ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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the shape and size of the penis, creating a tripartite relationship between cock, nose, and brain. And while Tristram “declares” that his journey of the “nose” is on “the clean road,” by which he means, “nothing more, or less” by it (Sterne 3.31), Walter’s obsession with noses as representative of character, Tristram’s subsequent nose-crushing by Dr. Slop’s forceps, and noses as one of the primary subjects of Volume III all betray Tristram’s promise. The correlation between noses and penises is evidenced by story itself: Tristram’s unfortunate nose accident at birth explains his later circumcision by window sash, since the manner of conception (“Have you not forgot to wind up the clock!?”), birth, and the “homunculus” determine the development of the individual. 70 It can also be argued that Uncle Toby’s simplicity is the result of his groin injury at Namur. Figure 12: The not-so-subtle visual bawdiness. While Rowson illustrates some moments of the narrative that relate to Tristram’s discussion of his conception, and other penis-related tales, Rowson incorporates penile icons in place of penile text. In one scene, for instance, Rowson illustrates Elizabeth Shandy imagining a penis-cum-grandfather clock that ejaculates cogs and nuts just as Walter himself is about to ejaculate, used to signify what is on Elizabeth’s mind at the time of Tristram’s conception, which consequently “scattered and dispersed the animal 54
spirits” (Sterne 1.1), and thus affected penile-nasal difficulties for the rest of Tristram's life. In one panel, it takes a moment to realize that the “polyptych” (McCloud 115), or continuous background, behind Tristram and his gang is an explicit shunga-like grotesque (Figure 12) of sexual intercourse, as shocking in this medium visually as it was in Sterne’s medium textually. 71 Other iconic penises throughout the graphic novel include penis hot-air balloons, penis-shaped noses, penis-shaped medical equipment, penis road- signs, utensils, and military weaponry, even a penis hat! Likewise, noses in the graphic novel continually get squished, caught in books, cut off, or fall off, and almost every character or portraiture has an obnoxious, protruding beak, unless replaced by a throbbing, cartoonish penis. The narrative lines that Sterne draws in Volume 4 are replicated, but we will notice in Rowson's version that there are semen stains, or “splodges” (Rowson np), throughout the narrative lines, as another contextual icon: not only has Sterne “squirted full in the face” of his critics, 72 the creative process is akin to masturbation, and in Sterne's case, it is messy (Figure 13). Figure 13: The narrative line with semen marks. 55
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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
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 and 58: or does not relate at all; however,
Page 59 and 60: Sentimental Journey as a textual
Page 61: Yorick is drawn as the likeness of
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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