This book addresses print-based modes of adaptation that have not conventionally been theorized as adaptationssuch as novelization, illustration, literary maps, pop-up books, and ekphrasis. It discusses a broad range of image and word-based adaptations of popular literary works, among them The Wizard of Oz, Alice in Wonderland, Daisy Miller, The Strange Case of Dr. Jekyll and Mr. Hyde, Moby Dick, and Adventures of Huckleberry Finn. The study reveals that commercial and franchise works and ephemera play a key role in establishing a works iconography. Newell argues that the cultural knowledge and memory of a work is constructed through reiterative processes and proposes a network-based model of adaptation to explain this. Whereas most adaptation studies prioritize film and television, this books focus on print invites new entry points for the study of adaptation.
1.?Chapter 1: Introduction: Not in Kansas Anymore: Adaptation Networks.- 2.?Chapter 2: It Wasnt Like That in the Movie : Novelization and Expansion.- 3.?Chapter 3: Imagining the Unimaginable: ?Illustration as Gateway.- 4.?Chapter 4: Literary Maps and the Creation of a Legend.- 5.?Chapter 5: Pop-up Books: Spectacle and Story.- 6.?Chapter 6: All Text is Lost : Ekphrastic Reading.- 7.?Chapter 7: Conclusion: Like an Open Book.?
Kate Newell teaches courses in literature and adaptation at the Savannah College of Art and Design, Georgia.
Sophisticated, lucid and expansive, Kate Newells intervention in the field of contemporary adaptation studies is one of the most important scholarly contributions to the field in recent years. It assimilates key historical positions and weaves them through new and inventive networks of production and reception that go well beyond conventional notions of what adaptation means and well beyond the usual texts and practices where adaptation has tradil¸
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