ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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Albrecht-Crane and Dennis Ray Hutcheons. Cranbury, NJ: Rosemount, 2010. 61-77. Print. Porton, Richard. “An Interview with Michael Winterbottom.” Cineaste. 31. 2 (2006): 28-31. Web. Quennell, Peter. Hogarth’s Progress. London: Collins, 1955. Print. Regan, Shaun. “Print Culture in Transition: Tristram Shandy, the Reviewers, and the Consumable Text.” Eighteenth-Century Fiction. 14.3 (2002): 289-309. Print. Richter, David H. “Narrativity and Stasis in Martin Rowson’s Tristram Shandy.” The Shandean 11(1999): 70-90. Print. Ricks, Christopher. “Introduction.” The Life and Opinions of Tristram Shandy, Gentleman.Eds. Melvyn New and Joan New. New York: Oxford UP, 2000. xi-xlix. Print. Rocha, de Castro Cezar Joao. The Author as Plagiarist: The Case of Machado de Assis. Dartmouth: University of Massachusetts Press, 2006. Web. Romney, Jonathan. “Tristram Shandy - Sterne Through a 21 st Century Lens.” Film Comment 42 (2006) 32-37. Web. Ross, Ian Campbell. “Laurence Sterne's Life, Milieu, and Literary Career” The Cambridge Companion to Laurence Sterne. Ed. Thomas Keymer. Cambridge: Cambridge UP, 2009. 5-20. Print. Rowson, Martin. The Life and Opinions of Tristram Shandy, Gentleman. Woodstock, NY: Overlook Press, 1996. Print. --------- “Hyperboling Gravity’s Ravelin: A Comic Book Version of Tristram Shandy.” The Shandean 14 (2003): 63-75. Print. 106
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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
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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
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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 and 112: Hutcheon, Linda. A Theory of Adapta
Page 113: McFarlane, Brian. “Part I: Backgr
Page 117: University of Adelaide, 2011. Web.
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