Humanidades digitales y la escuela 2.0

During the last decades the growth and development of Information and Communication Technologies (ICT) have led us to a new social paradigm that reflects a deep change not only in an individual but also in a social behavioural pattern. All these changes define the so-called knowledge and information society. This social evolution has had different textual states and types as its main core and instrument of transformation therefore scholars and specialists in the field of Humanities have not missed the opportunity of studying recent phenomena, which have come from the current setting given by new technologies. Researchers in Humanities have had to reconsider their own traditional working method based on printed text in order to analyse how nowadays we search for data, select them, analyse them and the ways we create and spread new information and knowledge. Having in mind this scenario where humanist works, the concept of Digital Humanities has arisen conditioned by the existence of cyberspace, digital text, hypertext, on-line text, implementation of new ways of communication, global access to information and various elements which build a common methodology for all humanistic disciplines. Most of these changes have affected the educational system and education as an academic and humanistic discipline.

La adaptación teatral de textos narrativos en España, 1972-2012

Novel or story adaptations and also dramatic texts versions, that need to be translated and updated to modern audiences are quite frequent in today`s theatre. This study aims to show the state of contemporary stage adaptation of narrative texts and, specifically, its evolution in Spain in the last forty years (1972-2012). To do this, I have tried to gather, first, all the terminology associated with the concept of stage adaptation: version, dramaturgy, rewriting, translation, interpretation, updating and consolidation. The theoretical part of the work begins with the various definitions of the concept of dramatization. All the positions reflected by theorists and specialists in the field come together when explaining the term adaptation or theatre version: the intervention on the original text is based on the transformation or change, radical or superficial, for its effective representation in the theatre. In contemporary times, the concept of adaptation applies to any kind of intervention, from the translation of the original (and rewriting) to the dramaturgical work involved in creating a new sense. In turn, any theatre adaptation requires a dramaturgical operation and supports all possible moves: reorganization of the story, breakage, reduced characters, dramatic concentration, incorporation of foreign texts, installation and collage, changes to the plot, etc. Although there is no definitive model for the theatre adaptation of works, several authors and theatrical theorists propose guidelines and types of adaptation to the transformation of a work into another or one genre into a different one; and regarding narrative texts, provide criteria for interpreting the original text. The issue for many authors is the danger of modifying or betraying the sense or the form of the original text, considering it as simple material for the play. Finally, it follows that there is affinity of thought among authors finding that there is no differentiation between adaptation and version: both terms refer to the same in the theatrical event and are also terms used equally for the countless film adaptations of novels and plays...