ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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sequence of images that operate as a continuous and complete narrative originates in the eighteenth century. Rowson incorporates this history as part of the novel’s intertext through the work of William Hogarth. Although every stained glass window in every church in England tells a visual story, Hogarth’s “progresses” present visual narratives in a secular-social context. His influence is widely acknowledged, and his panels inform how comics continue to operate. 53 Hogarth’s visual narratives often consist of a single-panel action in a series of five or six panels. The cognitive transitions between Hogarth’s panels function by what McCloud coins as “closure” (McCloud 63). “Closure” is the process by which the reader views two separate images that are divided by the “gutter,” or the space between frames, and “transforms them into a single idea” (McCloud 66). The passing of time, the change in plot, and the connotations of images are all processed by this process. More than the reader of a novel, “the audience” of a comic, McCloud writes, “is a willing and conscious collaborator” in the narrative action (McCloud 65). And, comics are also different from film media where “closure takes place continuously” (McCloud 65). Closure in comics is achieved by the reader’s mental connection between images. In the first plate of Hogarth’s Marriage a-la-Mode, for instance, we are provided all the visual cues of the plotline; dull coins, greasy barristers, and bored faces reveal a marriage of economic and social convenience. This prepares the viewer for the second plate that shows the newly betrothed reuniting after a night of separate, illicit upper-class trysts. The “closure” occurswhen the reader recognizes that the fidelity of the marriage is compromised by the unfaithful terms under which it is negotiated. David Carrier acknowledges that “the successive images are connected only when the reader connects them” (Carrier 56). 38
Figure 4.Rowson's homage to Gin Lane.� The visual narrative, even if staggered, is still a narrative that depends upon the reader’s participation to be realized. Like Tristram Shandy, Rowson’s disordered visual narrative demands a high level of reader participation.And, while Hogarth’s panels are not comics as we now recognize them, the space between the pages and frames are as much a part of the visual narration as the visual images. Closure animates the medium; cognitive association is exactly how comics work. 54 This process of closure is the “agent of change, time, and motion” in comics (McCloud 65), which depends upon the reader’s transition 39
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 and 38: (Sterne 472), alluding to both the
Page 39 and 40: to adaptation are the method or the
Page 41 and 42: Hutcheon’ s theory effectively si
Page 43 and 44: about the act of reading the novel.
Page 45: (Weiner 17). Critics began to value
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.
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