ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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--------- “The Self-Conscious Narrator in Comic Fiction BeforeTristram Shandy.” PMLA 67 (1952): 163-185. Web. Bosch, Rene. Labyrinth of Digressions: Tristram Shandy as Perceived and Influenced by Sterne's Early Imitators. Amsterdam: Rodopi, 2007. Print. Bowden, Martha F. “The Interdependence of Women in Tristram Shandy: A Chapter of Eyes, Sausages, and Sciatica.” ELN 31 (1994): 40-47. Print. Bowen, Scarlet. "Introduction. “The Politics of Custom in Eighteenth-Century British Fiction.New York: Palgrave MacMillan, 2010. 1-21. Print. Brady, Ben. Principles of Adaptation for Film and Television. Austin: University of Texas Press, 1994. Print. Brewer, E. Cobham. Dictionary of Phrase and Fable. London: Cassell, Petter, and Galpin, 1870. Web. Browning, John Dudley. Biography in the 18 th Century. New York: Garland Publishing, 1980. Print. Brady, Frank. “Tristram Shandy, Sexuality, Morality, and Sensibility.”Eighteenth- Century Studies 4 (1970): 41-56. Web. Carrier, David. The Aesthetics of Comics. University Park: Pennsylvania State UP, 2000. Print. Cash, Arthur H. “The Sermon in Tristram Shandy.”ELH (1964): 395-417. Print. --------- Laurence Sterne: The Later Years. New York: Routledge, 1992. Print. Cazamian, Louis Francois. The Development of English Humour. Durham: Duke University Press, 1952. Print. Conrad, Peter. Shandyism: The Character of Romantic Irony. Lanham: Barnes & 98
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ADAPTING TRISTRAM SHANDY by Adria Y
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AUTHOR: Adria Young TITLE: Adapting
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TABLE OF CONTENTS LIST OF FIGURES v
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ABSTRACT Laurence Sterne’s The Li
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CHAPTER 1: INTRODUCTION Given its r
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notion of a literal fidelity” (7)
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Cruel Intentions (Kumble 1999), and
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narrative in the same way that Ster
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CHAPTER 2: ADAPTING THE SHANDEAN Of
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The critical tradition surrounding
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digressive, and it is progressive,
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contexts and manipulated to a great
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Shandean, and are hitherto unseen t
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and sale occupied less than five pe
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(Sterne 580). Neither do we receive
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himself was dying of, and died from
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“new depth” and it was Sterne w
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Widow Wadman’s preoccupation with
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(Sterne 472), alluding to both the
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to adaptation are the method or the
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Hutcheon’ s theory effectively si
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about the act of reading the novel.
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(Weiner 17). Critics began to value
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Figure 4.Rowson's homage to Gin Lan
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work, aided by the relationship bet
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adaptation is in the “mixture of
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(Rowson np), as a reference to Joyc
Page 55 and 56: Commentary about Tristram Shandy mi
Page 57 and 58: or does not relate at all; however,
Page 59 and 60: Sentimental Journey as a textual
Page 61 and 62: Yorick is drawn as the likeness of
Page 63 and 64: spirits” (Sterne 1.1), and thus a
Page 65 and 66: Rowson also illustrates context via
Page 67 and 68: andRowson and Pete are drawn in a p
Page 69 and 70: we are aware that we are watching a
Page 71 and 72: critically approached. Fidelity as
Page 73 and 74: critical interpretation (what ideol
Page 75 and 76: associations and recognitions made
Page 77 and 78: etween chapters and volumes (just a
Page 79 and 80: fictionalized autobiography, and Wi
Page 81 and 82: cutting room floor (even though we
Page 83 and 84: fucking camera! He can be emotional
Page 85 and 86: at “realism.” Coogan replies,
Page 87 and 88: [Al] Pacino stand in for [David] Ga
Page 89 and 90: properties of different media make
Page 91 and 92: modes and conventions. On the abstr
Page 93 and 94: fictional autobiography, a military
Page 95 and 96: Figure 21: The final page of Rowson
Page 97 and 98: 11 Even this is tricky, and potenti
Page 99 and 100: 36 See Melvyn New. “Job’s Wife
Page 101 and 102: 59 Sterne had many Modern and Postm
Page 103 and 104: 86 That is, the “lack of formula
Page 105: � Bibliography Allen, Dennis W.
Page 109 and 110: Joyce Goggin and Dan Hassler-Forres
Page 111 and 112: Hutcheon, Linda. A Theory of Adapta
Page 113 and 114: McFarlane, Brian. “Part I: Backgr
Page 115 and 116: ---------- “Interview with Alex F
Page 117: University of Adelaide, 2011. Web.
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