{"id":56,"date":"2016-04-01T15:19:36","date_gmt":"2016-04-01T15:19:36","guid":{"rendered":"http:\/\/kevin.boon.us\/wordpress\/?page_id=56"},"modified":"2016-06-19T12:38:07","modified_gmt":"2016-06-19T12:38:07","slug":"scholarship-articles-notes-etc","status":"publish","type":"page","link":"https:\/\/kevin.boon.us\/wordpress\/scholarship-articles-notes-etc\/","title":{"rendered":"Scholarship"},"content":{"rendered":"

Selected Publications<\/span><\/p>\n

Books<\/em><\/p>\n

Script Culture<\/em> and<\/em> the American Screenplay<\/em>. Detroit: Wayne State University Press, 2008.<\/p>\n

An Interpretive Commentary on Virginia Woolf’s The Waves<\/em>. Lewiston: Mellen Press, 1998.<\/p>\n

Chaos Theory and the Interpretation of Literary Texts: The Case of Kurt Vonnegut<\/em>. Lewiston: Mellen Press, 1997.<\/p>\n

At Millennium’s End: New Essays on the Work of Kurt Vonnegut<\/em>. New York: State University of New York Press, 2001.<\/p>\n

Reading the Sea: New Essays on Sea Literature<\/em>. New York: Fort Schuyler Press, 1999.<\/p>\n

Articles (peer-reviewed)<\/em><\/p>\n

\u201cEthics and Capitalism in the Screenplays of David Mamet.\u201d Literature\/Film Quarterly<\/em> 39 (2011).<\/p>\n

\u201cThe Screenplay, Imagism, and Modern Aesthetics.\u201d Literature\/Film Quarterly<\/em> 36.4 (2008): 259-271.<\/p>\n

“Episteme-ology of Science Fiction.” Rpt. Anatomy of Science Fiction<\/em>. Ed. Donald Morse. Cambridge Scholars Press, 2006: 10-25.<\/p>\n

\u201cHeroes, Metanarratives, and the Paradox of Masculinity in Contemporary Western Culture.\u201d Journal of Men\u2019s Studies <\/em>13.3 (Spring 2005): 301-312.<\/p>\n

\u201cMen and the Nostalgia for Violence: Culture and Culpability in Chuck Palahniuk\u2019s Fight Club<\/em>.\u201d Journal of Men\u2019s Studies <\/em>11.3 (2003): 267-276.<\/p>\n

“Episteme-ology of Science Fiction.” The Hungarian Journal of English and American Studies<\/em>. (2001) and Journal of the Fantastic in the Arts<\/em> 2.4 (2001): 359-74. (joint European and American publication)<\/p>\n

“The Poetics <\/em>and the Screenplay: Revisiting Aristotle.” Creative Screenwriting . <\/em>8.3 (2001): 67-79.<\/p>\n

“In Defense of John Carpenter’s Thing.” Creative Screenwriting. <\/em>(1999): 66-74, 44.<\/p>\n

“Publishing Group Projects: Decentering the Writing Classroom.” Teaching English in the Two-Year College<\/em>. 26.3 (March 1999): 262-268.<\/p>\n

“Dialogue, Discourse, and Dialectics: The Rhetoric of Capitalism in David Mamet’s Glengarry Glen Ross.”<\/em> Creative Screenwriting.<\/em> 5.3 (1998): 50-57.<\/p>\n

“In Debt to Dashiell: John Huston’s Adaptation of Hammett’s The Maltese Falcon<\/em>.” Creative Screenwriting. <\/em>(Summer 1997): 99-115.<\/p>\n

“Scripting Gender: Writing Difference.” Creative Screenwriting<\/em>. 4.1 (Spring 1997): 107-123.<\/p>\n

“Stoning Tarantino: Oliver Stone’s (re)Vision of Quentin Tarantino’s Natural Born Killers<\/em>.” Creative Screenwriting<\/em>. 1.4 (Winter 1994): 84-99.<\/p>\n

“Temple Defiled: The Brainwashing of Temple Drake in Faulkner’s Sanctuary<\/em>.” Faulkner Journal<\/em> 6.2 (Spring 1993): 33-50.<\/p>\n

“Vertical Analysis of Word Choice.” Teaching English in the Two-Year College<\/em>. 20 (February 1993): 53-56.<\/p>\n

 <\/p>\n

Book Chapters<\/em><\/p>\n

\u201cTrailing the Zombie through Modern and Contemporary Anglophone Literature.\u201d Written Dead<\/em>. Ed. Kyle Bishop. McFarland. (forthcoming)<\/p>\n

\u201cThe American Renaissance: 1968-1980.\u201d Behind the Silver Screen: Screen Writing and Story Telling<\/em>. Ed. Andy Horton. Rutgers UP. (2014)<\/p>\n

\u201cTemporal Cohesion and Disorientation in Slaughterhouse-<\/em>Five: A Chronicle of Form Cuts and Transitional Devices in the Novel.\u201d Literary Criticism Series Volume on Kurt Vonnegut<\/em>. Ed. Leonard Mustazza. New York: Salem Press\/EBSCO, 2011.<\/p>\n

\u201cThe Zombie as Other: Mortality and the Monstrous in the Postnuclear Age.\u201d Extended version of Monstrous<\/em> IV article. Better Off Dead: The Evolution of the Zombie as Post-human in Literature, Film, and Culture<\/em>. Ed. Sarah Juliet Lauro. New York: Fordham UP, 2011.<\/p>\n

\u201cThe Zombie as Other: Mortality and the Monstrous in the Post-Modern Age.\u201d The Horrid Looking Glass: Reflections on Monstrosity<\/em>. Ed. Paul Yoder and Peter Mario Kreuter. Oxford: Inter-Disciplinary Press, 2010: 3-13.<\/p>\n

\u201cOntological Anxiety Made Flesh: The Zombie in Literature, Film and Culture.\u201d Monsters and<\/em> The Monstrous<\/em>. Ed. Niall William Richard Scott. Amsterdam: Rodopi,\u00a0 2007: 33-43.<\/p>\n

“Gilbert Sorrentino: Cataloging The Imaginative Qualities of Actual Things.” Review of Contemporary Fiction<\/em>. 23.1 (January 2003): 108-125. Rpt. Studies in Modern and Contemporary Fiction<\/em>: Imaginative Qualities of Actual Things, by Gilbert Sorrentino. Ed. David Andrews. Series Ed. Robert McLaughlin. Dalkey Archive Press. Rpt. (Fall 2003).<\/p>\n

“Vonnegut Films.” (With David Pringle). At Millennium’s End: New Essays on the Work of Kurt Vonnegut<\/em>. State University of New York Press, 2001. 167-196.<\/p>\n

 <\/p>\n

See current c.v. for complete list.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Selected Publications Books Script Culture and the American Screenplay. Detroit: Wayne State University Press, 2008. An Interpretive Commentary on Virginia Woolf’s The Waves. Lewiston: Mellen Press, 1998. Chaos Theory and the Interpretation of Literary Texts: The Case of Kurt Vonnegut. Lewiston: Mellen Press, 1997. At Millennium’s End: New Essays on the Work of Kurt Vonnegut. … Continue reading Scholarship<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-56","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/pages\/56","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/comments?post=56"}],"version-history":[{"count":4,"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/pages\/56\/revisions"}],"predecessor-version":[{"id":228,"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/pages\/56\/revisions\/228"}],"wp:attachment":[{"href":"https:\/\/kevin.boon.us\/wordpress\/wp-json\/wp\/v2\/media?parent=56"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}