“What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project
The novels commissioned and published as part of the Hogarth Shakespeare project involve a series of recontextualisations of Shakespeare’s work, not only from the genre of drama to that of prose or a range of established subgenres, but the choice of author to adapt it may also serve to locate the ad...
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| Publicado en: | URI:https://journals.openedition.org/interfaces, |
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| Formato: | Article ou chapitre numérique |
| Lenguaje: | Anglais |
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Interfaces
2022
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| Acceso en línea: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:interfaces_5053 |
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openedition-oai:revues.org:interfaces_5053 https://doi.org/10.4000/interfaces.5053 urn:doi:10.4000/interfaces.5053 en https://journals.openedition.org/interfaces/5053 2022-07-20T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4im https://creativecommons.org/licenses/by/4.0/ “What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Løfaldli, Eli adaptation genre recontextualisation générique paratexte Projet Hogarth Shakespeare Atwood (Margaret) Chevalier (Tracy) Flynn (Gillian) Jacobson (Howard) Nesbø (Jo) St. Aubyn (Edward) Tyler (Anne) Winterson (Jeanette) microgenre adaptation genre generic recontextualisation microgenre paratext Hogarth Shakespeare project Atwood (Margaret) Chevalier (Tracy) Flynn (Gillian) Jacobson (Howard) Nesbø (Jo) St. Aubyn (Edward) Tyler (Anne) Winterson (Jeanette) The novels commissioned and published as part of the Hogarth Shakespeare project involve a series of recontextualisations of Shakespeare’s work, not only from the genre of drama to that of prose or a range of established subgenres, but the choice of author to adapt it may also serve to locate the adaptation in a very specific microgenre defined by the connotations engendered by the modern author’s oeuvre – and frame its reception accordingly. The article discusses how this process finds expression in the Hogarth Shakespeare project paratexts, which are seen as ways of making creative use of the popular conceptions of the modern authors evoked by their very names to reframe, revise and re-energise Shakespeare’s work for new audiences, in part through the specific form of (micro)generic recontextualisation that they bring about. Les adaptations modernes en prose des pièces de Shakespeare ont franchi plusieurs frontières (génériques, culturelles, temporelles) – et les romans commissionnés et publiés au sein du projet Hogarth Shakespeare n’en font pas l’exception. Ils mêlent toute une série de remise en contexte dans le travail de Shakespeare. Les auteurs commissionnés et les conceptions populaires de leur travail, représentant une certaine forme d’écriture jouent un rôle majeur dans ce processus. Le procédé d’adaptation n’implique pas seulement une recontextualisation du contenu, dérivée du genre théâtral jusqu’à celle de la prose ou des affiliations étant faites avec une série de sous-genres déjà établis, mais le choix de l’auteur dans cette adaptation peut également servir à placer l’adaptation dans un micro-genre, défini par les connotations engendrées par l’œuvre moderne de l’auteur – et conceptualiser sa réception en ce sens. La fonction du paratexte dans les romans est particulièrement centrale dans ce procédé : l’apparition du nom de Jo Nesbø sur la couverture de Macbeth, les arguments des critiques de Edward St. Aubyn qui relatent à nouveau l’histoire du Roi Lear, ou l’utilisation de Gillian Flynn pour adapter Hamlet sont des façons d’exploiter de manière créative les conceptions populaires des auteurs modernes évoqués par leurs appellations pour redéfinir, réviser et redynamiser les travaux de Shakespeare pour un nouveau public, en partie par la forme spécifique de recontextualisation générique qu’elles apportent. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
adaptation genre recontextualisation générique paratexte Projet Hogarth Shakespeare Atwood (Margaret) Chevalier (Tracy) Flynn (Gillian) Jacobson (Howard) Nesbø (Jo) St. Aubyn (Edward) Tyler (Anne) Winterson (Jeanette) microgenre adaptation genre generic recontextualisation microgenre paratext Hogarth Shakespeare project Atwood (Margaret) Chevalier (Tracy) Flynn (Gillian) Jacobson (Howard) Nesbø (Jo) St. Aubyn (Edward) Tyler (Anne) Winterson (Jeanette) |
| spellingShingle |
adaptation genre recontextualisation générique paratexte Projet Hogarth Shakespeare Atwood (Margaret) Chevalier (Tracy) Flynn (Gillian) Jacobson (Howard) Nesbø (Jo) St. Aubyn (Edward) Tyler (Anne) Winterson (Jeanette) microgenre adaptation genre generic recontextualisation microgenre paratext Hogarth Shakespeare project Atwood (Margaret) Chevalier (Tracy) Flynn (Gillian) Jacobson (Howard) Nesbø (Jo) St. Aubyn (Edward) Tyler (Anne) Winterson (Jeanette) Løfaldli, Eli “What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project |
| description |
The novels commissioned and published as part of the Hogarth Shakespeare project involve a series of recontextualisations of Shakespeare’s work, not only from the genre of drama to that of prose or a range of established subgenres, but the choice of author to adapt it may also serve to locate the adaptation in a very specific microgenre defined by the connotations engendered by the modern author’s oeuvre – and frame its reception accordingly. The article discusses how this process finds expression in the Hogarth Shakespeare project paratexts, which are seen as ways of making creative use of the popular conceptions of the modern authors evoked by their very names to reframe, revise and re-energise Shakespeare’s work for new audiences, in part through the specific form of (micro)generic recontextualisation that they bring about. |
| author |
Løfaldli, Eli |
| author_facet |
Løfaldli, Eli |
| author_sort |
Løfaldli, Eli |
| title |
“What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project |
| title_short |
“What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project |
| title_full |
“What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project |
| title_fullStr |
“What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project |
| title_full_unstemmed |
“What’s in a Name?” Authorship as (Micro)Genre in the Paratext of the Hogarth Shakespeare Project |
| title_sort |
“what’s in a name?” authorship as (micro)genre in the paratext of the hogarth shakespeare project |
| publisher |
Interfaces |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.5053 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/5053 |
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1877293111768514560 |