By Julie Sanders
The hot severe Idiom sequence make for nice partners to classes. Sanders' model and Appropriation is a compact, transparent, usable textbook that cuts throughout the muddy water of severe debates on precisely what these phrases (and a bunch of alternative similar phrases) suggest.
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Extra resources for Adaptation and Appropriation (The New Critical Idiom)
44 bus route she makes to see hers and Jack’s mentally impaired daughter in hospital. In Swift’s novel we are offered social topicality and topography as with Chaucer, but we also receive a version of the literary England that Chaucer’s text forms a part of. The England of Last Orders, also invoked in that multiply referential title, is both changing and oddly timeless, on its last legs and yet enduring. And that in a way begins to unpack an answer to the charges of plagiarism levelled at this novel in relation to Faulkner’s As I Lay Dying.
Should his novel’s title have indicated its intertextual relationship in the way that Joyce’s Ulysses does its interaction with Homeric epic? Yet Joyce’s novel is also linked to Shakespeare’s Hamlet but the 1922 novel bears no trace of that relationship in its title. Does that make it somehow dishonest, less worthy in literary terms, less original? Surely not. The response to Last Orders raises the important question as to whether a novelist needs to ‘adequately’ acknowledge intertextuality and allusiveness.
Ding Shakespeare’s competition of courtly wit and sonneteering within a faux-Oxbridge context. The events of the film unfurled on the eve of the Second World War, providing its audiences with a more recent historical context of conflict than the Shakespearean play’s interaction with the late sixteenth-century French Wars of Religion, and Branagh added a deliberately nostalgic soundtrack of songs by George and Ira Gershwin and Cole Porter to appeal to those members of the audience who shared that cultural memory.