Journal articles on the topic 'A caribbean mystery'

AbstractIconic early European maps of the Caribbean depict neatly parcelled plantations, sugar mills, towns, and fortifications juxtaposed against untamed interiors sketched with runaway slaves and Indigenous toponyms. These extra-geographical symbols of racial and spatial meaning projected desire and design to powerful audiences. Abstractions about material life influenced colonial perceptions and actions upon a space, often to deleterious effects for the Indigenous and African people who were abused in tandem with the region's flora and fauna. The scientific revolution curbed these proscriptive and descriptive ‘thick-mapped’ features that offer historians an underexplored record of early colonial Caribbean life beyond the geographically descriptive. Before this shift from mystery to mastery, the early correlation of colonization and cartography in the sixteenth and seventeenth centuries provides a fascinating glimpse into the process of creating the Americas. This article offers ideas for deconstructing old maps as new sources for historians of the early Atlantic World. As digital readers may explore through the roughly fifty maps linked via the footnotes, their informative spectacle naturalized colonialism upon lived and imagined race and space, created an exoticized, commodified Caribbean, and facilitated wealth extraction projects of competing empires made profitable by African labour on Indigenous land.

In 1654 Dutch anatomist Thomas Bartholin published an illustration of a skeletal forelimb and a rib from an animal that had been caught off the coast of Brazil. Bartholin identified the specimen as a merman. Subsequent authors have hypothesized that it was a human with sirenomelia (fused legs). However, it is now acknowledged that mer-people are mythical and the drawing of the specimen does not match expected morphology for a human with sirenomelia. Until now, therefore, the correct identity of the specimen has remained unknown. Bartholin gave details on the specimen's size and added that before it was skeletonized the fingers were joined by a common membrane. We therefore compared Bartholin's illustration with the forelimb skeletons of west Atlantic marine animals of appropriate size in which the fingers are embedded in a flipper. The morphology of the specimen matches that of a manatee (Trichechus sp.) and is significantly different from that of the Caribbean monk seal (Monachus tropicalis) and from those of whales (Cetacea). The specimen was therefore a manatee, and a three-century-old zoological mystery is solved.

Tout-Monde, Glissant ... comme ses noms l’indiquent In the field of Caribbean literature, Edouard Glissant from Martinique occupies a unique place. His aim as stated at the beginning of his career, has been to create a supra-rational language able to reach the depths of West Indian sub-consciousness in order to free it. In one of his recent novels (Tout-Monde - 1993), the therapeutic function of his writing seems to be overcome by the task of global obscuring. The extreme complexity of the spatio and temporal structure bears witness to this point, as does the particular effort that the writer puts into his use of the names of his characters and the manner in which he plays with them. This article, though an onomastic perspective, is a census of the absence of certain names, the sophisticated jamming of others, their versatility and ever-changing nature as well as many other remarkable fluctuations which constitute a metonymy of desire: the desire to hide a secret which is perhaps the mystery of literary creation. With the help of examples taken from other Caribbean writers (Confiant, Chamoiseau), the danger of decoding what is hidden behind the mentioned names is underlined through three characters, all called Anestor. What comes out of this analysis is that the decoding is bound and meant to fail. The reader is to be lost in the labyrinth of the novel by the will of the writer. A crossed-out quotation suggests that statements, contradictions, negations are all part of a unique process which is part of the attempt to re-read the history of Creole literature and to foresee what its future might have in store.

Abstract. The French Caribbean Archipelago of Guadeloupe is located over the Lesser Antilles active subduction zone, where a handful of earthquakes have reached magnitudes of Mw = 7.0 (moment magnitude) and more. According to available catalogs, these earthquakes have been able to trigger devastating tsunamis, either directly by the shake or indirectly by induced landslides. The Guadeloupe Archipelago is known to have suffered from several violent earthquakes, including the 1843 Mw ~ 8.5 megathrust event. In this study, we discuss the potential impact of a tsunami generation scenario of a Mw = 8.5 rupture at the subduction interface using numerical modeling and high resolution bathymetric data within the framework of tsunami hazard assessment for Guadeloupe. Despite the fact that the mystery remains unresolved concerning the lack of historical tsunami data for the 1843 event, modeling results show that the tsunami impact is not uniformly distributed in the whole archipelago and could show important maximum wave heights. This is easily explained by the bathymetry and the presence of several islands around the main island leading to resonance phenomena, and because of the existence of a fringing coral reef partially surrounding Guadeloupe Island and its satellites. We then discuss the role of source parameters, the arrival times and the protective role of fringing coral reefs surrounding the islands, using tsunami modeling applied on two Guadeloupian touristic coastal places: Sainte-Anne and Saint-François.

“Everybody in Miguel Street said that Man-man was mad, and so they left him alone, but I am not sure now that he was mad and I can think of many people much madder than Man-man was… That again was another mystery about Man-man. His accent, if you shut your eyes while he spoke, you would believe an Englishman – a good class Englishman who wasn't particular about grammar – was talking to you.” (Naipaul, 1959)

Background and context: When the Ministry of Health of Colombia decided to provide the HPV vaccination free of charge to all Colombians girls age 9-13 in the year 2012 we were very happy. Aim: This certainly was a wise decision in the right direction in a country where cervical cancer is a major public health issue. Strategy/Tactics: The campaign was launched with great enthusiasm and in the first two years we were able to vaccinate 95% of the targeted population. Program/policy process: But in Colombia, happiness seems to be of short duration. In a small village of the Caribbean region (Carmen de Bolivar), 15 girls were admitted to the emergency of the local hospital with bizarre symptoms such as abdominal pain, headaches, dizziness, some did faint on admission. All the girls were adolescents from the same school and grade. Initially the situation was attributed to a kind of food poisoning. Who and why “someone” decided to blame this clinical syndromes to the HPV vaccination is something that still remains in mystery. Specially when the vaccination was administered many months before. Unfortunately, the media, some lawyers and some irresponsible local politicians took advantage of this situation to promote social unrest, blaming the government and the pharmaceutical company that produces the vaccine as the culprits of the medical event and looking for economic compensations. Outcomes: To make things worse, the Colombian Academy of Medicine wrote an unfortunately statement that gave support to discredit the safety of the vaccine. Fortunately, but late, two months later a new statement was published by the Academy saying that the vaccine was safe and encouraging the Ministry of Health to continue the program. But the damage was done! The vaccination dropped from 95% to 14%. And three years after the episode we haven't been able to recover our initial figures...we are still below 20% nationwide. What was learned: There are many things that need to be learned from the Colombian nightmare. First...Communication is of major importance in dealing with a health crisis. The health authorities need to give quick answers and reassure the community about the safety of the vaccine. The academia and the scientific societies are obliged to pronounced themselves in an issue of such importance and invite their associates to encourage the vaccination among adolescents. Second...empower women making them realize that this program is for their daughters that deserve a better future free of cervical cancer. Third, educate the community, the medical doctors and nurses regarding the safety and importance of the vaccine. We must speak up! And don't tremble and look weak in front of the virulent antivaccine groups. What happened in Colombia can happen in any country. And the consequences will be paid by the next generation. There are no excuses! Not a single women should die of cervical cancer in the future. Not a single one.

J. Lennart Berggren and Alexander Jones, Ptolemy's Geography: An Annotated Translation of the Theoretical Chapters. By Karin Tybjerg 194Natalia Lozovsky, ‘The Earth is Our Book’: Geographical Knowledge in the Latin West ca. 400–1000. By Evelyn Edson 196David Cantor (ed.), Reinventing Hippocrates. By Daniel Brownstein 197Peter Dear, Revolutionizing the Sciences: European Knowledge and Its Ambitions, 1500–1700. By John Henry 199Paolo Rossi, Logic and the Art of Memory: The Quest for a Universal Language. By John Henry 200Marie Boas Hall, Henry Oldenburg: Shaping the Royal Society. By Christoph Lüthy 201Richard L. Hills, James Watt, Volume 1: His Time in Scotland, 1736–1774. By David Philip Miller 203René Sigrist (ed.), H.-B. de Saussure (1740–1799): Un Regard sur la terre, Albert V. Carozzi and John K. Newman (eds.), Lectures on Physical Geography given in 1775 by Horace-Bénédict de Saussure at the Academy of Geneva/Cours de géographie physique donné en 1775 par Horace-Bénédict de Saussure à l'Académie de Genève and Horace-Bénédict de Saussure, Voyages dans les Alpes: Augmentés des Voyages en Valais, au Mont Cervin et autour du Mont Rose. By Martin Rudwick 206Anke te Heesen, The World in a Box: The Story of an Eighteenth-Century Picture Encyclopedia. By Richard Yeo 208David Boyd Haycock, William Stukeley: Science, Religion and Archaeology in Eighteenth-Century England. By Geoffrey Cantor 209Jessica Riskin, Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment. By Dorinda Outram 210Michel Chaouli, The Laboratory of Poetry: Chemistry and Poetics in the Work of Friedrich Schlegel. By David Knight 211George Levine, Dying to Know: Scientific Epistemology and Narrative in Victorian England. By Michael H. Whitworth 212Agustí Nieto-Galan, Colouring Textiles: A History of Natural Dyestuffs in Industrial Europe. By Ursula Klein 214Stuart McCook, States of Nature: Science, Agriculture, and Environment in the Spanish Caribbean, 1760–1940. By Piers J. Hale 215Paola Govoni, Un pubblico per la scienza: La divulgazione scientifica nell'Italia in formazione. By Pietro Corsi 216R. W. Home, A. M. Lucas, Sara Maroske, D. M. Sinkora and J. H. Voigt (eds.), Regardfully Yours: Selected Correspondence of Ferdinand von Mueller. Volume II: 1860–1875. By Jim Endersby 217Douglas R. Weiner, Models of Nature: Ecology, Conservation and Cultural Revolution in Soviet Russia. With a New Afterword. By Piers J. Hale 219Helge Kragh, Quantum Generations: A History of Physics in the Twentieth Century. By Steven French 220Antony Kamm and Malcolm Baird, John Logie Baird: A Life. By Sean Johnston 221Robin L. Chazdon and T. C. Whitmore (eds.), Foundations of Tropical Forest Biology: Classic Papers with Commentaries. By Joel B. Hagen 223Stephen Jay Gould, I Have Landed: Splashes and Reflections in Natural History. By Peter J. Bowler 223Henry Harris, Things Come to Life: Spontaneous Generation Revisited. By Rainer Brömer 224Hélène Gispert (ed.), ‘Par la Science, pour la patrie’: L'Association française pour l'avancement des sciences (1872–1914), un projet politique pour une société savante. By Cristina Chimisso 225Henry Le Chatelier, Science et industrie: Les Débuts du taylorisme en France. By Robert Fox 227Margit Szöllösi-Janze (ed.), Science in the Third Reich. By Jonathan Harwood 227Vadim J. Birstein, The Perversion of Knowledge; The true Story of Soviet Science. By C. A. J. Chilvers 229Guy Hartcup, The Effect of Science on the Second World War. By David Edgerton 230Lillian Hoddeson and Vicki Daitch, True Genius: The Life and Science of John Bardeen, the Only Winner of Two Nobel Prizes in Physics. By Arne Hessenbruch 230Stephen B. Johnson, The Secret of Apollo: Systems Management in American and European Space Programs, John M. Logsdon (ed.), Exploring the Unknown: Selected Documents in the History of the U.S. Civil Space Program. Volume V: Exploring the Cosmos and Douglas J. Mudgway, Uplink-Downlink: A History of the Deep Space Network 1957–1997. By Jon Agar 231Helen Ross and Cornelis Plug, The Mystery of the Moon Illusion: Exploring Size Perception. By Klaus Hentschel 233Matthew R. Edwards (ed.), Pushing Gravity: New Perspectives on Le Sage's Theory of Gravitation. By Friedrich Steinle 234Ernest B. Hook (ed.), Prematurity in Scientific Discovery: On Resistance and Neglect. By Alex Dolby 235John Waller, Fabulous Science: Fact and Fiction in the History of Scientific Discovery. By Alex Dolby 236Rosalind Williams, Retooling: A Historian Confronts Technological Change. By Keith Vernon 237Colin Divall and Andrew Scott, Making Histories in Transport Museums. By Anthony Coulls 238

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Tujuan dari penelitian ini adalah: 1. Mendeskripsikan tipe psikologis tokoh utama dalam “A Caribbean Mystery” karya Agatha Christie berdasarkan teori psikoanalisis Carl Gustav Jung. 2. Mendeskripsikan faktor-faktor apa saja yang mempengaruhi psikologis tokoh utama dalam “A Caribbean Mystery” karya Agatha Christie berdasarkan teori psikoanalisis Sigmund Freud. Metode penelitian yang digunakan dalam penelitian ini adalah pendekatan kualitatif. Sumber data penelitian adalah novel yang berjudul "A Caribbean Mystery" dan data penelitian tersebut meliputi: Jenis dan Faktor Psikologi yang mempengaruhi psikologi tokoh utama. Teknik pengumpulan data menggunakan teknik pustaka yaitu dokumen. Teknik analisis data menggunakan teknik membaca, menandai, coding dan menganalisis. Hasil penelitian dapat dirumuskan bahwa terdapat dua bentuk psikologi pada manusia, yaitu jenis psikologi yang ada dalam alam sadar dan tidak sadar. Faktor yang mempengaruhi psikologi manusia terdiri dari faktor personal dan faktor situasional, namun dalam novel “A Caribbean Mystery” faktor yang mempengaruhi psikologi tokoh utama didominasi oleh faktor personal.

Resumo: A Campanha da Fraternidade de 2019 sobre “Fraternidade e PolíticasPúblicas” dá continuidade e aprofunda as diretrizes estabelecidas para o AnoNacional do Laicato no que tange ao incentivo à participação de cristãos leigose leigas em políticas públicas: seja ofertando serviços de caráter público; rea-lizando controle social por meio de Conselhos de Direitos, audiências públicasou Grupos de Acompanhamento ao Legislativo; ou mobilizando a incidênciapolítica a partir de demandas populares concretas. São fartas as motivaçõese fundamentação que justifique a participação efetiva de cristãos leigos e lei-gas em políticas públicas: o mistério da encarnação do verbo e as “traduçõeshistóricas” realizadas pelo Concílio Vaticano II e pelas Conferências Geraisdo Episcopado Latino-americano e Caribenho; o Documento 105 da CNBB; aparte do JULGAR do texto-base da CF/2019, com citações do antigo e novotestamento; até a parte do DISCERNIR do Documento Preparatório do Sínododa Amazônia; e, finalmente, a Exortação Apostólica “Alegria do Evangelho”do Papa Francisco. Conhecer o que são as Políticas Públicas, seu contextohistórico, seu ciclo de execução; as possibilidades de seu financiamento, entreoutros temas específicos é condição sine qua non para atuar de forma efetiva earticulada em políticas públicas, como uma das formas nobres do exercício dacaridade cristã em diálogo com outras organizações da sociedade e pessoas deboa vontade, resgatando assim a democracia ferida do Brasil neste momentoda história: “serás libertado pelo direito e pela justiça” (Is 1,27).Palavras-chave: Políticas Públicas. Laicato. Ensino Social da Igreja. Partici-pação social.Abstract: The Fraternity Campaign of 2019 on “Fraternity and Public Policies”continues and deepens the guidelines established for the National Year of theLaity with regard to encouraging the participation of Christians lay people in publicpolicies: offering public services; carrying out social control through Councils ofRights, public hearings or Legislative Monitoring Groups; or by mobilizing politicalinfluence based on concrete popular demands. The motives and justification forthe effective participation of Christians lay people in public policies are abundat:the mystery of the incarnation of the verb and the “historical translations” carriedout by the Second Vatican Council and by the General Conferences of the LatinAmerican and Caribbean Episcopate;; the Document 105 of CNBB; the part ofthe CF-2019 basis-text about the analysis of reality, with quotations from the oldand new testament; the part of discernment of the Preparatory Document of theSynod of the Amazon; and lastly the Apostolic Exhortation “Joy of the Gospel”of Pope Francis. To know what Public Policies are, their historical context, theircycle of execution; the possibilities of its financing, among other specific themes,is a sine qua non condition to act effectively and articulated in public policies, asone of the noble forms of the exercise of Christian charity in dialogue with otherorganizations of society and people of good will, rescuing thus the woundeddemocracy of Brazil at this point in history: “you will be liberated by right andjustice” (Is 1,27).Keywords: Public Policies. Laicate. Social Teaching of the Church. SocialParticipation.

IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are discursively framed as possessing the cultural capital associated with auterist cinema, despite their participation in the marketing logics of media franchising (Johnson). Adaptation theorist Linda Hutcheon proposes that when audiences receive literary adaptations, their pleasure inheres in a mixture of “repetition and difference”, “familiarity and novelty” (114). The difference can take many forms, but may be framed as guaranteed by the “distinction”, or—in Bourdieu’s terms—the cultural capital, of talented individuals and companies. Gerard Genette (Palimpsests) argued that “proximations” or updatings of classic literature involve acknowledging historical shifts in ideological norms as well as aesthetic techniques and tastes. When literary brands are made over using different media, there are economic lures to participation in currently fashionable technologies, as well as current political values. Linda Hutcheon also underlines the pragmatic constraints on the re-imagining of literary brands. “Expensive collaborative art forms” (87) such as films and large stage productions look for safe bets, seeking properties that have the potential to increase the audience for their franchise. Thus the marketplace influences both production and the experience of audiences. While this paper does not attempt a thoroughgoing analysis of audience reception appropriate to a fan studies approach, it borrows concepts from Matt Hills’s theorisation of marketing communication associated with screen “makeovers”. It shows that literary fiction and cinematic texts associated with celebrated authors or auteurist producer-directors share branding discourses characteristic of contemporary consumer culture. Strategies include marketing “reveals” of transformed content (Hills 319). Transformed content is presented not only as demonstrating originality and novelty; these promotional paratexts also perform displays of cultural capital on the part of production teams or of auteurist creatives (321). Case Study 1: Steven Spielberg, The Adventures of Tintin (2011) The Adventures of Tintin: The Secret of the Unicorn is itself an adaptation of a literary brand that reimagines earlier transmedia genres. According to Spielberg’s biographer, the Tintin series of bandes dessinée (comics or graphic novels) by Belgian artist Hergé (Georges Remi), has affinities with “boys’ adventure yarns” referencing and paying homage to the “silent filmmaking and the movie serials of the 1930s and ‘40s” (McBride 530). The three comics adapted by Spielberg belong to the more escapist and less “political” phase of Hergé’s career (531). As a fast-paced action movie, building to a dramatic and spectacular closure, the major plot lines of Spielberg’s film centre on Tintin’s search for clues to the secret of a model ship he buys at a street market. Teaming up with an alcoholic sea captain, Tintin solves the mystery while bullying Captain Haddock into regaining his sobriety, his family seat, and his eagerness to partner in further heroic adventures. Spielberg’s industry stature allowed him the autonomy to combine the commercial motivations of contemporary “tentpole” cinema adaptations with aspirations towards personal reputation as an auteurist director. Many of the promotional paratexts associated with the film stress the aesthetic distinction of the director’s practice alongside the blockbuster spectacle of an action film. Reinventing the Literary Brand as FranchiseComic books constitute the “mother lode of franchises” (Balio 26) in a industry that has become increasingly global and risk-adverse (see also Burke). The fan base for comic book movies is substantial and studios pre-promote their investments at events such as the four-day Comic-Con festival held annually in San Diego (Balio 26). Described as “tentpole” films, these adaptations—often of superhero genres—are considered conservative investments by the Hollywood studios because they “constitute media events; […] lend themselves to promotional tie-ins”; are “easy sells in world markets and […] have the ability to spin off sequels to create a franchise” (Balio 26). However, Spielberg chose to adapt a brand little known in the primary market (the US), thus lacking the huge fan-based to which pre-release promotional paratexts might normally be targeted. While this might seem a risky undertaking, it does reflect “changed industry realities” that seek to leverage important international markets (McBride 531). As a producer Spielberg pursued his own strategies to minimise economic risk while allowing him creative choices. This facilitated the pursuit of professional reputation alongside commercial success. The dual release of both War Horse and Tintin exemplify the director-producer’s career practice of bracketing an “entertainment” film with a “more serious work” (McBride 530). The Adventures of Tintin was promoted largely as technical tour de force and spectacle. Conversely War Horse—also adapted from a children’s text—was conceived as a heritage/nostalgia film, marked with the attention to period detail and lyric cinematography of what Matt Hills describes as “aestheticized fiction”. Nevertheless, promotional paratexts stress the discourse of auteurist transformation even in the case of the designedly more commercial Tintin film, as I discuss further below. These pre-release promotions emphasise Spielberg’s “painterly” directorial hand, as well as the professional partnership with Peter Jackson that enabled cutting edge innovation in animation. As McBride explains, the “dual release of the two films in the US was an unusual marketing move” seemingly designed to “showcase Spielberg’s artistic versatility” (McBride 530).Promotional Paratexts and Pre-Recruitment of FansAs Jonathan Gray and Jason Mittell have explained, marketing paratexts predate screen adaptations (Gray; Mittell). As part of the commercial logic of franchise development, selective release of information about a literary brand’s transformation are designed to bring fans of the “original,” or of genre communities such as fantasy or comics audiences, on board with the adaptation. Analysing Steven Moffat’s revelations about the process of adapting and creating a modern TV series from Conan Doyle’s canon (Sherlock), Matt Hills draws attention to the focus on the literary, rather than the many screen reinventions. Moffat’s focus on his childhood passion for the Holmes stories thus grounds the team’s adaptation in a period prior to any “knowledge of rival adaptations […] and any detailed awareness of canon” (326). Spielberg (unlike Jackson) denied any such childhood affective investment, claiming to have been unaware of the similarities between Raiders of the Lost Ark (1981) and the Tintin series until alerted by a French reviewer of Raiders (McBride 530). In discussing the paradoxical fidelity of his and Jackson’s reimagining of Tintin, Spielberg performed homage to the literary brand while emphasising the aesthetic limitations within the canon of prior adaptations:‘We want Tintin’s adventures to have the reality of a live-action film’, Spielberg explained during preproduction, ‘and yet Peter and I felt that shooting them in a traditional live-action format would simply not honor the distinctive look of the characters and world that Hergé created. Hergé’s characters have been reborn as living beings, expressing emotion and a soul that goes far beyond anything we’ve been able to create with computer-animated characters.’ (McBride 531)In these “reveals”, the discourse positions Spielberg and Jackson as both fans and auteurs, demonstrating affective investment in Hergé’s concepts and world-building while displaying the ingenuity of the partners as cinematic innovators.The Branded Reveal of Transformed ContentAccording to Hills, “quality TV drama” no less than “makeover TV,” is subject to branding practices such as the “reveal” of innovations attributed to creative professionals. Marketing paratexts discursively frame the “professional and creative distinction” of the teams that share and expand the narrative universe of the show’s screen or literary precursors (319–20). Distinction here refers to the cultural capital of the creative teams, as well as to the essential differences between what adaptation theorists refer to as the “hypotext” (source/original) and “hypertext” (adaptation) (Genette Paratexts; Hutcheon). The adaptation’s individualism is fore-grounded, as are the rights of creative teams to inherit, transform, and add richness to the textual universe of the precursor texts. Spielberg denied the “anxiety of influence” (Bloom) linking Tintin and Raiders, though he is reported to have enthusiastically acknowledged the similarities once alerted to them. Nevertheless, Spielberg first optioned Hergé’s series only two years later (1983). Paratexts “reveal” Hergé’s passing of the mantle from author to director, quoting his: “ ‘Yes, I think this guy can make this film. Of course it will not be my Tintin, but it can be a great Tintin’” (McBride 531).Promotional reveals in preproduction show both Spielberg and Jackson performing mutually admiring displays of distinction. Much of this is focused on the choice of motion capture animation, involving attachment of motion sensors to an actor’s body during performance, permitting mapping of realistic motion onto the animated figure. While Spielberg paid tribute to Jackson’s industry pre-eminence in this technical field, the discourse also underlines Spielberg’s own status as auteur. He claimed that Tintin allowed him to feel more like a painter than any prior film. Jackson also underlines the theme of direct imaginative control:The process of operating the small motion-capture virtual camera […] enabled Spielberg to return to the simplicity and fluidity of his 8mm amateur films […] [The small motion-capture camera] enabled Spielberg to put himself literally in the spaces occupied by the actors […] He could walk around with them […] and improvise movements for a film Jackson said they decided should have a handheld feel as much as possible […] All the production was from the imagination right to the computer. (McBride 532)Along with cinematic innovation, pre-release promotions thus rehearse the imaginative pre-eminence of Spielberg’s vision, alongside Jackson and his WETA company’s fantasy credentials, their reputation for meticulous detail, and their innovation in the use of performance capture in live-action features. This rehearsal of professional capital showcases the difference and superiority of The Adventures of Tintin to previous animated adaptations.Case Study 2: Andrew Motion: Silver, Return to Treasure Island (2012)At first glance, literary fiction would seem to be a far-cry from the commercial logics of tentpole cinema. The first work of pure fiction by a former Poet Laureate of Great Britain, updating a children’s classic, Silver: Return to Treasure Island signals itself as an exemplar of quality fiction. Yet the commercial logics of the publishing industry, no less than other media franchises, routinise practices such as author interviews at bookshop visits and festivals, generating paratexts that serve its promotional cycle. Motion’s choice of this classic for adaptation is a step further towards a popular readership than his poetry—or the memoirs, literary criticism, or creative non-fiction (“fabricated” or speculative biographies) (see Mars-Jones)—that constitute his earlier prose output. Treasure Island’s cultural status as boy’s adventure, its exotic setting, its dramatic characters long available in the public domain through earlier screen adaptations, make it a shrewd choice for appropriation in the niche market of literary fiction. Michael Cathcart’s introduction to his ABC Radio National interview with the author hones in on this:Treasure Island is one of those books that you feel as if you’ve read, event if you haven’t. Long John Silver, young Jim Hawkins, Blind Pew, Israel Hands […], these are people who stalk our collective unconscious, and they’re back. (Cathcart)Motion agrees with Cathcart that Treasure Island constitutes literary and common cultural heritage. In both interviews I analyse in the discussion here, Motion states that he “absorbed” the book, “almost by osmosis” as a child, yet returned to it with the mature, critical, evaluative appreciation of the young adult and budding poet (Darragh 27). Stevenson’s original is a “bloody good book”; the implication is that it would not otherwise have met the standards of a literary doyen, possessing a deep knowledge of, and affect for, the canon of English literature. Commercial Logic and Cultural UpdatingSilver is an unauthorised sequel—in Genette’s taxonomy, a “continuation”. However, in promotional interviews on the book and broadcast circuit, Motion claimed a kind of license from the practice of Stevenson, a fellow writer. Stevenson himself notes that a significant portion of the “bar silver” remained on the island, leaving room for a sequel to be generated. In Silver, Jim, the son of Stevenson’s Jim Hawkins, and Natty, daughter of Long John Silver and the “woman of colour”, take off to complete and confront the consequences of their parents’ adventures. In interviews, Motion identifies structural gaps in the precursor text that are discursively positioned to demand completion from, in effect, Stevenson’s literary heir: [Stevenson] was a person who was interested in sequels himself, indeed he wrote a sequel to Kidnapped [which is] proof he was interested in these things. (Cathcart)He does leave lots of doors and windows open at the end of Treasure Island […] perhaps most bewitchingly for me, as the Hispaniola sails away, they leave behind three maroons. So what happened to them? (Darragh)These promotional paratexts drop references to Great Expectations, Heart of Darkness, Lord of the Flies, Wild Sargasso Sea, the plays of Shakespeare and Tom Stoppard, the poetry of Auden and John Clare, and Stevenson’s own “self-conscious” sources: Defoe, Marryat. Discursively, they evidence “double coding” (Hills) as both homage for the canon and the literary “brand” of Stevenson’s popular original, while implicated in the commercial logic of the book industry’s marketing practices.Displays of DistinctionMotion’s interview with Sarah Darragh, for the National Association of Teachers of English, performs the role of man of letters; Motion “professes” and embodies the expertise to speak authoritatively on literature, its criticism, and its teaching. Literature in general, and Silver in particular, he claims, is not “just polemic”, that is “not how it works”, but it does has the ability to recruit readers to moral perspectives, to convey “ new ideas[s] of the self.” Silver’s distinction from Treasure Island lies in its ability to position “deep” readers to develop what is often labelled “theory of mind” (Wolf and Barzillai): “what good literature does, whether you know it or not, is to allow you to be someone else for a bit,” giving us “imaginative projection into another person’s experience” (Darragh 29). A discourse of difference and superiority is also associated with the transformed “brand.” Motion is emphatic that Silver is not a children’s book—“I wouldn’t know how to do that” (Darragh 28)—a “lesser” genre in canonical hierarchies. It is a writerly and morally purposeful fiction, “haunted” by greats of the canon and grounded in expertise in philosophical and literary heritage. In addition, he stresses the embedded seriousness of his reinvention: it is “about how to be a modern person and about greed and imperialism” (Darragh 27), as well as a deliberatively transformed artefact:The road to literary damnation is […] paved with bad sequels and prequels, and the reason that they fail […] is that they take the original on at its own game too precisely […] so I thought, casting my mind around those that work [such as] Tom Stoppard’s play Rosencrantz and Guildenstern are Dead […] or Jean Rhys’ wonderful novel Wide Sargasso Sea which is about the first Mrs Rochester in Jane Eyre […] that if I took a big step away from the original book I would solve this problem of competing with something I was likely to lose in competition with and to create something that was a sort of homage […] towards it, but that stood at a significant distance from it […]. (Cathcart) Motion thus rehearses homage and humility, while implicitly defending the transformative imagination of his “sequel” against the practice of lesser, failed, clonings.Motion’s narrative expansion of Stevenson’s fictional universe is an example of “overwriting continuity” established by his predecessor, and thus allowing him to make “meaningful claims to creative and professional distinction” while demonstrating his own “creative viewpoint” (Hills 320). The novel boldly recapitulates incidental details, settings, and dramatic embedded character-narrations from Treasure Island. Distinctively, though, its opening sequence is a paean to romantic sensibility in the tradition of Wordsworth’s The Prelude (1799–1850).The Branded Reveal of Transformed ContentSilver’s paratexts discursively construct its transformation and, by implication, improvement, from Stevenson’s original. Motion reveals the sequel’s change of zeitgeist, its ideological complexity and proximity to contemporary environmental and postcolonial values. These are represented through the superior perspective of romanticism and the scientific lens on the natural world:Treasure Island is a pre-Enlightenment story, it is pre-French Revolution, it’s the bad old world […] where people have a different ideas of democracy […] Also […] Jim is beginning to be aware of nature in a new way […] [The romantic poet, John Clare] was publishing in the 1820s but a child in the early 1800s, I rather had him in mind for Jim as somebody who was seeing the world in the same sort of way […] paying attention to the little things in nature, and feeling a sort of kinship with the natural world that we of course want to put an environmental spin on these days, but [at] the beginning of the 1800s was a new and important thing, a romantic preoccupation. (Cathcart)Motion’s allusion to Wild Sargasso Sea discursively appropriates Rhys’s feminist and postcolonial reimagination of Rochester’s creole wife, to validate his portrayal of Long John Silver’s wife, the “woman of colour.” As Christian Moraru has shown, this rewriting of race is part of a book industry trend in contemporary American adaptations of nineteenth-century texts. Interviews position readers of Silver to receive the novel in terms of increased moral complexity, sharing its awareness of the evils of slavery and violence silenced in prior adaptations.Two streams of influence [come] out of Treasure Island […] one is Pirates of the Caribbean and all that jolly jape type stuff, pirates who are essentially comic [or pantomime] characters […] And the other stream, which is the other face of Long John Silver in the original is a real menace […] What we are talking about is Somalia. Piracy is essentially a profoundly serious and repellent thing […]. (Cathcart)Motion’s transformation of Treasure Island, thus, improves on Stevenson by taking some of the menace that is “latent in the original”, yet downplayed by the genre reinvented as “jolly jape” or “gorefest.” In contrast, Silver is “a book about serious things” (Cathcart), about “greed and imperialism” and “how to be a modern person,” ideologically reconstructed as “philosophical history” by a consummate man of letters (Darragh).ConclusionWhen iconic literary brands are reimagined across media, genres and modes, creative professionals frequently need to balance various affective and commercial investments in the precursor text or property. Updatings of classic texts require interpretation and the negotiation of subtle changes in values that have occurred since the creation of the “original.” Producers in risk-averse industries such as screen and publishing media practice a certain pragmatism to ensure that fans’ nostalgia for a popular brand is not too violently scandalised, while taking care to reproduce currently popular technologies and generic conventions in the interest of maximising audience. As my analysis shows, promotional circuits associated with “quality” fiction and cinema mirror the commercial logics associated with less valorised genres. Promotional paratexts reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. Paying lip-service the sophisticated reading practices of contemporary fans of both cinema and literary fiction, their discourse shows the conflicting impulses to homage, critique, originality, and recruitment of audiences.ReferencesBalio, Tino. Hollywood in the New Millennium. London: Palgrave Macmillan/British Film Institute, 2013.Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. 2nd ed. Oxford: Oxford UP, 1997.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Trans. Richard Nice. Cambridge, MA: Harvard UP, 1987. Burke, Liam. The Comic Book Film Adaptation: Exploring Modern Hollywood's Leading Genre. Jackson, MS: UP of Mississippi, 2015. Cathcart, Michael (Interviewer). Andrew Motion's Silver: Return to Treasure Island. 2013. Transcript of Radio Interview. Prod. Kate Evans. 26 Jan. 2013. 10 Apr. 2013 ‹http://www.abc.net.au/radionational/booksplus/silver/4293244#transcript›.Darragh, Sarah. "In Conversation with Andrew Motion." 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