ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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history of visual art are used as self-referential gestures to the development of the medium,and also to Sterne’s place within that history. At various points, Tristram narrates over or through select Hogarthian panels (Figure 4), reproduced either in full or in part, which include Gin Lane (1751), Beer Street (1751), and The Reward of Cruelty (1751). These panels signify the aesthetic relationship between Sterne and Hogarth, and also Hogarth’s status as an earlier practitioner of visual-sequential storytelling and its role as critical commentary. 65 An angulated matrix is imposed over the illustration of Trim reading the sermon (Figure 16), the posture of which is modeled on Hogarth’s aesthetic principle, the “line of beauty” (Hogarth 37). 66 This nod to the ‘line’ also references the conventions of comic books, which are, by design, reliant on lines to communicate sequence, part of the “visual vocabulary” of graphic movement (McCloud 131). Lines that make up the panels indicate individual stasis; the lines between the panels act as both the moment of closure and the passing of time. Rather than a linear line, however, Hogarth’s line is serpentine, and its emphasis here shows the interrelatedness of narrativity and visuality. Rowson does not use the typical panel structure (equal-sized boxes balanced evenly on the page) but instead, full-pages, triangles, and so on. There is no uniform pattern that the visual narrative follows, so we can receive as much as perceive that the story (and the graphic novel) is non-linear through visual cues like this one. Conventions need not apply. We receive the contexts through visual resemblance and iconic allusion. Text and image are thus unified conceptually, for the benefit of the concept of the novel, by the iconography in Rowson’s Shandean adaptation. Rowson’s use of icons range from the baroque to the modern, and all refer in some way to the history of Tristram Shandy. Just as Woolf describes Sterne’s A 50
Sentimental Journey as a textual “series of portraits” (Woolf np), Rowson illustrates a visual series of portraits that reflect the text’s relationship to its contexts. Among them is a grotesque of Gainsborough’s picturesque Mr and Mrs Andrews (1750) in Volume I (Figure 9). The cranky-looking wife, who holds her pregnant stomach, stands in for the woman with whom Parson Yorick had an affair, while the husband, a rather ugly fellow, holds a bag of money over his groin. The dog in the portrait is replaced by Pete. Rowson uses the original, which connotes the rise in status of the middle-class Figure 9.Rowson’s appeal to Mr. and Mrs. Andrews. 51
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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
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 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: or does not relate at all; however,
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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