ENGL 302 - Adaptations

1 unit(s)

(Same as CLCS 302 and MEDS 302) If works of art continue each other, as Virginia Woolf suggested, then cultural history accumulates when generations of artists think and talk together across time. What happens when one of those artists switches to another language, another genre, another mode or medium? In the twenty-first century we may reframe Woolf’s conversation in terms of intertextuality—art invokes and revises other art—but the questions remain more or less unchanged: What motivates and shapes adaptations? What role does technology play? Audience? What constitutes a faithful adaptation? “Faithful” to what or whom? In this course we consider the biological model, looking briefly at Darwin’s ideas about the ways organisms change in order to survive, and then explore analogies across a range of media. We’ll begin with Virgil’s Georgics; move on to Metamorphoses, Ovid’s free adaptations of classical myths; and follow Orpheus and Eurydice through two thousand years of theater (Euripides, Anouilh, Ruhl, Zimmerman); painting and sculpture (Dürer, Rubens, Poussin, Klee, Rodin); film and television (Pasolini, Cocteau, Camus, Luhrmann); dance (Graham, Balanchine, Bausch); music (Monteverdi, Gluck, Stravinsky, Birtwistle, Glass); narratives and graphic narratives (Pynchon, Delany, Gaiman, Hoban); verse (Rilke, H.D., Auden, Ashbery, Milosz, Heaney, Atwood, Mullen, Strand); and computer games (Battle of Olympus, Shin Megami Tensei). During the second half of the semester, we investigate other adaptations and their theoretical implications, looking back from time to time at what we’ve learned from the protean story of Eurydice and Orpheus and their countless progeny. Ms. Mark.

Prerequisite: permission of the instructor.

Not offered in 2015/16.

One 3-hour period.