BOOK REVIEWS tries to connect the readings to the rest of her narrative by describing the train journeys the poets took to see some of the paintings they wrote about (many of which were in continental galleries). She also hones in on the preface to the collection, in which the poets quote Flaubert 's aim of "transporting" ("II faut ...se transporter") his readers to his characters, and describe their own process of "translating] " painting into verse as akin to this (181-82). Vadillo calls this document a "Manifesto for the passenger," but while translation may involve a form of transport, as she argues, we are a long way from Levy's "Ballade of an Omnibus." The "passenger" here could be any reader of almost any work; all sense of the historical and urban context has disappeared. As a result, Vadillo's readings of the poems (in the context of the ekphrastic philosophies of Ruskin and Pater), while often interesting in and of themselves, feel like they belong in a different book. Although the structure of the book is wonderfully clear, Women Poets and Urban Aestheticism sometimes reads like the work of a nonnative speaker. The prose, though attractively energetic, is also frequently ungrammatical or at least unconventional (consider, for example, the following: "Either as a prosthetic body or as a demonic master, travelling was undoubtedly modifying the connection that had existed between the urban dweller and London" ). Nevertheless, while uneven, Vadillo's book was in many respects a pleasure to read: it is full of interesting historical information, and it gives serious attention to poets who (while not altogether unrecovered) deserve more critical attention than they have yet been given. STEFANIE MARKOVITS ________________ Yale University Conrad Si Popular Culture Stephen Donovan. Joseph Conrad and Popular Culture. New York: Palgrave , 2005. xiii + 236 pp. $74.95 THE LITERARY OVERTONES of Peter Jackson's recent blockbuster movie King Kong reveal the extent to which Joseph Conrad's work has become bound up with popular culture. Conrad not only informs the latest big-budget Hollywood offerings but his fiction represents the foundation of popular cult movies such as Apocalypse Now. Indeed, popular culture has had an inestimable effect on Conrad's reputation. In one sense the popularity of Heart of Darkness rests to some extent on that work's comparative brevity, which ensures that those accustomed to the ingenious distractions of television, computer games, advertising , and the internet can acquire a grounding in Conradian complexity 471 ELT 49 : 4 2006 in an easy-to-endure ninety pages or so. Conrad's writing has in fact become so lost in a popular culture context that some now feel it is not even necessary to read Conrad to experience his work: "Have you read Heart of Darkness?" "No, but I've seen Apocalypse Now." However, within the realm of contemporary literary studies, Conrad is still perceived as "an austere and humourless early Modernist," an author who kept aloof from popular culture. Stephen Donovan's excellent new study, which adds to previous works by Linda Dryden, Andrea White, and Susan Jones, all of which have relocated Conrad's work in a popular context, attempts to overturn this image, and explores the relationship between Conrad and the broad popular cultural world from which his work emerged. Donovan unveils the results of his wide-ranging cultural archaeology, presenting myriad examples of early-twentieth-century documents on visual entertainment, advertising, travel and tourism, and the popular fiction market, elaborating on their importance for Conrad's fiction. The study initially takes the reader into the diverse cultural whirlwind that was Conrad's era, giving each chapter what Conrad described as "the proper atmosphere of actuality." Donovan then, significantly, takes an approach to Conrad's oeuvre that largely avoids those works such as Heart of Darkness that have suffered from an oppressive amount of critical and popular analysis. Instead, Conrad's intriguing short fiction , such as "The Partner" and "An Anarchist," along with Chance, Lord Jim, and The Secret Agent form the focus of Donovan's literary criticism. The opening chapter on visual entertainment wonderfully captures Conrad's presence in late-Victorian and early-twentieth-century London : the London of...
In the 1980s, I was a big Star Trek fan. Not the kind who would dress up as Spock to attend a convention, but one who had seen all of the episodes multiple times and could rattle off an alarming number of quotes. A few weeks before the much-anticipated summer 1982 release of Star Trek II: The Wrath of Khan, I heard a rumor that there was a trailer for the new Trek film attached to Conan the Barbarian at a local 2000-seat theater. I had planned to see Conan in the first place (I had to take my father, since I was under 17), but as I sat in my seat awaiting the start of the movie, I discovered that I was anticipating the Star Trek trailer more than the feature film. That was the first time I can recall thinking of a movie trailer as more than just an advertisement.
Trailers for "event movies" have always carried a little extra buzz, and, once the Internet started entering people's homes and broadband allowed quick downloads, movie trailers - even of non-event movies - became a big attraction. Back in its fledgling days, the E! Entertainment Channel had a 30-minute program called "Coming Attractions," which was wall-to-wall movie trailers.
The article begins with setting the South African educationalcontext for a postgraduate early literacy research project in the foundationphase (ages 4-9). The research examines how philosophy with children (P4C)might be part of a solution to current problems in reading comprehension. Thesecond author reports on her P4C action research with her own children aswell as her observations of a Grade 2 classroom in a school nearJohannesburg. The research shows how the picturebook Little Beauty by AnthonyBrowne opens up a philosophical space within which children are allowed todraw on their own life experiences and prior knowledge. The project revealsthe depth of their thinking when making intra-textual connections betweenLittle Beauty and the movie King Kong. The facilitated philosophical spacealso makes it possible for the children to make complex philosophical linksbetween the emotion anger, destructive behaviour and the ethico-politicaldimensions of punishment. Central to this article are the secondauthor's critical reflections on how her literacy practices as a motherand foundation phase teacher have fundamentally changed as a result of thisproject. The article concludes with some implications for the teaching ofearly literacy in South Africa.
Of course, the story is reminiscent of the fairy-tale Beauty andthe Beast. The allusion is substantiated by the recurrence of roses in thebook (Browne & Browne 2011:224). Much information that helps readers makesense of the story is omitted in words and only included in the drawings. Ina profound sense Little Beauty cannot really be 'summarised' assuch, because of the gap between its words and pictures. Browne sees art as aform of communication. His pictures, he says, 'tell as much of thestory, and communicate things that the words do not. ... I like to includedifferences and gaps ... imagination' (Browne & Browne 2011:45). Forexample, Browne's King Kong ( 2005) was inspired by the movie withthe same name that the gorilla was watching in Little Beauty when he gotreally angry, but there is nothing in the words that explains why he is soangry (see Figure 3). Readers have to figure that out for themselves.
Drawing on her own experiences of anger, Nikita is puzzled aboutGorilla's actions and initiates the conversation by asking a question,'because when you are angry you just want to run into your room'.Subsequently she makes a tentative link with the movie Gorilla is watching.
Riya challenges her mother by asking her a second-order question:how does she know about the movie? The children are pursuing the significanceof the colour red in the picturebook and do not accept easy answers whenRanchod supports a deep reading of this text when encouraging them to answerwhy the page is red. It is a good example of responsive listening, or whatStanley calls 'listening with the brain' (9)--she responds to theirexpression of wonder about the use of this particular colour: (10)
(5.) This book Browne calls 'something between a picturebookand a novel' (Browne & Browne 2011:91-92) and its main inspirationwas the movie King Kong (2005). It features an overly ambitious New Yorkmovie producer, who decides to include Kong, a giant gorilla who lives on aremote island, in his next movie. Kong is immediately smitten with the leadactress, Ann Darrow. The American film crew capture Kong and take him to NewYork City, where he is exhibited as the 'Eighth Wonder of theWorld'. Kong escapes and climbs the Empire State Building, where he iseventually shot and killed by an aircraft. Note that it is this particularscene which is illustrated on the television screen in Browne'spicturebook Little Beauty which infuriates the gorilla and leads him to smashthe television. This intratextual reference has proven to be important forour analysis of the data. When planning to use Little Beauty for storytellingand P4C, it is a good idea to also include the story of King Kong. 2b1af7f3a8