| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910793665703321 |
|
|
Autore |
Coulomb Fanny <1972-> |
|
|
Titolo |
Industries de la défense dans le monde / / Fanny Coulomb |
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Fontaine : , : Presses Universitaires de Grenoble, , [2017] |
|
©2017 |
|
|
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (119 pages) |
|
|
|
|
|
|
Collana |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Sommario/riassunto |
|
Une synthèse sur l'économie de l'industrie de défense mondiale, de la production d'armes jusqu'au marché de l'armement. Qui produit les armes ? Qui vend à qui ? Ce livre décrit et explique les enjeux stratégiques et économiques de la production d'armes dans le monde, à l'heure où détenir une industrie d'armement performante demeure l'ambition de la plupart des grandes puissances, anciennes ou émergentes. Idéal pour mieux comprendre la géopolitique mondiale. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2. |
Record Nr. |
UNINA9910483880203321 |
|
|
Titolo |
Adaptation Considered as a Collaborative Art : Process and Practice / / edited by Bernadette Cronin, Rachel MagShamhráin, Nikolai Preuschoff |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Cham : , : Springer International Publishing : , : Imprint : Palgrave Macmillan, , 2020 |
|
|
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
|
|
Edizione |
[1st ed. 2020.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (373 pages) |
|
|
|
|
|
|
Collana |
|
Adaptation in Theatre and Performance, , 2947-4051 |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
|
|
Soggetti |
|
Performing arts |
Theater |
Motion picture acting |
Literature and technology |
Mass media and literature |
Comparative literature |
Motion picture authorship |
Theater - Production and direction |
Theatre and Performance Arts |
Screen Performance |
Literature and Technology |
Comparative Literature |
Screenwriting |
Theatre Direction and Production |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Nota di contenuto |
|
1. Introduction: Process and Practice -- 2. Collaborating with the Dead, or Adapters as Secret Agents -- 3. 'Playing the Maids': Playing with Adaptive Possibilities - Collaboration and the Actor's Process -- 4. The Not-So-Singular Life of Albert Nobbs -- 5. Adaptation, Devising and Collective Creation: Tracing Histories of Pat McCabe's The Butcher Boy on Stage -- 6. The Alien World of Objects: Stanley Kubrick's The Killing |
|
|
|
|
|
|
|
|
|
|
|
-- 7. Adapting History in the Docupoetry of Lorna Dee Cervantes and Script Poems of Danez Smith and Claudia Rankine -- 8. "His world had vanished long before he entered it" Wes Anderson's homage to Stefan Zweig -- 9. Collaborative Art with Political Intent: The 1933 Adaptation of Theodor Storm's Der Schimmelreiter / The Rider on the White Horse (1888) -- 10. Adapting Hein's Willenbrock: Andreas Dresen and the legacy of the GDR 'Ensemble' Tradition -- 11. Same Player, Shoot Again: Géla Babluan's 13 (Tzameti), Transnational Auto-Remakes, and Collaboration -- 12. Anselm Kiefer's Signature -- 13. Adaptation as Arguing with the Past: The Case of Sherlock -- 14. The Prestige Noverlisation of the Contemporary TV Series: David Hewson's The Killing -- 15. Things You Can Do to an Author When He's Dead: Literary Prosthetics and the Example of Heinrich von Kleist -- 16. Collaborating with the Dead, Playing the Shakespeare Archive; or How We Can Avoid Being Pushed from Our Stools. |
|
|
|
|
|
|
Sommario/riassunto |
|
This book examines the processes of adaptation across a number of intriguing case studies and media. Turning its attention from the 'what' to the 'how' of adaptation, it serves to re-situate the discourse of adaptation studies, moving away from the hypotheses that used to haunt it, such as fidelity, to questions of how texts, authors and other creative practitioners (always understood as a plurality) engage in dialogue with one another across cultures, media, languages, genders and time itself. With fifteen chapters across fields including fine art and theory, drama and theatre, and television, this interdisciplinary volume considers adaptation across the creative and performance arts, with a single focus on the collaborative. |
|
|
|
|
|
|
|
| |