In lieu of an abstract, here is a brief excerpt of the content:

• "The Isle Is Full of Noises": the Many Tempests of Margaret Atwood's Hag-Seed
• Melissa Caldwell (bio)

Hag-Seed, Meta-Adaptation, and Paratext

Drama, as Julie Sanders has written, is "an inherently adaptive art," but the line between production and adaptation is not always clear.¹ Differences between the interpretation of an original text and the creation of a new text can be difficult to judge. Cary Mazer has argued that all dramatic productions exist "along a continuum" of adaptation because "virtually every production deviates from the original script in intent, aesthetic method, theatrical convention, and ideology; scripts are routinely cut and trimmed, with scenes and segments transposed or repositioned … characters cut, conflated, or combined, with changes of age, race, and gender."² Indeed, the qualities used by Mazer to describe a production could be applied to almost any modern literary adaptation. Although Mazer herself distinguishes a production from an adaptation, ultimately she argues that the difference between a more radically inventive production—the kind that leads to the creation of an adaptation—and a more faithful representation of an antecedent text is "a difference in degree but not in kind."³

The close connection suggested by Mazer between production and adaptation bears some similarity to Gérard Genette's definition of an adaptation. In Genette's formulation, the adaptation, or hypertext, offers "a simple or direct transformation" of an antecedent text, what Genette calls the hypotext. The "transposing [of] the action" of Homer's Odyssey that [End Page 119] occurs in a work such as James Joyce's Ulysses is one such transformation.⁴ Among the most important categories of adaptation for Genette are the ones that cross genre: "serious transformation, or transposition, is without any doubt the most important of all hypertextual practices … [it] can give rise to works of vast dimensions … whose textual amplitude and aesthetic and/or ideological ambition may mask or even completely obfuscate their hypertextual character."⁵ Shakespeare originally wrote his dramatic works with the assumption of transposition; in other words, Shakespeare wrote his plays to be transformed from a page to the stage. With this intent came the understanding that performance is a necessarily interpretative act undertaken in a public space for an audience in a specific context. Generic transposition is also a practice Shakespeare could have conceptualized, at least to some degree, since he regularly adapted the plots of his plays from popular prose fiction of his era. And in converting these fictional tales to dramatic form, he prepared the way for them to be readapted and reinterpreted in our era.

In Hag-Seed (2106), Margaret Atwood makes the most out of this "invitation to reinvention"⁶ in her novelization of The Tempest, a play for which there is no known hypotext. The novel is an adaptation that engages in generic transposition in multifaceted ways as it uses both narrative and form to make the reader aware of the movement from one genre to another. Any novelist who comes to Shakespeare's work must be ready to wrestle both with its dramatic and poetic nature, for the prosification of a Shakespearean play will involve grappling with both. While poetics is beyond the scope of this essay, in what follows I will focus on the ways in which the move from dramatic work to novel is at the forefront of Atwood's mind in her adaptation of The Tempest. The reader is never allowed to forget that the novel is adapted not just from an antecedent text, but specifically from a dramatic work. Atwood intentionally cultivates this awareness in the reader by not only retelling the story of Shakespeare's play but also narrativizing the adaptative art. It is easy to assume that the purpose of Atwood's novel is a "faithful" translation of Shakespeare's late romance into the 21^st century. The novel's full title clearly categorizes it as a "retelling," leaving no question that the author intends the work to be read as an adaptation of The Tempest. Although radically changed from Shakespeare's deserted isle populated with Italian politicians to a literal [End Page 120] stage in Canada in 2013, Atwood painstakingly seeks out "equivalence" for each...

中文翻译：

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“岛上充满了噪音”：玛格丽特·阿特伍德的女巫种子的许多风暴

以下是内容的简短摘录，以代替摘要：

• “岛上充满了噪音”：玛格丽特·阿特伍德的女巫种子的许多风暴
• 梅丽莎·考德威尔（简介）

Hag-Seed、元适应和副文本

正如朱莉·桑德斯所写，戏剧是“一种本质上适应性的艺术”，但制作和改编之间的界限并不总是清晰的。¹原始文本的解释和新文本的创建之间的差异可能很难判断。卡里·梅泽认为，所有戏剧作品都“沿着一个连续体”的改编而存在，因为“几乎每部作品在意图、美学方法、戏剧传统和意识形态上都偏离了原始剧本；剧本经常被剪辑和修剪，场景和片段被调换”或重新定位……角色随着年龄、种族和性别的变化而被剪切、合并或组合。” ²事实上，梅泽用来描述作品的品质几乎可以应用于任何现代文学改编。尽管梅泽本人将作品与改编区分开来，但最终她认为，更具根本性的创造性作品（导致改编作品的那种）与对先前文本的更忠实再现之间的区别是“程度上的差异，但不是实物。” ³

梅泽提出的制作和改编之间的密切联系与热拉尔·热内特对改编的定义有一些相似之处。在热内特的表述中，改编或超文本提供了前文文本的“简单或直接转换”，热内特称之为次文本。在詹姆斯·乔伊斯的《尤利西斯》等作品中发生的荷马《奥德赛》的“动作转换” [结束第 119 页]就是这样的一种转变。⁴热内特最重要的改编类别是跨流派的：“严肃的转变，或换位，毫无疑问是所有超文本实践中最重要的……[它]可以产生巨大尺寸的作品……其文本幅度和美学和/或意识形态野心可能掩盖甚至完全混淆其超文本特征。” ⁵莎士比亚最初是在换位的假设下写出他的戏剧作品的。换句话说，莎士比亚写他的戏剧是为了从书页转变为舞台。出于这种意图，我们认识到表演是在公共空间中为特定背景下的观众进行的必然的解释行为。通用换位也是莎士比亚至少在某种程度上可以概念化的一种做法，因为他经常根据他那个时代的流行散文小说改编他的戏剧情节。在将这些虚构故事转化为戏剧形式的过程中，他为它们在我们这个时代的重新改编和重新诠释铺平了道路。

在《Hag-Seed》 （2106）中，玛格丽特·阿特伍德在她的小说《暴风雨》中充分利用了这种“重塑的邀请” ⁶，这部戏剧没有已知的假文本。这部小说是一种以多方面方式进行类属换位的改编作品，它使用叙事和形式让读者意识到从一种流派到另一种流派的转变。任何接触莎士比亚作品的小说家都必须准备好与它的戏剧性和诗意性进行斗争，因为莎士比亚戏剧的散文化将涉及到与这两者的斗争。虽然诗学超出了本文的范围，但在接下来的内容中，我将重点讨论阿特伍德在她的改编作品中如何从戏剧作品转向小说。暴风雨。读者永远不要忘记，这部小说不仅改编自先前的文本，而且特别改编自戏剧作品。阿特伍德不仅通过重述莎士比亚戏剧的故事，而且还对适应性艺术进行叙述，有意培养读者的这种意识。人们很容易认为阿特伍德小说的目的是将莎士比亚晚期的浪漫史“忠实”地翻译成21^世纪。小说的完整标题明确地将其归类为“重述”，毫无疑问，作者打算将这部作品视为《暴风雨》的改编版。虽然从莎士比亚笔下意大利政客居住的荒岛彻底改变为字面上的[完第120页]2013 年在加拿大的舞台上，阿特伍德煞费苦心地为每个……寻找“对等”。