Baby boomers are living longer, and as they age, they will need more supportive services that may include housing, mobility, nutrition, personal care, or health care. Despite the studies that have been conducted on baby boomers aging in place (choosing to stay in their home versus move to an institution), the focus has been on the old and frail and very little has been done to address the lifestyle of active (physically functioning) baby boomers. The purpose of this phenomenological study was to understand the lived, shared experiences of active baby boomers regarding their beliefs and attitudes about aging in place and the implications of this decision. The theoretical foundation of the study was based on Atchley's continuity theory. Data were gathered through in-person, semi-structured interviews with 11 participants, age 65 and older, living in a coastal area of a southern state. Data from the interviews were inductively coded and then organized around key themes. The themes from the content analysis indicated that the participants were embracing the concept of aging in place and adjusting to their limitations (i.e. physical, financial, emotional, and/or environmental) when present. Identified barriers to aging in place were access to services (specifically medical and in-home care), financial constraints, and the inability to drive or inaccessibility of transportation. This study contributes to positive social change by providing policymakers and administrators with information to strengthen the argument that the current social service delivery system is overburdened and may not meet the demands of this population in order for them to maintain their independence and autonomy. Additionally, this study raises awareness among policymakers that driving longer will in itself possess its own challenges such as visibility concerns and roadway design not conducive to aging adults.

The first decade of this century marked a moment of hypervisibility for lesbians and bisexual women on British television. During this time, however, lesbian hypervisibility was coded repeatedly as hyperfemininity. When the BBC and ITV adapted Sarah Waters’s novels for television, how, I ask, did the screen versions balance the demands of pop visual culture with the novels’ complex, unconventional – and in some cases subversive – representations of lesbianism? I pursue this question with an interdisciplinary methodology drawn from queer and feminist theories, cultural and media studies, and film adaptation theory. Chapter Two looks back to Jeanette Winterson’s Oranges Are Not the Only Fruit (BBC 1990). I examine this text – the first BBC television serial to feature a lesbian protagonist – to establish a vocabulary for discussing the page-to-screen adaptation of queer identities throughout this dissertation. Chapter Three investigates Waters’s first novel Tipping the Velvet (1998) and its complex intertextual relationship with Andrew Davies’s serialized version (BBC 2002). I also examine responses to the serial in the British press, tracing the ways in which dominant cultural forces seek to domesticate non-normative instances of gender and sexuality. Chapter Four examines Waters’s novel Fingersmith (2002) in relation to Peter Ransley’s adaptation (BBC 2005) to situate adaptations of Waters’s retro-Victorian texts amid the genre of television and film adaptations of Jane Austen novels. I argue that Ransley’s serial interrogates the notion of Austen as a “conservative icon” (Cartmell 24) and queers the Austen adaptation genre itself. To conclude this study I address Davies’s television film (ITV 2008) of Waters’s second novel Affinity (1999). In this chapter I examine how the adaptation depicts the disruptive lesbian at the centre of the text. I argue in particular that by casting an actress who does not conform to dominant televisual norms of femininity, the adaptation is able to create a powerful audiovisual transgendered moment which adds to the novel’s destabilization of Victorian hierarchies of gender and class. This chapter considers, finally, how Tipping the Velvet, Fingersmith and Affinity have contributed to lesbian visibility on British television. / Thesis (Ph.D, English) -- Queen's University, 2009-05-27 11:26:42.504

Adaptation studies has recently turned an eye towards translation theory for valuable discussion on the role of movie makers as translators. Such discussion notes the difficulties inherent in adapting a medium such as a book, a play, or even a theme park ride into film. These difficulties have interesting parallels to the translation of one language into another. Translation theory, in fact, can shed important light on the adaptation process. Intrinsic to translation theory is the dichotomy between domesticating translation and foreignizing translation, the two major styles of translation. Translation scholar Lawrence Venuti, the author of these two terms, argues that while the former is an "ethnocentric reduction of the foreign text to receiving cultural values, bringing the author back home," the latter is "an ethnodeviant pressure on those values to register the linguistic and cultural differences of the foreign text, sending the reader abroad" (15). Venuti suggests that foreignizing translations, ones that maintain distinct cultural difference within the translated target text, are more desirable and ultimately commit less violence on the source text and language. This paper analyzes the 1940 film The Thief of Bagdad, a British remake of a 1924 Hollywood film by the same name, for its elements of foreignizing translation. Producer Alexander Korda, acting as a kind of translator, made this film during the height of the British national film movement. Supported by this movement, and inspired by his own personal vendetta against Hollywood, Korda took an American blockbuster and re-vised it with distinctly British thematic elements. Because his ultimate audience was an American one, however, I argue that his film took an American source text, The Thief of Bagdad (1924), and foreignized it, hoping, in the process, to establish British cinema as a major player in the international film world.

The aim of the study is to carry out a comparative causative analysis of population systems in the territory of Lithuania in the 1st–12th century AD. For this purpose, a unique GIS GDB of archaeological sites and find spots of Iron Age in Lithuania was compiled making advantage of the possibilities offered by GIS technologies. The comprehensive analysis of chronological development of territory population (by cultural groups localized in the territory of Lithuania) systems was carried out distinguishing their progression, change, stability and regression stages. The results obtained by detailed cartographic analysis allowed supplementing the data obtained by other researchers who have investigated the structural homogeneity of cultural areas and distinguished their kernel areas, peripheries, unpopulated tribal and intertribal territories, and peripheral areas of mixed cultural possession. Much attention was paid to the boundaries of cultural areas and their changes. The territorial unevenness of the spread of innovations is pointed out and their seed-beds and centres of old tradition distinguished. The regional differences of population and ethnogenetic processes in the territory of Lithuania were evaluated in close correlation with the natural environment as a determining factor of paramount importance. A concept of natural environment and integrity of cultural divisions (ethnogeocoenoses) is presented and used as an ideological and theoretical basis for further structural... [to full text] / Disertacijos tikslas – atlikti I–XII a. Lietuvos teritorijos apgyvenimo sistemų palyginamąją priežastinę analizę. Tyrimui sukurta unikali Lietuvos geležies amžiaus archeologinių vietų ir radimviečių GIS GDB, kurios pagrindu, panaudojant GIS technologijas, atlikta išsami skirtingų I–XII a. Lietuvos teritorijoje lokalizuotų kultūrinių regionų teritorijos apgyvenimo sistemų chronologinės raidos analizė (skiriant jų plėtros, kaitos, stabilumo bei regresijos laikotarpius). Detalios kartografinės analizės rezultatas – papildyti ir patikslinti iki šiol kitų tyrinėtojų atlikti tyrimai, vertinant kultūrinių regionų struktūrinį nevienalytiškumą, išskiriant juose branduolius, periferiją, tarpgentines ir vidujgentines neapgyventas teritorijas bei mišrios kultūrinės priklausomybės periferines teritorijas. Daug dėmesio skirta kultūrinių regionų riboms, jų kaitai. Atkreiptas dėmesys į inovacijų plitimo teritorinį netolygumą, išskiriant jų židinius bei konservatyviuosius senųjų tradicijų centrus. Lietuvos teritorijos apgyvenimo ir etnogenezės procesų raidos regioniniai skirtumai vertinti neatsiejant jų nuo gamtinės aplinkos – kaip itin svarbaus jų raidą determinuojančio faktoriaus, įtakos vertinimo. Tuo pagrindu parengta gamtinės aplinkos ir kultūrinių darinių integralumo (etnogeocenozių) koncepcija, šiame darbe tapusi teoriniu pagrindu atliekant tolimesnę teritorijos apgyvenimo sistemų struktūrinę analizę. Aptariant bendruomenių adaptaciją nevienalytėje gamtinėje aplinkoje, išryškinti Rytų... [toliau žr. visą tekstą]

Disertacijos tikslas – atlikti I–XII a. Lietuvos teritorijos apgyvenimo sistemų palyginamąją priežastinę analizę. Tyrimui sukurta unikali Lietuvos geležies amžiaus archeologinių vietų ir radimviečių GIS GDB, kurios pagrindu, panaudojant GIS technologijas, atlikta išsami skirtingų I–XII a. Lietuvos teritorijoje lokalizuotų kultūrinių regionų teritorijos apgyvenimo sistemų chronologinės raidos analizė (skiriant jų plėtros, kaitos, stabilumo bei regresijos laikotarpius). Detalios kartografinės analizės rezultatas – papildyti ir patikslinti iki šiol kitų tyrinėtojų atlikti tyrimai, vertinant kultūrinių regionų struktūrinį nevienalytiškumą, išskiriant juose branduolius, periferiją, tarpgentines ir vidujgentines neapgyventas teritorijas bei mišrios kultūrinės priklausomybės periferines teritorijas. Daug dėmesio skirta kultūrinių regionų riboms, jų kaitai. Atkreiptas dėmesys į inovacijų plitimo teritorinį netolygumą, išskiriant jų židinius bei konservatyviuosius senųjų tradicijų centrus. Lietuvos teritorijos apgyvenimo ir etnogenezės procesų raidos regioniniai skirtumai vertinti neatsiejant jų nuo gamtinės aplinkos – kaip itin svarbaus jų raidą determinuojančio faktoriaus, įtakos vertinimo. Tuo pagrindu parengta gamtinės aplinkos ir kultūrinių darinių integralumo (etnogeocenozių) koncepcija, šiame darbe tapusi teoriniu pagrindu atliekant tolimesnę teritorijos apgyvenimo sistemų struktūrinę analizę. Aptariant bendruomenių adaptaciją nevienalytėje gamtinėje aplinkoje, išryškinti Rytų... [toliau žr. visą tekstą] / The aim of the study is to carry out a comparative causative analysis of population systems in the territory of Lithuania in the 1st–12th century AD. For this purpose, a unique GIS GDB of archaeological sites and find spots of Iron Age in Lithuania was compiled making advantage of the possibilities offered by GIS technologies. The comprehensive analysis of chronological development of territory population (by cultural groups localized in the territory of Lithuania) systems was carried out distinguishing their progression, change, stability and regression stages. The results obtained by detailed cartographic analysis allowed supplementing the data obtained by other researchers who have investigated the structural homogeneity of cultural areas and distinguished their kernel areas, peripheries, unpopulated tribal and intertribal territories, and peripheral areas of mixed cultural possession. Much attention was paid to the boundaries of cultural areas and their changes. The territorial unevenness of the spread of innovations is pointed out and their seed-beds and centres of old tradition distinguished. The regional differences of population and ethnogenetic processes in the territory of Lithuania were evaluated in close correlation with the natural environment as a determining factor of paramount importance. A concept of natural environment and integrity of cultural divisions (ethnogeocoenoses) is presented and used as an ideological and theoretical basis for further structural... [to full text]

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Filmmakers have had four main difficulties adapting The Adventures of Huckleberry Finn to film: point of view, structure, audience and the novel's ending. By studying the different approaches of various directors to each obstacle, certain facts emerge about both the films and the novel. While literary scholars have studied Huck from practically every angle, none have sufficiently viewed the book through the lens of adaptation, despite the fact that it has been adapted to film and television over twenty times. The few critics who have studied the adaptations have done so using dated methodologies that boil down to little more than a question of how faithfully the films recreate the novel. By judging a movie solely on the basis of the book's merits, critics ignore the fact that a change in medium necessitates a change in material. With each adaptation, a new opportunity arises to study the novel from a fresh standpoint.

This paper explores two adaptations by rock musician Lou Reed of the Velvet Underground and Metal Machine Music fame. Reed has always been a complicated and controversial figure, but two of his albums—The Raven (2003), a collaborative theater piece; and Lulu (2011), a collaboration with heavy metal band Metallica—have inspired confusion and vitriol among both fans and critics. However, both adaptations, rich in intertextual references, at once show Reed to be what music historian Simon Reynolds calls a portal figure—offering a map of references to other texts for fans, indicating his own indebtedness to prior art—and to also be an uncompromisingly unique and original artist. This thesis analyzes both The Raven and Lulu and their adaptive connections to their source texts (the collected works of Edgar Allan Poe and the Lulu plays by German modernist Frank Wedekind) through the lens of adaptation theory. Although both albums, especially Lulu, were vilified by fans and critics alike, an exploration of both texts and their sources reveals a more complicated reading of the albums, as well as shedding light on adaptation theory. Reed's adaptations, in particular, offer compelling new insights into notions of fidelity—between an adaptation and its source, as well as between Reed and his career—and also promote alternative forms of listening pleasure, which challenge cultural and music industry boundaries regarding contemporary music. Lou Reed and his adaptive practice occupy a crucial position in the adaptive process, in both rock and heavy metal music.

This thesis examines how the aesthetic and queer themes in E. W. Hornung’s Raffles stories have been transmediated in the TV-series Raffles. Hornung’s Raffles stories were not only immensely popular in their time, but were also a reflection of the fin-de-siècle and of the cultural role aestheticism played in the late Victorian society. Though a number of adaptations were made in the early 20th century, none of them adapted Hornung’s original stories to the same extent as the 1975-77 Yorkshire TV-series.  In this study, material such as original scripts, notes, and correspondence from screenwriter Philip Mackie’s personal collection are examined from an adaptation theoretical perspective in relation to Hornung’s books and the finished TV-series. At the same time, a queer reading of the screenplays and of the televised series is made and compared to previous academic queer readings of Hornung’s stories. The adaptation is discussed in context with the time period in which it was produced and with the various factors that have formed it, such as financial restraints and medium related conventions.  The study demonstrates that both aesthetic and queer themes that correspond to those found in Hornung’s stories can be found in the TV-series. It argues that the political climate of the 1970s both restrained how Raffles and Bunny’s relationship was portrayed in the series but also allowed for a more faithful adaptation of Hornung’s stories, including their aesthetic and queer themes, than had previously been possible.

The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.