Narrative Expansions: Interpreting Decolonisation in Academic Libraries explores the ways in which academic libraries are working to address the historic legacies of colonialism, in the context of decolonising the curriculum and the university.

Rife with incest, adultery, rape, and murder, the biblical story of Jacob and his children must have troubled ancient readers. By any standard, this was a family with problems. Jacob's oldest son Reuben is said to have slept with his father's concubine Bilhah. The next two sons, Simeon and Levi, tricked the men of a nearby city into undergoing circumcision, and then murdered all of them as revenge for the rape of their sister. Judah, the fourth son, had sexual relations with his own daughter-in-law. Meanwhile, jealous of their younger sibling Joseph, the brothers conspired to kill him; they later relented and merely sold him into slavery. These stories presented a particular challenge for ancient biblical interpreters. After all, Jacob's sons were the founders of the nation of Israel and ought to have been models of virtue. In The Ladder of Jacob, renowned biblical scholar James Kugel retraces the steps of ancient biblical interpreters as they struggled with such problems. Kugel reveals how they often fixed on a little detail in the Bible's wording to "deduce" something not openly stated in the narrative. They concluded that Simeon and Levi were justified in killing all the men in a town to avenge the rape of their sister, and that Judah, who slept with his daughter-in-law, was the unfortunate victim of alcoholism. These are among the earliest examples of ancient biblical interpretation (midrash). They are found in retellings of biblical stories that appeared in the closing centuries BCE--in the Book of Jubilees, the Aramaic Levi Document, the Testaments of the Twelve Patriarchs, and other noncanonical works. Through careful analysis of these retellings, Kugel is able to reconstruct how ancient interpreters worked. The Ladder of Jacob is an artful, compelling account of the very beginnings of biblical interpretation.

Judaism, Christianity, and Islam are considered kindred religions-holding ancestral heritages and monotheistic belief in common-but there are definitive distinctions between these "Abrahamic" peoples. Shared Stories, Rival Tellings explores the early exchanges of Jews, Christians, and Muslims, and argues that their interactions were dominated by debates over the meanings of certain stories sacred to all three communities. Robert C. Gregg shows how Jewish, Christian, and Muslim interpreters--artists as well as authors--developed their unique and particular understandings of narratives present in the two Bibles and the Qur'an. Gregg focuses on five stories: Cain and Abel, Sarah and Hagar, Joseph and Potiphar's Wife, Jonah and the Whale, and Mary the Mother of Jesus. As he guides us through the often intentional variations introduced into these shared stories, Gregg exposes major issues under contention and the social-intellectual forces that contributed to spirited, and sometimes combative, exchanges among Jews, Christians, and Muslims. Offering deeper insight into these historical moments and their implications for contemporary relations among the three religions, Shared Stories, Rival Tellings will inspire readers to consider--and reconsider--the dynamics of traditional and current social-religious competition.

Bernstein's rich analysis focuses on the nineteenth-century Judeo-Arabic manuscript The Story of Our Master Joseph—a Jewish text taking its form from an Islamic prototype (itself largely based on midrashic, Hellenistic, and Near Eastern material) extending back to the earliest human stories of parental favoritism, sibling rivalry, separtism from loved ones, sexual mores, and the struggles for a continued communal existence outside the homeland.

The Assassin tells the story of a swordswoman who refrains from killing. Hou Hsiao-hsien astonishes his audience once again by upsetting almost every convention of the wuxia (martial arts) genre in the film. This collection offers eleven readings, each as original and thought-provoking as the film itself, beginning with one given by the director himself. Contributors analyze the elliptical way of storytelling, Hou’s adaptation of the source text (a tale from the Tang dynasty, also included in this volume), the film’s appropriation of traditional Chinese visual aesthetics, as well as the concept of xia (knight-errant) that is embedded in Confucian, Daoist, and Buddhist worldviews. There are also discussions of the much-celebrated sonic design of The Assassin: the nearly exclusive use of a diegetic film score is a statement on the director’s belief in cinematic reality. Underlying all the chapters is a focus on how Hou reinvents Tang-dynasty China in contemporary culture. The meticulously recreated everyday reality of the Tang world in the film highlights the ethnic and cultural diversity of the dynasty. It was a time when Sogdian traders acted as important intermediaries between Central Asia and the Tang court, and as a result Sogdian culture permeated the society. Taking note of the vibrant hybridity of Tang culture in the film, this volume shows that the historical openness to non-Chinese elements is in fact an essential part of the Chineseness expressed in Hou’s work. The Assassin is a gateway to the remote Tang-dynasty world, but in Hou’s hands the concerns of that premodern world turn out to be highly relevant to the world of the audience. “This book promises to be a useful companion to the film The Assassin. Contributors to this collection have convincingly and compellingly elucidated some of the film’s most difficult features. The result is a rich and wide-ranging analysis of one of the most beautiful films of our time.” —Sung-Sheng Yvonne Chang, The University of Texas at Austin “This collection of essays unfolds the many layers of The Assassin by speaking to its aesthetic achievements, reinvention of genre conventions, deep historical engagement, and philosophical substance. It exceeds the sum of its individual parts by building a vibrant cross-disciplinary conversation among a diverse group of accomplished scholars, who contribute original and compelling insights on the film.” —Jean Ma, Stanford University

This collection of forty new essays, written by the leading scholars in adaptation studies and distinguished contributors from outside the field, is the most comprehensive volume on adaptation ever published. Written to appeal alike to specialists in adaptation, scholars in allied fields, and general readers, it hearkens back to the foundations of adaptation studies a century and more ago, surveys its ferment of activity over the past twenty years, and looks forward to the future. It considers the very different problems in adapting the classics, from the Bible to Frankenstein to Philip Roth, and the commons, from online mashups and remixes to adult movies. It surveys a dizzying range of adaptations around the world, from Latin American telenovelas to Czech cinema, from Hong Kong comics to Classics Illustrated, from Bollywood to zombies, and explores the ways media as different as radio, opera, popular song, and videogames have handled adaptation. Going still further, it examines the relations between adaptation and such intertextual practices as translation, illustration, prequels, sequels, remakes, intermediality, and transmediality. The volume's contributors consider the similarities and differences between adaptation and history, adaptation and performance, adaptation and revision, and textual and biological adaptation, casting an appreciative but critical eye on the theory and practice of adaptation scholars--and, occasionally, each other. The Oxford Handbook of Adaptation Studies offers specific suggestions for how to read, teach, create, and write about adaptations in order to prepare for a world in which adaptation, already ubiquitous, is likely to become ever more important.