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ix ACKNOWLEDGMENTS Researching and writing are more gratifying and exciting if you have the luck to exchange ideas with enthusiastic and clever scholars, such as Dr. Stacey Abbott and Dr. Caroline Bainbridge (Roehampton University), and if you find yourself in a stimulating environment. Thus, first and foremost, I would like to express my gratitude to Stacey and Caroline for their precious suggestions to structure my manuscript, and their useful biographical references to develop my arguments. They also always encouraged and supported me during my work. It was a pleasure and an honor for me to listen to their suggestions; without their assistance and guidance this work would not have been possible. I would also like to thank Dr. Ian Hunter (De Montfort University) and Dr. Catherine Lupton (Roehampton University ) for their valuable advice to improve my manuscript. Deepest gratitude is also due to the scholars who held interesting and stimulating seminars, events, workshops, and conferences organized by the Graduate School and the School of Arts of Roehampton University. Furthermore, the Association of Literature on Screen Studies and the organizers of the conference Cultures of Translation: Adaptation in Film and Performance (held in Cardiff, June 2008) gave me the opportunity to take part in their conferences, allowing me to fruitfully compare my ideas with those of several scholars. An earlier version of Chapter IV appeared as an article, “The Metaphor of Dance in Stanley Kubrick’s 2001: A Space Odyssey , A Clockwork Orange and Full Metal Jacket,” in the Journal of Adaptation in Film & Performance (vol. 5, no. 1, pp. 51–64), reprinted here with the kind permission of editors Prof. Richard Hand and Dr. Katja Krebs. I would also like to convey thanks to the University Press of Mississippi for having given me the opportunity of publishing my manuscript and, in particular, to Valerie Jones and Leila Salisbury for their assistance and patience, to the anonymous readers for their precious suggestions, and to Peter Tonguette, copyeditor, for his invaluable help. Finally, I would like to show my greatest appreciation to Prof. Stefano Ghislotti (Bergamo University), who first taught me how to analyze films during my MA, who encouraged me to attend a PhD course, and with whom I can always enthusiastically discuss my ideas. And I would like to thank Acknowledgments x other professors at Bergamo University, especially Prof. Giovanni Bottiroli and Prof. Richard Davies, for their stimulating, unforgettable lessons. Most of all, an honorable mention goes to my family for their understanding and love. I hope they will appreciate my efforts and enjoy my work. STANLEY KUBRICK This page intentionally left blank ...


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