- What Kind of Studies Is Comics Studies?
- Why There Is No “Language of Comics”
- What Else Is a Comic? Between Bayeux and <i>Beano</i>
- Reading Spaces: The Politics of Page Layout
- The Cartoon on the Comics Page: A Phenomenology
- Bakhtinian Laughter and Recent Political Editorial Cartoons
- Radical Graphics: Australian Second-Phase Comics
- Columbia and the Editorial Cartoon
- Efficacy of Social Commentary through Cartooning
- Forgetting at the Intersection of Comics and the Multimodal Novel: James Sie’s <i>Still Life Las Vegas</i>
- Irony, Ethics, and Lyric Narrative in Miriam Engelberg’s <i>Cancer Made Me a Shallower Person</i>
- The Replacements: Ethnicity, Gender, and Legacy Heroes in Marvel Comics
- Hammer in Hand: Feminist Community Building in Jason Aaron’s <i>Thor</i>
- Children in Comics: Between Education and Entertainment, Conformity and Agency
- Auto/biographics and Graphic Histories Made for the Classroom: <i>Logicomix</i> and <i>Abina and the Important Men</i>
- Candy and Drugs for Dinner: <i>Rat Queens</i>, Genre, and Our Aesthetic Categories
- <i>My Favorite Thing Is Monsters</i>: The Socially Engaged Graphic Novel as a Platform for Intersectional Feminism
- Paper or Plastic? Mapping the Transmedial Intersections of Comics and Action Figures
- Transformative Architectures in Postcolonial Hong Kong Comics
- Adaptation and Racial Representation in Dell/Gold Key TV Tie-ins
- Non-Compliants, Brimpers, and She-Romps: <i>Bitch Planet, Sex Criminals</i>, and Their Publics
- Literary Adaptations in Comics and Graphic Novels
- Comics Studies in America: The Making of a Field of Scholarship?
- Next Issue: Anticipation and Promise in Comics Studies
- Comics Studies as Interdiscipline
- Drawing, Redrawing, and Undrawing
Abstract and Keywords
In this chapter, the topic of literary adaptation in comics format is tackled from three points of view: first, a historical one (an overview of the adaptation policy in the various periods one can distinguish in the comics/graphic-novel history); second, a semiotic one (a look at the differences between two major types of adaptation, the storytelling adaptation, which only adapts the plot of the literary text, and the medium-specific adaptation, which tries to explore the comics features that are not only added to the story but that often dramatically change and literally reframe the initial story); and third, a properly literary one (an exploration of why comics can be seen as literature and why, in spite of this natural relationship, there exists a certain resistance to the idea as well as the practice of literary adaptation in comics).
Jan Baetens is professor of cultural studies at the University of Leuven. With Hugo Frey, he coauthored The Graphic Novel. An Introduction (Cambridge UP, 2014). With Hugo Frey and Steve Tabachnick, he coedited the Cambridge History of the Graphic Novel (Cambridge UP, 2018). His latest book is The Film Photo-Novel (Texas UP, 2019).
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