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UP, 2009. 111-124. Print. Harris, Bob. “Print Culture.” A Companion to Eighteenth-Century Britain.Ed. H.T. Dickinson. Oxford: Blackwell, 2002. 283-293. Print. Hart, Michael. “'Many Planes of Narrative': A Comparative Perspective on Sterne and Joyce.” Sterne in Modernism and Postmodernism. Eds. David Pierce and Peter Jan deVoogd. Amsterdam: Rodopi, 1996. 65-80. Print. Harvey, Karen. Reading Sex in the Eighteenth Century: Bodies and Gender in English Erotic Culture. Cambridge: Cambridge UP, 2004. Print. Harvey, Robert C. The Art of the Comic Book: An Aesthetic History. Jackson: UP of Mississippi, 1996. Print. Hawley, Judith. “Tristram Shandy, Learned Wit, and Enlightenment Knowledge.” The Cambridge Companion to Laurence Sterne. Ed. Thomas Keymer. Cambridge: Cambridge UP, 2009. 34-48. Print. Hogarth, William. The Analysis of Beauty. Ed. Joseph Burke. Oxford: Clarendon Press, 1955. Print. Holtz, William. “The Journey and the Picture: The Art of Sterne and Hogarth” A History of Book Illustration: 29 Points of View. Ed. Bill Katz. Metuchen, NJ: The Scarecrow Press, 1994. 315-332. Print. Horn, Maurice. Sex in the Comics. New York: Chelsea House, 1985. Print. Howes, Alan B. Laurence Sterne: The Critical Heritage. London: Routledge, 1995. Print. Hallam, Julia. “Realism and Film.” Realism and Cinema. Manchester: Manchester UP, 2000. Print. 102
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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
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Commentary about Tristram Shandy mi
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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 and 106: � Bibliography Allen, Dennis W.
Page 107 and 108: Noble, 1978. Print. Corliss, Richar
Page 109: Joyce Goggin and Dan Hassler-Forres
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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