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The derivative work becomes a second, separate work independent from the first. The transformation, modification or adaptation of the work must be substantial and bear its author's personality sufficiently to be original and thus protected by copyright. Translations, cinematic adaptations and musical arrangements are common types of derivative ...
Literary adaptation is adapting a literary source (e.g. a novel, short story, poem) to another genre or medium, such as a film, stage play, or video game. It can also involve adapting the same literary work in the same genre or medium just for different purposes, e.g. to work with a smaller cast, in a smaller venue (or on the road), or for a ...
Transcreation is a term coined from the words "translation" and "creation", and a concept used in the field of translation studies to describe the process of adapting a message from one language to another, while maintaining its intent, style, tone, and context.
The anglicisation of non-English words for use in English is just one case of the more widespread domestication of foreign words that is a feature of many languages, sometimes involving shifts in meaning. The term does not cover the unmodified adoption of foreign words into English (e.g. kindergarten) or the unmodified adoption of English words ...
An adaptation is a transfer of a work of art from one style, culture or medium to another. Some common examples are: Film adaptation , a story from another work, adapted into a film (it may be a novel, non-fiction like journalism, autobiography, comic books, scriptures, plays or historical sources).
A film adaptation is the transfer of a work or story, in whole or in part, to a feature film. Although often considered a type of derivative work, film adaptation has been conceptualized recently by academic scholars such as Robert Stam as a dialogic process.
An abridgement (or abridgment) is a condensing or reduction of a book or other creative work into a shorter form while maintaining the unity of the source. [1] The abridgement can be true to the original work in terms of mood and tone, capturing the parts the abridging author perceives to be most important; it could be a complete parody of the original or it could fall anywhere in between ...
As Lynch explains, "[a]s a whole Austen's writing is about social relations—the relationship between, say, domestic life and public life—and about reading relations—about the textual conventions by which audiences are formed and distinguished. Her narratives weave together the processes of romantic choice and cultural discrimination."