ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

More documents

Recommendations

Info

The convergence of media forms within a particular medium is also remarkably Shandean, and thus makes remediation an easily accomplished task. The fictionalized autobiography, however, is the most dominant mode under which Sterne operates, and allows the author/narrator to be the centralized figure in the narrative. But, within this autobiographical framework, we have a conflation and confusion of identities and voices as a satire on the tradition of self-knowledge, which leads us to the conclusion, along with Booth, that “in the end, everybody is unknowable” (xviii). And, of course, we do this all with a laugh, since humour and the privileging of the bawdy are also Shandean attitudes, tones, and reference bases. We can laugh at a penis joke as much as we can laugh at Smelfungus. Finally, a textual dialogue, or the appeal to intertexts, supports Sterne’s attention to his critics. These elements of the text are what adaptation critics would call the ‘spirit’ of the text, and what I consider particularly Shandean. This is the spirit that Rowson and Winterbottom remediate into graphic novel and film. Rowson’s and Winterbottom’s adaptations operate on the conceptual level of adaptation since Tristram Shandy is experimental, distinct, and unlike most other literary sources. A direct-transfer or modernization of the text would be disingenuous to the spirit of Sterne, and, moreover, almost impossible given the chosen mediums. The experimental, self-reflexive, and highly referential nature of Tristram Shandy can be remediated into new mediums because these qualities function as representative of the spirit of the text, and make the adaptations Shandean in their conceptual replication. By defining a sense of the Shandean, we can see how Rowson and Winterbottom adapt these qualities to stay true to the spirit of Sterne while both remediate the Shandean qualities into new formats. Tristram Shandy is only ‘unadaptable’ if the conventional approaches 30
to adaptation are the method or the evaluative principle. But, since Sterne is deliberately unconventional, Rowson and Winterbottom retain the spirit of Tristram Shandy and create two new versions of the text by presenting the Shandean in new ways, and by challenging the conventions of the new mediums just as Sterne does with the novel. Rowson and Winterbottom recognize the Shandean elements of the text that can be successfully adapted, and by doing so, both adaptations are true to the spirit of Tristram Shandy. 31
Page 1 and 2: ADAPTING TRISTRAM SHANDY by Adria Y
Page 3 and 4: AUTHOR: Adria Young TITLE: Adapting
Page 5 and 6: TABLE OF CONTENTS LIST OF FIGURES v
Page 7 and 8: ABSTRACT Laurence Sterne’s The Li
Page 9 and 10: CHAPTER 1: INTRODUCTION Given its r
Page 11 and 12: notion of a literal fidelity” (7)
Page 13 and 14: Cruel Intentions (Kumble 1999), and
Page 15 and 16: narrative in the same way that Ster
Page 17 and 18: CHAPTER 2: ADAPTING THE SHANDEAN Of
Page 19 and 20: The critical tradition surrounding
Page 21 and 22: digressive, and it is progressive,
Page 23 and 24: contexts and manipulated to a great
Page 25 and 26: Shandean, and are hitherto unseen t
Page 27 and 28: and sale occupied less than five pe
Page 29 and 30: (Sterne 580). Neither do we receive
Page 31 and 32: himself was dying of, and died from
Page 33 and 34: “new depth” and it was Sterne w
Page 35 and 36: Widow Wadman’s preoccupation with
Page 37: (Sterne 472), alluding to both the
Page 41 and 42: Hutcheon’ s theory effectively si
Page 43 and 44: about the act of reading the novel.
Page 45 and 46: (Weiner 17). Critics began to value
Page 47 and 48: Figure 4.Rowson's homage to Gin Lan
Page 49 and 50: work, aided by the relationship bet
Page 51 and 52: adaptation is in the “mixture of
Page 53 and 54: (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 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 and 114:
McFarlane, Brian. “Part I: Backgr
Page 115 and 116:
---------- “Interview with Alex F
Page 117:
University of Adelaide, 2011. Web.
show all

ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?