The Poetics of Recontextualization: Intertextuality in a Chinese Adaptive Translation of The Picture of Dorian Gray

Wannous as an Adaptation of the Faust Theme: An Investigation of Adaptation Shifts and Interpretive Categories مسلسل "ونوس" بوصفه اقتباسًا أدبیًا لتیمة فاوست: دراسة لتحویلات الاقتباس والفئات التأویلیة

“…Hence, an adaptation of a text, Chan (2004) argues, should be regarded as a form of "free translation" as opposed to strictly literal or formal renditions of texts (p. 467); the translator deciphers the meaning of the source text and then expresses it in the target language, which makes the translator both a reader (of the source text) and a writer (of the target text) and makes adaptation "a writerly activity deployed for readerly ends" (p. 468). Such ends are subject to various text-internal and text-external factors as well as the target audience and the culture in which such adaptation is to be presented (Boltuc, 2021, p. 231).…”

“…However, recontextualization is an inseparable part of the adaptation process as an adaptation is mainly oriented towards the target audience. Chan (2004) argues that traces of the source culture might even be erased in an adaptation (p. 465) since an adaptation mainly aims to keep the spirit rather than the form, hence aspiring to a higher form of fidelity (p. 469). Against this backdrop, and using the adaptation shifts and interpretive categories proposed by Perdikaki (2016), this section presents an analysis of Wannous, an Egyptian drama television series, in an attempt to investigate how the scriptwriter employs a number of shifts in his adaptation and recontextualization of the Faust theme in order to create proximity between the adapted text and the audience.…”