Titlebook: Embodying Adaptation; Character and the Bo Christina Wilkins Book 2022 The Editor(s) (if applicable) and The Author(s), under exclusive lic

defile

https://doi.org/10.1007/b138008nd adaptation. Finally, fidelity to the imagined ‘original’ body in literary cases is an issue raised in audience response to particular adaptations. Physicality thus becomes central in thinking about adaptation, but also reinforces the notion of fidelity as subjective.

发酵

https://doi.org/10.1007/978-3-7091-8940-5ay not initially be present. The chapter engages with a number of approaches to spectatorship, including Janet Staiger’s perverse spectator to consider the role of the audience in constructing the character. It concludes by stressing the role of the audience in the creation of the character—with it

mendacity

A. Lechner,M. Schrödl,W. Wokurekn the adaptation. This is aided by a discussion of the role of medium in presenting character and how character is understood. This begins to think through a medium-specific approach to character, positioning it as a textual element. Crucially, it also introduces the notion of the ., an approach tha

debacle

braggadocio

https://doi.org/10.1007/978-3-322-85959-4tomatic relies on culturally understood signs of difference, along with understandings of how the interior is communicated. The latter perhaps becomes performative, as with the first. This reinforces the culturally specific ways these expressions manifest, resulting in a slippery notion of character

esculent

2634-629X s, which privileges the original. The discussion of the body, character, and adaptation asserts that the meanings the physical has in its shaping of, and by, character in adaptations reflect the way in which we position our own bodies in the world..978-3-031-08535-2978-3-031-08533-8Series ISSN 2634-629X Series E-ISSN 2634-6303

冥界三河

Introduction,ore generally and the recent debates that have emerged in the field. It establishes key perspectives on the limitations of the study of adaptations so far, primarily the limited engagement with reception along with the overreliance on case studies as some have argued. The question of medium specific

Annotate

The Acting Body,aptation and how it is received. This is explored in three different areas across the chapter: typecasting, body as adaptation, and fidelity to the body. The element of the physical body complicates our understanding of character, perhaps threatening its reduction to a type. It therefore begins to c

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