Some common examples are: Film adaptation, a story from another work, adapted into a film (it may be a novel, non-fiction like journalism, autobiography, comic books, scriptures, plays or historical sources) Literary adaptation, a story from a literary source, adapted into another work.  A novelization is a story from another work, adapted into a novel. Theatrical adaptation, a story from another work, adapted into a play There is , however, no end to potential media involved in adaptation. Adaptation is the practice of transcoding (changing the code or 'language' used in a medium) as well as the assimilation of a work of art to other cultural, linguistic, semiotic, aesthetic or other norms. Recent approaches to the expanding field Adaptation Studies reflect these expansion of our perspective. Adaptation occurs as a special case of intertextual and intermedial exchange and the copy-paste culture of digital technologies has produced "new intertextual forms engendered by emerging technologies—mashups, remixes, reboots, samplings, remodelings, transformations— " that "further develop the impulse to adapt and appropriate, and the ways in which they challenge the theory and practice of adaptation and appropriation."Voigts, Eckart. "Memes and Recombinant Appropriation: Remix, Mashup, Parody" in Thomas Leitch (ed.) Oxford Handbook of Adaptation Studies. Oxford: OUP, 2017. URL   
Some common examples are: Film adaptation, a story from another work, adapted into a film (it may be a novel, non-fiction like journalism, autobiography, comic books, scriptures, plays or historical sources) Literary adaptation, a story from a literary source, adapted into another work. For a critique of the literary roots of adaptation studies and its attendant methodologies, see Simone Murray, "Materializing Adaptation Studies: the Adaptation Industry". Literature/Film QuarterlyVol. 36, No. 1 (2008), pp. 4-20 A novelization is a story from another work, adapted into a novel. Theatrical adaptation, a story from another work, adapted into a play Types of adaptation There is no end to potential media involved in adaptation. Adaptation might be seen as a special case of intertextuality or intermediality, which invloves the practice of transcoding (changing the code or 'language' used in a medium) as well as the assimilation of a work of art to other cultural, linguistic, semiotic, aesthetic or other norms. Recent approaches to the expanding field Adaptation Studies reflect these expansion of our perspective. Adaptation occurs as a special case of intertextual and intermedial exchange and the copy-paste culture of digital technologies has produced "new intertextual forms engendered by emerging technologies—mashups, remixes, reboots, samplings, remodelings, transformations— " that "further develop the impulse to adapt and appropriate, and the ways in which they challenge the theory and practice of adaptation and appropriation."Voigts, Eckart. "Memes and Recombinant Appropriation: Remix, Mashup, Parody" in Thomas Leitch (ed.) Oxford Handbook of Adaptation Studies. Oxford: OUP, 2017. URL The Association of Adaptation Studies was founded with a view to advancing research into adaptation in the arts. History of adaptation The practice of adaptation was common in ancient Greek culture, for instance in adapting myths and narratives for the stage (Aischylus', Sophocles' und Euripides' adaptations of Homer). Shakespeare was an arch adaptor as nearly all of his plays are heavily dependent on pre-existing sources. Prior to Romantic notions of originality, copying classic authors was seen as a key aesthetic practice in Western culture. This neoclassical paradigm was expressed by Alexander Pope who equated the copying of Homer with copying nature in his "Essay on Criticism": "And but from Nature's fountains scorned to draw; But when to examine every part he came, Nature and Homer were, he found, the same. Convinced, amazed, he checks the bold design, And rules as strict his labored work confine As if the Stagirite o'erlooked each line. Learn hence for ancient rules a just esteem; To copy Nature is to copy them.""An Essay on Criticism" lines 133-140 According to Pope, again in his "Essay on Criticism", the task of a writer was to vary existing ideas: "What oft was thought, but ne'er so well expressed;". In the 19th century, many European nations sought to re-discover and adapt medieval narratives that might be harnessed to various kinds of nationalist causes.
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For a critique of the literary roots of adaptation studies and its attendant methodologies, see Simone Murray, "Materializing Adaptation Studies: the Adaptation Industry". Literature/Film QuarterlyVol. 36, No. 1 (2008), pp. 4-20
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The Association of Adaptation Studies was founded with a view to advancing research into adaptation in the arts. History of adaptation The practice of adaptation was common in ancient Greek culture, for instance in adapting myths and narratives for the stage (Aischylus', Sophocles' und Euripides' adaptations of Homer). Shakespeare was an arch adaptor as nearly all of his plays are heavily dependent on pre-existing sources. Prior to Romantic notions of originality, copying classic authors was seen as a key aesthetic practice in Western culture. This neoclassical paradigm was expressed by Alexander Pope who equated the copying of Homer with copying nature in his "Essay on Criticism":
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"And but from Nature's fountains scorned to draw; But when to examine every part he came, Nature and Homer were, he found, the same. Convinced, amazed, he checks the bold design, And rules as strict his labored work confine As if the Stagirite o'erlooked each line. Learn hence for ancient rules a just esteem; To copy Nature is to copy them.""An Essay on Criticism" lines 133-140
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According to Pope, again in his "Essay on Criticism", the task of a writer was to vary existing ideas: "What oft was thought, but ne'er so well expressed;". In the 19th century, many European nations sought to re-discover and adapt medieval narratives that might be harnessed to various kinds of nationalist causes.