Fall/Winter 2006 - University of Toronto Press Publishing

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C U LT U R A L S T U D I E S Screening Gender, Framing Genre Canadian Literature into Film Peter Dickinson Audiences often measure the success of film adaptations by how faithfully they adhere to their original source material. However, fidelity criticism tells only part of the story of adaptation. For example, the changes made to literary sources in the course of creating their film treatments are often fascinating in terms of what they reveal about the different processes of genre recognition and gender identification in both media, as well as the social, cultural, and historical contexts governing their production and reception. In Screening Gender, Framing Genre, Peter Dickinson examines the history and theory of films adapted from Canadian literature through the lens of gender studies. Unique in its discussion of a range of different adaptations, including films based on novels, plays, poetry, and Native orature, this study offers new and often provocative readings of works by such well-known Canadian authors as Margaret Atwood, Marie-Claire Blais, and Michael Ondaatje, and by such important Canadian filmmakers as Mireille Dansereau, Claude Jutra, Robert LePage, and Bruce McDonald. Drawing with equal facility from film and gender theory, and revealing a thorough knowledge of both literary and cinematic history, Dickinson has written a lively and engaging study that is sure to resonate with readers curious about the intersection of Canadian cultural production and broader issues of gender and national identity formation. Peter Dickinson is a professor in the Department of English at Simon Fraser University. Of related interest: One Hundred Years of Canadian Cinema George Melnyk 0-8020-8444-3 / 978-0-8020-8444-6 £22.50 / $35.00 / 2004 Masters of Two Arts Re-creation of European Literatures in Italian Cinema Carlo Testa 0-8020-8475-3 / 978-0-8020-8475-0 £18.00 / $30.95 / 2002 Approx. 304 pp / 6 ¾ x 9 ¾ / December 2006 22 illustrations Cloth ISBN 0-8020-4475-1 978-0-8020-4475-4 £28.00 $45.00 E Photo © Corbis 22
C U LT U R A L S T U D I E S City Stages Theatre and Urban Space in a Global City Michael McKinnie Bodies of Tomorrow Technology, Subjectivity, Science Fiction Sherryl Vint CULTURAL SPACES In every major city, there exists a complex exchange between urban space and the institution of the theatre. City Stages is an interdisciplinary and materialist analysis of this relationship as it has existed in Toronto since 1967. Locating theatre companies – their sites and practices – in Toronto’s urban environment, Michael McKinnie focuses on the ways in which the theatre has adapted to changes in civic ideology, environment, and economy. Over the past four decades, theatre in Toronto has been increasingly implicated in the civic selffashioning of the city and preoccupied with the consequences of the changing urban political economy. City Stages investigates a number of key questions that relate to this pattern. How has theatre been used to justify certain forms of urban development in Toronto How have local real estate markets influenced the ways in which theatre companies acquire and use performance space How does the analysis of theatre as an urban phenomenon complicate Canadian theatre historiography McKinnie uses the St. Lawrence Centre for the Arts and the Toronto Centre for the Performing Arts as case studies and considers theatrical companies such as Theatre Passe Muraille, Toronto Workshop Productions, Buddies in Bad Times, and Necessary Angel in his analysis. City Stages combines primary archival research with the scholarly literature emerging from both the humanities and social sciences. The result is a comprehensive and empirical examination of the relationship between the theatrical arts and the urban spaces that house them. Anxieties about embodiment and posthumanism have always found an outlet in the science fiction of the day. In Bodies of Tomorrow, Sherryl Vint argues for a new model of an ethical and embodied posthuman subject through close readings of the works of Gwyneth Jones, Octavia Butler, Iain M. Banks, William Gibson, and other science fiction authors. Vint’s discussion is firmly contextualized by discussions of contemporary technoscience, specifically genetics and information technology, and the implications of this technology for the way we consider human subjectivity. Engaging with theorists such as Michel Foucault, Judith Butler, Anne Balsamo, N. Katherine Hayles, and Douglas Kellner, Bodies of Tomorrow argues for the importance of challenging visions of humanity in the future that overlook our responsibility as embodied beings connected to a material world. If we are to understand the post-human subject, then we must acknowledge our embodied connection to the world around us and the value of our multiple subjective responses to it. Vint’s study thus encourages a move from the common liberal humanist approach to posthuman theory toward what she calls ‘embodied posthumanism.’ This timely work of science fiction criticism will prove fascinating to cultural theorists, philosophers, and literary scholars alike, as well as anyone concerned with the ethics of posthumanism. Sherryl Vint is an assistant professor in the Department of English at St. Francis Xavier University. Michael McKinnie teaches in the Department of Drama and Theatre Arts at the University of Birmingham. Approx. 208 pp / 5 ½ x 8 ½ / December 2006 Cloth ISBN 0-8020-9121-0 / 978-0-8020-9121-5 £28.00 $45.00 E Approx. 304 pp / 6 x 9 / December 2006 Cloth ISBN 0-8020-9052-4 / 978-0-8020-9052-2 £32.00 $50.00 E 23
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