These three adaptations were chosen for this analysis since each relates to another category of adaptation as they are organised by Geoffrey Wagner. Still, filmmaker Andrew Davies incorporated invented scenes and left out others. A significant abandonment of the source which creates a new story and is not directly recognisable as an adaptation cf. Wagner in McFarlane Further categorisations by Dudley Andrews and Michael Klein with Gillian Parker suggest a similar system with corresponding definitions.
As each considered adaptation approached the novel differently, the representations of Pemberley vary. In the novel, a detailed description of the nature and beauty Elizabeth perceives at her arrival at the estate is given. Walking through it, Elizabeth suddenly meets Darcy and is surprised at his politeness. Already on their way to the estate, the filmmakers of the series focus on the presentation of landscape.
When reaching the estate, the building is framed by a lake, trees and bushes. What differs to the novel is the added scene of Darcy leaping into a naturalistic pond before surprisingly meeting Elizabeth at Pemberley. A remarkable distinction between the novel and the version is that before their arrival at Pemberley, Elizabeth climbs up some hills to view the landscape. As soon as they approach Pemberley, the nature and the building are shown. Instead of a picture gallery like in the novel, the camera presents Elizabeth touring an art gallery, where she encounters a marble bust of Darcy.
In this adaptation Elizabeth also looks outside a window which presents the grounds of Pemberley. Different to the novel and the BBC-series, Elizabeth encounters Darcy in a music room instead of the garden. Unlike the novel or the other two adaptations, Bridget does not unexpectedly encounter Darcy but directly asks him for a talk. As these short summaries of the adapted Pemberley-scenes demonstrate, adaptations can vary either faintly or immensely depending on the category of adaptation. The most modernised version focuses on wealth. However, the three themes - nature, sexuality, and wealth - are not exclusively bound to one of the adaptations.
Due to different forms of storytelling, the original source can always be changed into a plenitude of other forms.
Mostly, narratives are the basis and get adapted into plays, audio dramas or films, to name a few. These approaches regard categories of adaptation, differences between a narrative and an adaptation, and film theory, as the latter one is important to know the effects of varying camera perspectives, shots or sounds when analysing an adaptation.
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As already mentioned in the introduction, adaptations can be categorised due to their fidelity and precision in relation to the source text. One organisation of adaptation-forms is offered by Geoffrey Wagner.
This form of adaptation provides the most artistic freedom for the filmmaker in comparison to the other two categories. This category focuses on the variations between the adaptation and the original cf. However, topics can appear redirected in this form of adaptation for example if the filmmaker wishes to highlight a different purpose. This category assumes that the interpretation of a story is rendered as it is but in another form of art. Aside from that, Michael Klein and Gillian Parker also organise adaptations in a similar manner.
Thus, all three suggestions for categorisation- systems concord and correspond by respectively offering three forms of adaptations with sense-identical explanations, providing each with a creative, a partially revised and a faithful category. Fidelity relates to how much variation between the original and its adaptation exists, whether scenes are added or left out, what is present and what is absent. This alludes to the existing diversity of adaptations of their novels.
Fidelity and infidelity are described based on similarities and differences between the source and the adapted counterpart. Thus, although an analogy deviates mostly from its original in comparison to other categories, it is still interconnected to its narrative source. Consequently, adaptations can be organised in three categories. Several theorists labelled these diversely, however, they more or less all mean the same. Not only a narrative can be the basis for an adaptation, but also an already adapted audio-visual version of a novel can be re-adapted.
Being acquainted with both, a viewer most likely will realise the differences or variations between the two audio- visual adaptations. Instead of covering topics that have been of decisive importance a decade ago in an earlier text, the latter adaptation usually picks up themes that are important to the current target group. An interrelation between the original and its adaptations always exists as long as the adaptation is identified as such. Consequently, as soon as an adaptation is considered as an adaptation, the recipient incorporates his understanding and interpretation of the original work.
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Besides, as a novel and a film share the narrative, this obviously is the part which is transferred to the adaptations cf. Shakespearean drama meets surprising statistics as Chris Bowlby investigates. We Fall in Love in the Future 24 min. Nine short stories from around the world, looking at who we fall in love with, the way we do it now, and how it's changing. Poor Reporting 24 min. What does it take to get people in the rich world engaged in the issue of global poverty? What stops people turning off? Don't Log Off 24 min. Alan Dein attempts to cross the world on a late-night excursion via Facebook and Skype.
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The paper thus covers a relevant topic and could be used as a basis in lessons ranging from language to information technology. In a recorded story or play, one or several people narrators tell a story and the appropriate background noises are created. In a school project, there should be as many speaking roles as possible. In addition, sound makers are needed who make sure there is the necessary atmosphere, tension and excitement. The story can be performed live or recorded with the help of a computer or a cassette recorder. Structure and function of a sensory organ Senses discover the environment Games to practise using the senses.
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The pitch-frequent alternating current supplied by an amplifier flows through a coil in the loudspeaker. In so-called dynamic loudspeakers, this coil is in a ring-shaped permanent magnetic field. The coil is connected to a diaphragm. Through the passage of the alternating current, forces now begin to have an effect on the coil which is moved to and fro in time with the pitch frequency. The diaphragm is moved and transmits its vibration to the air, the sound is emitted.
The process of electroacoustic sound transduction can be explained very well to the students with the help of a technical device that is familiar to all of them. Furthermore, the production and propagation of sound waves ; important in human physiology for hearing and speaking ; can be shown. Communication and understanding Vibrations and waves Acoustic phenomena.
A funnel collects and amplifies the sound when it is heard. When speaking a larger volume of air can be stimulated to vibrate as well resonance. It is then concentrated on a smaller area of space. Incidentally, the ear trumpet is the original form of the hearing aid. Do not shout into the ear trumpet as it can injure the inner ear! Opening question on ear trumpet: Students can test the effect of the ear trumpet themselves.
Variations of Pemberley. Nature, Sexuality and Wealth in Jane Austen’s "Pride and Prejudice"
Opening question on megaphone: Students stand so far away from each other that they cannot understand each other when they whisper without the megaphone. What effect does the megaphone then have? The experiment ;tambourine blows out candle demonstrates clearly how sound waves propagate and that a movement of air particles is associated with it You may use a bass drum instead of a tambourine. On the basis of this experiment the propagation of sound when speaking can be explained.
Simple experiment that can be reproduced easily in class. The media used in this information sheet are available as individual media files on the media portal of the Siemens Stiftung. Human speech mainly uses frequencies between approx. Depending on loudness and gender, the weighting shifts more to deeper whispering, men or higher tones talking loudly, women.
Strictly speaking there are, however, always deeper tones to approx. If these tones are missing, comprehensibility may be affected. An understanding of these aspects is a prerequisite for telephone, radio, cell phone and hearing aid technology. Tuning forks as well produce simple periodic tones but, strictly speaking, they are not really pure as there are several upper harmonics already overlapped.
Examination of aperiodic speech signals with the help of spectral analysis. Further information on this graphic is available as information sheet on the media portal of the Siemens Stiftung.