By Julie Sanders
The recent serious Idiom sequence make for nice partners to classes. Sanders' edition and Appropriation is a compact, transparent, usable textbook that cuts throughout the muddy water of serious debates on precisely what these phrases (and a bunch of different comparable phrases) suggest.
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Extra info for Adaptation and Appropriation (The New Critical Idiom)
It is no coincidence that the Shakespearean canon has provided a crucial touchstone for the scholarship of appropriation as a literary practice 46 literary archetypes and form. Several book-length studies have considered appropriation from a Shakespearean perspective (see, for example, Marsden 1991; Chedgzoy 1995; Novy 1999; Desmet and Sawyer 1999; Fischlin and Fortier 2000; Sanders 2001; Zabus 2002). To cite Daniel Fischlin and Mark Fortier in the valuable overview essay that accompanies their recent anthology of dramatic adaptations of Shakespearean plays: ‘As long as there have been plays by Shakespeare, there have been adaptations of those plays’ (2000: 1).
Musical creations by Diego Ortiz, Marco Uccellini, and Henry Purcell, in Spain, Italy and England respectively, were commonly structured in terms of ‘grounds’ or repeated harmonic base instrumental patterns, often played by lute, harpsichord, or cello, or a combination of both, on the surface of which the more improvisational lines of instrumentation are performed by flute, recorder, bass viol, or violin. We have in this a rather beautiful model for the way in which intertext(s) in a novel such as Last Orders might operate as the base or ‘ground’ for the reader, informing the top note or improvisation that is the new creative act or cultural production.
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. Of course the Faulknerian intertext is crucial, revealing, moving even, in highlighting the South London analogue that Swift provides to the Mississippi regional literature of the 1930s. But, as Cooper has noted before me, we are not dealing with a single frame of appropriation or intertextuality but rather a ‘symphony of intertexts’. It is in how these intertexts play off against each other that the full story of Last Orders emerges (2002: 37).
Adaptation and Appropriation (The New Critical Idiom) by Julie Sanders