For many years, adaptation studies have been the core business of film and literature studies. The often sterile debates address issues of fidelity as well as the progressive opening of adaptation studies to other media than just film and literature.
This is not a new book and many readers may find it pathetically old-fashioned. Yet this collection of writings on art with a capital A by an author often discarded as typically WASP is doing what so much modern art criticism seems no longer “capable and willing” of doing, as we are asked by the air hostess when boarding the plane and being offered an exit seat:
In these days of globalization, including global culture, it might be useful to recall the old humanist ideal of “universality”, that of the uomo universale (and please do not read the term “uomo” in gender-biased terms) who develops his faculties in as many fields as possible and who manages to do so thanks to the general (that is: nonspecialized) education s/he receives and eventually implements in his or her life as scholar, artist, scientist, but also citizen.
The Lonely Hearts Hotel is the most recent novel by Canadian author, Heather O’Neil. It is the story of Pierrot and Rose; orphans, who both, in differing circumstances, nearly die at birth but miraculously survive against the odds.
Food is a key theme in cultural studies, but often the approach focuses on the negative or problematic aspects of it: anorexia and other eating disorders, obesity and fat studies, outdoor eating rituals and social distinction, the critique of deeply rooted national preferences as a form of modern “mythology” (in the sense of Roland Barthes), the commercialization of snootiness, and the relationship between alimentary habits and climate change.
Everybody knows the situation: a delayed flight, and nothing more to read. Airport literature is then the answer to all our anxieties. In this case, it was entitled Swing Time (2016, Penguin edition in 2017) and its author is Zadie Smith.
James I. Porter’s “Disfigurations: Erich Auerbach’s Theory of Figura” (Critical Inquiry, vol. 44-1, 2017, pp., 80-113) is one of the best essays I’ve read in recent months.