ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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novel (iconic art and text reworked in a graphic novel that reworks its original). The visual advantage of the graphic novel helps to show “important ambiguities that are central to the told [textual] version” (Hutcheon 28), which are, in this case, Sterne's puns on noses. In Rowson's version, it is unambiguous that noses signify penises because all we see are penises! (Figure 15) 74 Rowson creates a metacritical version that answers the text of Tristram Shandy with the image. The more we are reminded that we are reading a graphic novel, the more the text recreates the Shandean reading experience: “Read, read, read, read, my unlearned reader! read” (Sterne 203-4). Rowson disrupts the “priority and authority” of the original (Hutcheon 174) to create his own version of the text in a new format. The graphic novel format offers a way for the text to be re-created and can thus be critical of both the original text and mode of its re-presentation. III. Closure In his review of the graphic novel, Rowson remarks that the graphic novel medium is the exact medium where he could stick to the “spirit” of Tristram Shandy, “while abandoning the thousand letters” of it (Rowson 75). His adaptation of the text is a remediated version, which provides the sense of immediacy that Sterne's original accomplishes, and critically engages with Tristram Shandy’s various contexts and intertexts. By elevating the iconic over the textual, Rowsonsignifies panel-by-panel what the text signifies word-by-word. The incomplete nature of Rowson's adaptation follows the “incomplete” original, and comments on the novel's particular defiance of the typical properties of its genre. In the final panel, Joyce and Woolf walk out into oblivion, 58
andRowson and Pete are drawn in a picture frame that Tristram sits in front of: “Fuck it, Boss,” Pete says, “Let's turn it into a musical” (Figure 20). Rowson ends the graphic novel under the assumption that his adaptation has failed; but this sense of failure, and incompletion and fragmentation, along with the self-reflexivity and critical engagement throughout, actually make the adaptation true to the Shandean spirit; these elements are part of the Shandean method. Rowson’s adaptation of Tristram Shandy is thus conceptually faithful to the spirit of Sterne. Figure 16: Trim reads the sermon. 59
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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
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 and 62: Yorick is drawn as the likeness of
Page 63 and 64: spirits” (Sterne 1.1), and thus a
Page 65: Rowson also illustrates context via
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
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University of Adelaide, 2011. Web.
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