ADAPTING TRISTRAM SHANDY by Adria Young Submitted in ...

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LIST OF FIGURES Figure 1: The black page ……………………………………………………………….. 16 Figure 2: Classics Illustrated: Gulliver’s Travels front cover ………...………………. 35 Figure 3: Archie Comics panel ……………………………...…………………………. 36 Figure 4: Martin Rowson’s homage to Gin Lane ………..…………………………… 39 Figure 5: Joyce and Woolf (detail) ……………………..……………………………... 45 Figure 6: The black page (Rowson) …………………...………………………………. 47 Figure 7: Dr. Johnson ………………………………..……………………………….. 49 Figure 8: Parson Yorick ………………………………………………………………... 49 Figure 9: “Mr. and Mrs. Andrews” …………………………………………………….. 52 Figure 10: Swift, Rabelais, and Sterne …………………………………………………. 53 Figure 11: Joyce and Tristram ………………………...……………………………….. 54 Figure 12: Intercourse ………………………………………………………………….. 55 Figure 13: The narrative line …………………………………………………………… 56 Figure 14: Tristram knees Death in the groin ………………………………………….. 57 Figure 15: Penis balloon ……………………………………………………………….. 58 Figure 16: Trim reads the sermon ……………………………………………………… 61 Figure 17: On set with Coogan and Brydon ………...…………………………………. 73 Figure 18: Brydon and Coogan ……………………...…………………………………. 75 Figure 19: A Womb with a View …………………...…………………………………...79 Figure 20: Brydon and Coogan ……………………..………………………………….. 83 Figure 21: Final page of Rowson’s graphic novel ….………………………………….. 90 vi
ABSTRACT Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman, has been noted as an unconventional eighteenth-century novel and it has long been considered unadaptable and unfilmable. In the last decade, however, two popular adaptations of Tristram Shandy have appeared in new media forms: Martin Rowson’s 1996 graphic novel and Michael Winterbottom’s 2005 film. Since Sterne’s text denies the kind of transfer typical of literary adaptations, Rowson and Winterbottom adapt the conceptual elements. Through adaptation and media theory, this thesis defines the Shandean elements of Sterne’s novel and locates the qualities of the text retained in adaptation. Rowson and Winterbottom adapt the conceptual properties of Tristram Shandy, ‘the spirit of the text,’ into two distinct mediums. In an exploration of the conventions of each medium, this thesis argues that the adaptations of Tristram Shandy are true to its spirit, and both successfully adapt the unadaptable novel. vii
Page 1 and 2: ADAPTING TRISTRAM SHANDY by Adria Y
Page 3 and 4: AUTHOR: Adria Young TITLE: Adapting
Page 5: TABLE OF CONTENTS LIST OF FIGURES v
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 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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