Once again, an excellent example of adaptation is the film version of One Hundred Years of Solitude. Adaptation is an essential tool in storytelling, allowing stories to be transferred from one medium to another while preserving the essence of the original. In the case of One Hundred Years of Solitude's case, adaptation was necessary to bring the beloved novel to the screen. The film, directed by Jorge Ali Triana, does a remarkable job of capturing the spirit of the novel while still making some changes to the story. The most noticeable change in the film adaptation is the omission of some of the magical elements of the novel. While the novel is full of magical realism, the film strips away some of this, emphasizing the story's human elements and making it more accessible to a broader audience. At the same time, the film still maintains the magical atmosphere of the novel, with beautiful cinematography and a sweeping score. The magical elements are still present, but in a subtler, more grounded way (Domingo pp. 24). The film also makes other changes to the novel, such as shifting the story's focus to the character of Jose Arcadia Buendia. In the novel, the story is told from the perspective of many characters. At the same time, the film narrows its focus onto Jose Arcadia Buendia, allowing the audience to follow his journey and understand the characters' motivations. This shift in focus also allows the film to explore themes of love and loss, as well as the passing of time, in a more effective way.

Another example of adaptation is the play version of Faust. The original version of Faust was written by Christopher Marlowe in the late 1500s and tells the story of a man who sells his soul to the Devil in exchange for unlimited knowledge and power. In Goethe's adaptation, the story is essentially the same but with some critical changes. The most notable of these changes is the addition of a new character, Mephistopheles, a devilish figure who appears as a servant to Faust (Cooksey pp. 382). This addition adds an extra layer of intrigue to the story, as Mephistopheles acts as a foil to Faust and complicates the protagonist's journey. Another critical change that Goethe made to the original story was deepening the themes of the story. In Marlowe's version, the story is mainly focused on Faust's pursuit of knowledge and power, with his character being driven by a thirst for knowledge and power. In Goethe's adaptation, however, the story is focused more on Faust's search for meaning and purpose in life. This shift in focus changes the story from being a mere tale of Faust's ambition to a more complex exploration of the human condition. The changes Goethe made to the original story of Faust demonstrate the potential of adaptation. By adding a new character, deepening the story's themes, and shifting the story's focus, Goethe was able to create a powerful and thought-provoking adaptation of Marlowe's work. His adaptation of Faust exemplifies how a work can be transformed while retaining its essence. The play version of Faust is a testament to the power of adaptation and proves that work can be transformed into something new and exciting with creativity.

Translation is another process used to move literature from one context to another. For example, the Spanish novel One Hundred Years of Solitude has been translated into many languages, including English. Translating a novel such as One Hundred Years of Solitude from Spanish to English is a complex process that requires great care and attention to detail. The translator must remain faithful to the original story, and its characters and must also work to capture the novel's unique atmosphere, nuances, and culture (Cooksey pp. 381). The first step in translating a novel is understanding the story's context and characters. It means understanding the original work’s language, culture, history, and literary conventions. In One Hundred Years of Solitude, for example, the translator must consider the novel's magical realism, Latin American setting, and characters' distinct personalities and motivations. All these elements contribute to the story's unique atmosphere and must be conveyed in the translation to be faithful to the original. The next step is deciding how to convey the novel’s nuances best.  One of the most critical aspects of this is to ensure that the language used in the translation is appropriate for the target audience. For example, suppose the original novel contained references to Latin American culture that are not well-known outside of that region. In that case, the translator must decide how to translate them clearly and understandably to the new readers. Ultimately, the translator must decide how to convey the novel's atmosphere best. It includes considering how to use language to create a sense of wonder, magic, and mystery. In One Hundred Years of Solitude, for example, the translator must decide how to best capture the novel's dreamlike quality and its characters' supernatural abilities.

Finally, it can also relate texts outside this course to those we studied. For example, the novel The Master and Margarita by Mikhail Bulgakov has many similarities to Faust, such as the presence of an influential figure who tempts the protagonist with the promise of knowledge and power. Mikhail Bulgakov's The Master and Margarita is a satirical novel that draws upon many of the same themes as Johann Wolfgang van Goethe's Faust (Whitworth pp. 109). Both works present a protagonist who is tempted to make a deal with an increasingly influential figure for the promise of knowledge and power. These works are similar in their temptation, power, and morality themes. The characters of the Master and Margarita, however, diff er significantly from that Faust in their motivations and characterizations. The Master and Margarita follow the story of a mysterious figure known as Woland, an influential occultist who arrives in Moscow with his entourage of strange and powerful beings. He quickly entangles himself in the life of the Master and his beloved Margarita, offering them the opportunity to reclaim their place in the world and gain power beyond their wildest dreams (Whitworth pp. 110). However, like the Faust figure, Woland's offer comes with a heavy price - the Master must sacrifice his sanity and soul to gain his desires. The Master and Margarita differ from Faust in its characterization of the protagonist.

The Master is a timid and vulnerable character, in stark contrast to the ambitious and confident Faust of the original work. The Master is also deeply in love with Margarita, and his desire to be with her ultimately motivates his agreement with Woland. His relationship with Margarita is a major theme throughout the novel. It further contrasts him with Faust, who is mainly single­ minded in his pursuit of knowledge and power. The novel also differs from Faust in its exploration of morality and its implications for the protagonists. In Faust, the Faust figure is ultimately damned for his pursuit of knowledge and power at any cost. In The Master and Margarita, however, the characters are ultimately redeemed for their actions. The novel explores the idea of redemption through sacrifice; the characters are ultimately absolved of their sins and allowed to be together. It provides a stark contrast to Faust, which ultimately portrays the Faust figure as a cautionary tale of what can happen when one's ambitions are unchecked.

Remarkably, adaptation, translation, and comparison are all ways to move literature from one context to another. By examining examples of adaptation and translation, we can better understand the process of adaptation and translation and the choices that must be made to move a text from one context to another. By comparing texts outside this course to those we have studied, we can also gain a deeper understanding of the works we studied and their themes.

Works Cited

• Cooksey, T. L. (2018). International Faust Studies: Adaptation, Reception, Translation (review). Goethe Yearbook, 19(5), 380-382. https://doi.org/10.1353/gyr.0.0037
• Domingo Osle, R. (2021). Law and Morality: One Hundred Years of Solitude. SSRN Electronic Journal, 4(1). https://doi.org/ 10.2139/ssrn.3957617
• Eatough, M. (2021). "Are They Going to Say This Is Fantasy?” Kazuo Ishiguro, Untimely Genres, and the Making of Literary Prestige. MFS Modern Fiction Studies, 67(1), 40-66. https  ://doi.org/l0.1353/mfs.2021.0002
• Whitworth, J. (2018). Master & Margarita (review). Theatre Journal, 72(6), 109-110. https://doi.org/10.1353/tj .2005.0039