Seda Öz is a post-doctoral researcher in the Department of English at the University of Delaware. Taner Can is an associate professor in the Department of English Language and Literature at TED University.

• 1. Introduction. - Adaptation in the East-West Bridge Seda Öz.-PART 1.-TRANSNATIONAL ADAPTATIONS.-2. Early Turkish Cinema: A Hi/story of Localization, Turkification, and Adaptation Savaş Arslan.-3. The Domestic Transformations of Bram Stoker’s Dracula in The Formative Years of the Turkish Republic Ceylan Köşker-Bevington​​​​​​​.-4. The Bard Sings in Turkish: Music Adaptations of Shakespeare’s Sonnet 66 in Türkiye Murat Öğütçü​​​​​​​.-5. Appropriating, Modernizing, or Localizing?.- Adaptations of Pride and Prejudice on Turkish TV Defne Ersin-Tutan​​​​​​​.-PART 2.-POPULAR CULTURE ADAPTATIONS​​​​​​​.-6. Kara Murat, Dracula, and Ali Baba.-Adapting Turkish Historical Adventure Comics to the Big Screen Kaya Özkaracalar​​​​​​​.-7. Literary Adaptation on Turkish Television: The Interplay of Commerciality, Nationality, and Culture in Adapting Canonical Texts M. Mert Örsler​​​​​​​.-8. Cem Yılmaz, Telecinematic Genre Revival and Ideology of the Turkish Film Remakes Murat Akser​​​​​​​.-PART 3.-CULTURE, THEORY, AND ADAPTATION​​​​​​​.-9. From Text to Screen and Screen to Text.-Orhan Pamuk’s Secret Face as a Fluid Text Taner Can​​​​​​​.-10. Relational Geometries in Our Grand Despair (2011) and Jules et Jim (1962) Colleen Kennedy-Karpat​​​​​​​.-11. Documentary Theatre as a Countermemory Practice on the Turkish Stage: Adaptation of History in Bilgesu Erenus’s Çağrı and Genco Erkal’s Sivas’93 Özlem Özmen-Akdoğan​​​​​​​.-12. Navigating Intermedial Adaptation through Translation: Dear Shameless Death Dirmit Naciye Sağlam​​​​​​​.-13. A Discussion on Yeşilçam's Adaptive Strategies with Cem Kaya Taner Can and Seda Öz.

Seda Öz is a post-doctoral researcher in the Department of English at the University of Delaware. Taner Can is an associate professor in the Department of English Language and Literature at TED University.

• 1. Introduction. - Adaptation in the East-West Bridge Seda Öz.-PART 1.-TRANSNATIONAL ADAPTATIONS.-2. Early Turkish Cinema: A Hi/story of Localization, Turkification, and Adaptation Savaş Arslan.-3. The Domestic Transformations of Bram Stoker’s Dracula in The Formative Years of the Turkish Republic Ceylan Köşker-Bevington​​​​​​​.-4. The Bard Sings in Turkish: Music Adaptations of Shakespeare’s Sonnet 66 in Türkiye Murat Öğütçü​​​​​​​.-5. Appropriating, Modernizing, or Localizing?.- Adaptations of Pride and Prejudice on Turkish TV Defne Ersin-Tutan​​​​​​​.-PART 2.-POPULAR CULTURE ADAPTATIONS​​​​​​​.-6. Kara Murat, Dracula, and Ali Baba.-Adapting Turkish Historical Adventure Comics to the Big Screen Kaya Özkaracalar​​​​​​​.-7. Literary Adaptation on Turkish Television: The Interplay of Commerciality, Nationality, and Culture in Adapting Canonical Texts M. Mert Örsler​​​​​​​.-8. Cem Yılmaz, Telecinematic Genre Revival and Ideology of the Turkish Film Remakes Murat Akser​​​​​​​.-PART 3.-CULTURE, THEORY, AND ADAPTATION​​​​​​​.-9. From Text to Screen and Screen to Text.-Orhan Pamuk’s Secret Face as a Fluid Text Taner Can​​​​​​​.-10. Relational Geometries in Our Grand Despair (2011) and Jules et Jim (1962) Colleen Kennedy-Karpat​​​​​​​.-11. Documentary Theatre as a Countermemory Practice on the Turkish Stage: Adaptation of History in Bilgesu Erenus’s Çağrı and Genco Erkal’s Sivas’93 Özlem Özmen-Akdoğan​​​​​​​.-12. Navigating Intermedial Adaptation through Translation: Dear Shameless Death Dirmit Naciye Sağlam​​​​​​​.-13. A Discussion on Yeşilçam's Adaptive Strategies with Cem Kaya Taner Can and Seda Öz.

Seda Öz is a post-doctoral researcher in the Department of English at the University of Delaware. Taner Can is an associate professor in the Department of English Language and Literature at TED University.

• 1. Introduction. - Adaptation in the East-West Bridge Seda Öz.-PART 1.-TRANSNATIONAL ADAPTATIONS.-2. Early Turkish Cinema: A Hi/story of Localization, Turkification, and Adaptation Savaş Arslan.-3. The Domestic Transformations of Bram Stoker’s Dracula in The Formative Years of the Turkish Republic Ceylan Köşker-Bevington​​​​​​​.-4. The Bard Sings in Turkish: Music Adaptations of Shakespeare’s Sonnet 66 in Türkiye Murat Öğütçü​​​​​​​.-5. Appropriating, Modernizing, or Localizing?.- Adaptations of Pride and Prejudice on Turkish TV Defne Ersin-Tutan​​​​​​​.-PART 2.-POPULAR CULTURE ADAPTATIONS​​​​​​​.-6. Kara Murat, Dracula, and Ali Baba.-Adapting Turkish Historical Adventure Comics to the Big Screen Kaya Özkaracalar​​​​​​​.-7. Literary Adaptation on Turkish Television: The Interplay of Commerciality, Nationality, and Culture in Adapting Canonical Texts M. Mert Örsler​​​​​​​.-8. Cem Yılmaz, Telecinematic Genre Revival and Ideology of the Turkish Film Remakes Murat Akser​​​​​​​.-PART 3.-CULTURE, THEORY, AND ADAPTATION​​​​​​​.-9. From Text to Screen and Screen to Text.-Orhan Pamuk’s Secret Face as a Fluid Text Taner Can​​​​​​​.-10. Relational Geometries in Our Grand Despair (2011) and Jules et Jim (1962) Colleen Kennedy-Karpat​​​​​​​.-11. Documentary Theatre as a Countermemory Practice on the Turkish Stage: Adaptation of History in Bilgesu Erenus’s Çağrı and Genco Erkal’s Sivas’93 Özlem Özmen-Akdoğan​​​​​​​.-12. Navigating Intermedial Adaptation through Translation: Dear Shameless Death Dirmit Naciye Sağlam​​​​​​​.-13. A Discussion on Yeşilçam's Adaptive Strategies with Cem Kaya Taner Can and Seda Öz.