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Grennan, Simon. "Drawing Dispossession: A new graphic adaptation of anthony trollope’s john caldigate." European Comic Art 7. (2014): 4–30. 
Added by: joachim (1/9/15, 10:48 AM)   
Resource type: Journal Article
Language: en: English
Peer reviewed
DOI: 10.3167/eca.2014.070202
BibTeX citation key: Grennan2014
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Categories: General
Keywords: "Dispossession", Adaptation, Authorial poetics, Grennan. Simon, Literature, Reception, Style, Translation, Trollope. Anthony, United Kingdom
Creators: Grennan
Collection: European Comic Art
Views: 64/941
This paper will discuss Grennan’s forthcoming adaptation of Anthony Trollope’s John Caldigate (1878) as a new graphic novel, Dispossession. Produced in the context of an academic conference on Trollope in 2015, the new graphic novel functions as a research outcome in the sense that its academic audience is a ‘knowing one’, to use Linda Hutcheon’s term. Following Walter Benjamin’s theorisation of translation, the process of creating Dispossession approaches Trollope’s text as the source of a protocol or set of governing rules, including an apprehension of the reading behaviours of his contemporaries and of contemporary graphic novel readers. As a result, the relationship between novel and graphic novel constitutes both the process and product of adaptation as an experience for a knowing reader. In terms of drawing style, the challenge for this adaptation lies not only in identifying the existing different behaviours of novels and graphic novels, but in meaningfully producing a new style of drawing relative to an existing writing style. It is not the task of comparing existing styles, but one demanding the speculative creation of new rules within which to draw. As Dispossession also has a research function, the process of meaningfully inventing a new style also demands comprehensive rationalisation. From an analysis of Trollope’s style emerges the question of style in the adaptation, answers to which finalise its governing rules: how does Dispossession employ and/or depict equivocation in the style of its facture, distinct from the depiction of the plot? To answer this question, the paper will finally discuss the broader temporal implications of relationships between types of plot and drawing protocols, considering in detail examples of types of facture and storyboarding from 19th-century and 21st-century narrative drawing.
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