... Resnais .” Thousand Eyes Magazine ( March 1977 ): 6 . Scholes Robert . Fabulation and Metafiction . Urbana, IL : Univ. of Illinois Press , 1979 . ADAPTATION, METAFICTION, SELF-CREATION JULIE LEVINSON, BABSON COLLEGE When Adaptation, directed by Spike Jonze, was released...

... of two book clubs and his work as a guest on radio and television programs have been almost forgotten. Seeking to redress this oversight, this essay focuses on Trilling’s work as a script supervisor for Channing (1963–64), a television series adaptation of his campus fiction “Of This Time, of That Place...

... Rizal: Paris, Havana, Barcelona, Berlin—3 ,'' New Left Review 29 ( September-October 2004 ): 91 - 120 . Andrew Dudley . `` Adaptation .'' Film Adaptation . Ed. Naremore James . New Brunswick, New Jersey : Rutgers U P , 2000 , 28 - 37 . Cable George Washington...

...: A Biography . New York : Random House , 1982 . Hutcheon Linda . A Theory of Adaptation ._ New York : Routledge , 2006 . Ilson Robert . “ Benito Cereno from Melville to Lowell .” Salmagundi 1 : 4 ( 1967 ): 78 - 86 . Lowell Robert . “ Benito Cereno .” Show 4 : 7...

... of the cliché facilitates rather than impedes their efforts to animate “dead metaphors.” Ashbery, a dedicated reader, translator, and critic of Roussel, adapts Roussel's methods, but his adaptations owe much to the work of a crucial intermediary, Duchamp, whose “bachelor machines” originated in his reading...

...Mary Hong One of the distinguishing features of the 2005 cinematic adaptation of Pride and Prejudice is its dynamic quality of character and camera movement. The dynamism of movements within doors challenges the dialectic of immobility/mobility and indoor/outdoor that characterizes analysis...

...Debra Shostak Isabel Coixet's 2008 adaptation of Philip Roth's Dying Animal (2001) signals in its title, Elegy , the conceptual divergence of the film from its source. Roth's title expresses the inescapable reality of the mortal body, its desires, decay, and disappearance; Coixet turns from...

...Lee Clark Mitchell Cormac McCarthy's novel No Country for Old Men (2005), like Ethan Coen and Joel Coen's film adaptation (2007), poses two genres against one another, drawing on film noir techniques to defy what their Western materials seem to solicit. Fleeting gestures at wide-open landscape...

... outside improvement's profitizing calculus and the choice to allow such experiences to remain unheard and erode away undetected. This tension informs Thomas Hardy's Tess of the d'Urbervilles (1891) and Michael Winterbottom's Trishna (2011), a recent film adaptation of the novel set in twenty-first-century...

... The title of Jesse Schotter's article in Genre volume XLII, numbers 1 & 2 was mistakenly listed as “Adaptation Liberal and Conservative: Benito Cereno and Robert Lowell's Literary and Radical Politics” in the Table of Contents and on the issue's back cover. The correct title, which appears...

...Peter Kratzke Comparing Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” (as framed by Bierce’s illuminating philosophical attitude) with the Frenchman Robert Enrico’s film adaptation (how his adaptation decisions are manifest in the film) and Rod Serling’s use of that film for an episode...

... of their annihilated ancestral villages. Foer's inventive adaptation of the genre exemplifies and problematizes the efforts of survivors' descendants to memorialize a culture they never experienced firsthand. Through the novel's superlative and even absurd representations of the shtetl, Foer tests the ability...

... of Death (1900), Strindberg attributes vampiric qualities of authorship to characters that function as narrators. Strindberg's vampires sustain themselves with language rather than blood, and the forms they use to drain their victims are inextricable from the epic narration Strindberg explicitly adapts...

...Rafael Walker This essay argues that Ellen Glasgow's 1925 novel Barren Ground is an attempt to adapt literary realism, perennially viewed as the handmaiden of liberal individualism, to an age in which individualism was being replaced by more corporate and associational paradigms. To do so, Glasgow...

...Ben Robbins This article analyzes William Faulkner’s 1951 prose drama hybrid narrative Requiem for a Nun as an adaptation of two “women’s films” that he worked on as a Hollywood screenwriter in the 1940s, The Damned Don’t Cry (completed in 1941, released in 1950) and Mildred Pierce (completed...

...Benjamin Mangrum This essay reexamines the conventional opposition in genre criticism between modern realism and classical tragedy. By adapting Roland Barthes’s account of realist representation with J. L. Austin’s theory of speech-acts, the essay shows that epistemological skepticism animates...

... and the show’s adaptation to a contemporary media and historical environment. Contrary to earlier female warrior narratives, in which home threatens to confine the adventurer, Homeland treats the domestic realm as a space of adventure, where the rogue hero can investigate the wider world of war through binge...

... the roaming romance of his vampires, Adam and Eve, who are both cultured cosmopolitans and endangered species seeking refuge in an increasingly uninhabitable world. Adam and Eve keep alive forms of intimacy and aesthetic appreciation on the verge of extinction even as they adapt to ecological crises...

..., and not least, its social concerns about economic inequality and corruption among the powerful. At the same time, Kim’s novel subtly reconfigures her hard-boiled sleuth as well as adapts the genre to a contemporary racial context. In this revision, both the institutional and personal practices of racism...

... Lynch's unique position within the history of film noir as a genre. Vico's poetic developmental scheme, which relies on the “four master tropes” (metaphor, metonymy, synecdoche, and irony), is adapted to the historical evolution of film noir as a genre. The essay then translates Vico's ricorso...