The Hollywood Novelization: Film as Literature or Literature as Film Promotion?
Hollywood movie novelizations are novels based on mainstream films and published about the time these films are released in theaters. The present article explores the ambiguous status of this generally little-esteemed and frequently ignored form of adaptation. On the one hand, novelizations are works of literature that can be enjoyed without knowledge of the film they are based on; on the other, they can be (and often are) seen as mere tools of film advertising. This latter aspect becomes particularly evident when looking at the cover design of a novelization. It invariably features the film’s artwork (the poster image, stills, and/or typography used for promoting the film) and frequently highlights the film’s stars rather than the book’s author. By analyzing a selection of book covers of novelized versions of recent films and comparing the novelization of Terminator Salvation (Foster 2009b) with the film (Terminator Salvation 2009, dir. McG) it is based on, the article traces and examines the frictions between the opposing forces—literature and film marketing—that define the genre.
Formative Fictions: Imaginative Literature and the Training of the Capacities
While it is often assumed that fictions must be informative or morally improving in order to be of any real benefit to us, certain texts defy this assumption by functioning as training grounds for the capacities: in engaging with them, we stand to become not more knowledgeable or more virtuous but more skilled, whether at rational thinking, at maintaining necessary illusions, at achieving tranquility of mind, or even at religious faith. Instead of offering us propositional knowledge, these texts yield know-how; rather than attempting to instruct by means of their content, they hone capacities by means of their form; far from seducing with the promise of instantaneous transformation, they recognize, with Aristotle, that change is a matter of sustained and patient practice.
A Highly Charged Pronoun: "We" in Three September 11 Poems
In the aftermath of September 11, 2001, the US establishment strove to reaffirm a vision of a unified American nation. The dominant rhetoric employed strategies typical of community building, such as delineating boundaries and focusing around symbols. However, Robert Pinsky’s "Newspaper," Joy Harjo’s "When the World as We Knew It Ended—," and Reginald Shepherd’s "Objects in Mirror Are Closer than They Appear" illustrate how some poets after 9/11 envisioned community as tense, contradictory, and fragmented. The article discusses those three poems and their relationship to the corpus of poetry associated with 9/11 at large.
Bakhtin's Theory of the Literary Chronotope: Reflections, Applications, Perspectives
Dialogues with/and Great Books: The Dynamics of Canon Formation
Towards the Ethics of Form in Fiction: Narratives of Cultural Remission
Notes on Contributors