ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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Lyon, Shauna. “Tristram Shandy: A Cock and Bull Story.” The Film File. The New Yorker. 6 February 2005. Web. Lynch, Jack. “The Relicks of Learning: Sterne Among the Renaissance Encyclopaedists.” ECF 13 (2000): 1-17. Web. Mack, Roger L. "Introduction." The Genius of Parody: Imitation and Originality in Seventeenth- and Eighteenth-Century English Literature. New York: Palgrave MacMillan, 2007. 1-14. Print. --------- “How Critics Learned to Stop Worrying and Love Literary Parody.” The Genius of Parody: Imitation and Originality in Seventeenth- and Eighteenth- Century English Literature. New York: Palgrave MacMillan, 2007. 15-48. Print. Macksey, Richard. “Foreword.” Paratexts: Thresholds of Interpretation. Trans. Jane E. Lewin. Cambridge: Cambridge UP, 1997. xi-xxii. Print. Mallon, Thomas. “Too Little, Too Soon.” Atlantic Monthly. 290.2002. 144. Web. Martin Rowson on Hogarth. Dir. Martin Rowson.Perf. Martin Rowson. Tate Shots. 2008.Web. MacCabe, Colin. “Bazinian Adaptation: The Butcher Boy as Example.” True to the Spirit: Film Adaptation and the Question of Fidelity. Oxford: Oxford UP, 2011. 3-26. Web. Mayer, Robert B. “Did You Say Middle Class? The Question of Taste and the Rise of the Novel.” Eighteenth-Century Fiction 12.2 (2000): 1-31. Web. -------- “Introduction: Is There a Text in This Screening Room?” Eighteenth- Century Film on Screen. Cambridge: Cambridge UP, 2002. 1-15. Print. McCloud, Scott. Understanding Comics. New York: Paradox Press, 2000. Print. 104
McFarlane, Brian. “Part I: Backgrounds, Issues, and a New Agenda.” Novel to Film: An Introduction to the Theory of Adaptation. Oxford: Clarendon Press, 1996. 1-30. Print. McNeil, David. “Sterne: Military Veterans and 'Humours'.” The Grotesque Depiction of War and the Military in the Eighteenth-Century. Newark: University of Delaware Press, 1990. 144-175. Print. Merton, Robert K. On The Shoulders of Giants: A Shandean Postscript. Chicago: U of Chicago Press, 1993. Print. Montgomery, Martin. Ways of Reading. New York: Routledge, 2000. Print. More, Kieran. “The Fictional Autobiography: The Art of Non-Fiction in Moll Flanders.” Dogus Universitesi Dergisi. 12. 1 (2011): 147-154. Web. New, Melvyn.“William Hogarth and John Baldessari: Ornamenting Sterne's Tristram Shandy.” Word and Image 11.2 (1995): 182-195. Print. --------- Tristram Shandy: A Book for Free Spirits. Toronto: MacMillan, 1994. Print. --------- “Sterne as Preacher: A Visit to St. Michael’s Church, Coxwold.” The Shandean 5 (1993): 160-167. Print. --------- “Review: Tristram Shandy: A Cock and Bull Story” Eighteenth-Century Studies 39. 4 (2006): 579-581. Print. --------- “Job's Wife and Sterne's Other Women.” Out of Bounds: Male Writers and Gender(ed) Criticism. Eds. Laura Claridge and Elizabeth Langland. Boston: University of Massachusetts, 1990. 55-74. Print. Newell, Kate. “’We’re Off to See the Wizard’ (Again): Oz Adaptations and the Matter of Fidelity.” Adaptation Studies: New Approaches. Eds. Christina 105
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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,
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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 and 110: Joyce Goggin and Dan Hassler-Forres
Page 111: Hutcheon, Linda. A Theory of Adapta
Page 115 and 116: ---------- “Interview with Alex F
Page 117: University of Adelaide, 2011. Web.
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