchers, and students with a survey of key methodologies, current debates, and ideologies emerging from a new and exciting phase in literary adaptation.

This collection of essays illuminates the intersection of queer and adaptation. Both adaptation and queerness suffer from the stereotype of being secondary: to identify something as an adaptation is to recognize it in relation to something else that seems more original, more authentic. Similarly, to identify something as queer is to place it in relation to what is assumed to be “normal” or “straight.” This ground-breaking volume brings together fifteen original essays that critically challenge these assumptions about originality, authenticity, and value. The volume is organized in three parts: The essays in Part I examine what happens when an adaptation queers its source text and explore the role of the author/screenwriter/director in making those choices. The essays in Part II look at what happens when filmmakers push against boundaries of various kinds: time and space, texts and bodies, genres and formats. And the essays in Part III explore adaptations whose source texts cannot be easily pinned down, where there are multiple adaptations, and where the adaptation process itself is queer. The book includes discussion of a wide variety of texts, including opera, classic film, genre fiction, documentary, musicals, literary fiction, low-budget horror, camp classics, and experimental texts, providing a comprehensive and interdisciplinary introduction to the myriad ways in which queer and adaptation overlap.

"Adaptations: Critical and Primary Sources is a three-volume reference resource that brings together over 80 landmark texts in adaptation studies. Volume One covers the history of adaptation studies, by plotting the 'prehistory' of the field, beginning with Vachel Lindsay's classic Art of the Moving Picture (1915), through Virginia Woolf's classic essay on 'The Cinema' through to some of the most important critical and theoretical interventions up until the 1990s when the area really emerges as a critical force in the academy. Volume Two collects essays from the last 25 years, showing how the scholarly legacy laid out in Volume One still has a profound impact on adaptation studies today, while charting the process of critical and theoretical maturation. This volume shows how adaptations studies has outgrown its contested place 'in the gap' of film and literary studies and how its interventions transcend disciplinary perspectives across the arts and humanities. Volume Three covers key case studies, such as Christine Geraghty's take on adapting Westerns, Ian Inglis' understanding of the transformation of music into movies, and Eckart Voigts' concept on Jane Austen and participatory culture. With topics ranging from the limitations of the novel to adapting stage to screen, contributions from a wide range of international scholars, film critics and novelists combine to make Adaptations: Critical and Primary Sources an original overview of critical debates today. Cartmell and Whelehan introduce each excerpt and offer a critical overview of the collected work, the rationale for its inclusion and suggestions for further reading."--

From intertextuality to postmodern cultural studies, narratology to affect theory, poststructuralism to metamodernism, and postcolonialism to ecocriticism, humanities adaptation studies has engaged with a host of contemporary theories. Yet theorizing adaptation has been declared behind the theoretical times compared to other fields and charged with theoretical incorrectness by scholars from all theoretical camps. In this thorough and groundbreaking study, author Kamilla Elliott works to explain and redress the problem of theorizing adaptation. She offers the first cross-disciplinary history of theorizing adaptation in the humanities, extending back to the sixteenth century, revealing that until the late eighteenth century, adaptation was valued for its contributions to cultural progress, before its eventual — and ongoing — marginalization by humanities theories. The second half of the book offers ways to redress the troubled relationship between theorization and adaptation. Ultimately, Theorizing Adaptation proffers shared ground upon which adaptation scholars can debate productively across disciplinary, cultural, and theoretical borders.

The Routledge Companion to Adaptation offers a broad range of scholarship from this growing, interdisciplinary field. With a basis in source-oriented studies, such as novel-to-stage and stage-to-film adaptations, this volume also seeks to highlight the new and innovative aspects of adaptation studies, ranging from theatre and dance to radio, television and new media. It is divided into five sections: Mapping, which presents a variety of perspectives on the scope and development of adaptation studies; Historiography, which investigates the ways in which adaptation engages with – and disrupts – history; Identity, which considers texts and practices in adaptation as sites of multiple and fluid identity formations; Reception, which examines the role played by an audience, considering the unpredictable relationships between adaptations and those who experience them; Technology, which focuses on the effects of ongoing technological advances and shifts on specific adaptations, and on the wider field of adaptation. An emphasis on adaptation-as-practice establishes methods of investigation that move beyond a purely comparative case study model. The Routledge Companion to Adaptation celebrates the complexity and diversity of adaptation studies, mapping the field across genres and disciplines.