Conquering the canon (original) (raw)

2022

Peer-review declaration The publisher (AOSIS) endorses the South African 'National Scholarly Book Publishers Forum Best Practice for Peer-Review of Scholarly Books'. The book proposal form was evaluated by AOSIS Scholarly Books' Social Sciences, Humanities, Education and Business Management editorial board. The manuscript underwent an evaluation to compare the level of originality with other published works and was subjected to rigorous two-step peer-review before publication by two technical expert reviewers who did not include the author and were independent of the author, with the identities of the reviewers not revealed to the author. The reviewers were independent of the publisher and author. The publisher shared feedback on the similarity report and the reviewers' inputs with the manuscript's author to improve the manuscript. Where the reviewers recommended revision and improvements, the author responded adequately to such recommendations. The reviewers commented positively on the scholarly merits of the manuscript and recommended that the book be published. v Research justification This book, The Great Gatsby meets Alain Badiou: Rethinking fidelity in film adaptation, occupies the disciplinary field of adaptation studies, an interdisciplinary field located at the intersection of literary studies, cultural studies and film studies. Its intended audience is scholars of film adaptation and F Scott Fitzgerald scholars. It considers the Hollywood film adaptations of F Scott Fitzgerald's The Great Gatsby (1925) in light of philosopher Alain Badiou's theorisation of fidelity and truth, as well as his theoretically informed writings on cinema as a form. Although this book has grown out of my PhD thesis in Media and Cultural Studies and a previously published 2018 article, I affirm that at least 50% of the work has not been previously published. The book represents original research. No part of the book has been plagiarised from another publication or published elsewhere, and it has undergone an iThenticate similarities check.

Approaching film adaptation via Badiou

2022

Rethinking fidelity: Alain Badiou’s fidelity in the service of truth

2022

Paratexts: Before, during, after

2022

Scorched earth: Talking about fidelity in adaptation

2022

The Great Gatsby meets Alain Badiou: Rethinking Fidelity in Film Adaptation

The Great Gatsby meets Alain Badiou: Rethinking Fidelity in Film Adaptation, 2023

The subject of this book is a consideration of the usefulness of the concept of fidelity put forward by the philosopher Alain Badiou in the discussion of film adaptation. Fidelity or faithfulness is primarily a consideration that emerges in relation to so-called canonical texts in adaptation: Fitzgerald's The Great Gatsby occupies a position of global recognisability and, within the United States, cultural mythology that has triggered strong reactions to the four Hollywood adaptations. The various adaptations allow for the differing approaches to the adaptation of this novel to be meaningfully explored. The film adaptations’ paratextual elements are discussed in order to show how these acted as limiting lenses. The strategies of the films for handling elements of Fitzgerald’s prose and themes are compared across the adaptations. The book concludes by asserting the worth of a larger application of a Badiouian fidelity within the field.

Literary Borrowing … and Stealing: Plagiarism, Sources, Influences, and Intertexts

ESC: English Studies in Canada, 1986

The en tire co rp us of exi sting lit erature should be rega rded as a limbo fr om w hic h d iscern ing a u tho rs co uld draw th eir charac ters as requir ed , crea ting on ly wh en they failed to find a sui ta ble existing puppet. The modern novel sho uld be largely a work of refer en ce. Fl ann O 'Brien , A t Swim-Twa-Bird s Recently we witnessed w ha t happen s tod ay in the literary " int erp retive communit y" wh en a modern no vel-The W hit e Hot el-is even in part a "work of reference." D. M. Thomas's sin, however, seem s to ha ve been th at of enlarg ing th e corp us from which a novelist d raws to include nonfictional , historical text s, in thi s case the testimony of D ina Proniche va, the sole su rvivor of Babi Yar. Although Thomas acknowledged his debt openly on the copyrigh t page of the novel, his more or less verbatim borrowing laun ched an int ense, but perhaps u ltimatel y fruitl ess, debate in th e pages of the Tim es Literary Supplem en t in M ar ch and April of 1982. Thomas's reply' to accusations of opportun istic, exploitive p lagiarism is an interesting one. After po inting out that his novelistic accou nt of Babi Yar is three times th e length of Dina's, th e novelist remarks that at this point in the novel his heroine changes from bein g an individ ual (w hose single unique life is of in teres t to "Sigm und Freud") to bein g only one of many anonymous victims of history. The text, Thomas felt , had to reflect th is chan ge from individual self-expression to common fate, an d it did so in th e modulation of the narrative voice from an authorial one (because, as he writ es, at the start " there is still room for fiction") to that of the recor din g of one who had been there-th e onl y appropriate and truthful voice possible, given the circu m sta nc es. The novel's mu ch m isread epigraph from Yeats underlines thi s progression from the private to the public : W e had fe d the heart on fa n tas ies, The H eart's gro wn brutal from the fa re; M ore sub sta nc e in our en m it ies T h an in ou r love... .

An Analytical Study of 2013 Cinematic Adaptation of The Great Gatsby

Comparative Literature is categorized among interdisciplinary studies and tries to bridge a gap between different and separated spheres of human studies. Adaptation studies is a subdivision of Comparative Literature that makes a bond between Literature and Cinema. Both Literature and Cinema are two different mediums or different means of expression. Each has its own language to convey meaning. While novel uses words, cinema uses visual and aural images to convey meaning. Linda Hutchean is a famous adaptation theorist and her theories are used by many critics. She categorizes four different parts for her theory. What? Who and Why? How? When and Where? Through these four main parts, she scrutinizes adaptation process. What, refers to the form, changes, gains and losses, using different tools to convey meaning. Who, refers to the adapter. She poses this question that in adaptation process who is the real adapter? Director, composer, screenplay writer or editor? Why, refers to the motivation of the adapter. She tries to find out different motivation of an adapter to adapt a work. When and Where, refers to the time and place of the adaptation process and its influence both during creation and reception process. In this article all of these four main parts of Hutcheon’s theory are scrutinized over 2013 adaptation of The Great Gatsby by Buz Luhrmann. Similarities and differences between a novel and film are illuminated through this research. By determining differences between a film and a novel, hidden and unhidden aspects of the novel will be illuminated and this is a pleasure that a comparatist seeks.

Conquering the canon (original) (raw)

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