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Comics and Adaptation

Armelle Blin-Rolland, Guillaume Lecomte and Marc Ripley

Cartmell and Imelda Whelehan have reshaped the field around questions of intertextuality and hypertextuality. 4 They rethought the relationship between source text and adaptation by positing adaptations as ‘second without being secondary’ 5 and by drawing

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Eliza Deac

ignore the interpretative possibilities that these ones still offer. Book/Hypertext/Typographical and Hypertextual Bodies of Text The contrast Patchwork Girl sets up between book and hypertext by presenting itself as a derivative of Mary Shelley

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Matthew Zarnowiecki

Internet, and particularly by hypertextuality, for reconceiving not only the book of Shakespeare’s sonnets, but also the ways we read, interpret, and respond to them. After searching through the available online editions, I was mostly disappointed by what I

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‘No More Let Life Divide…’

Victorian Metropolitan Confluence in Penny Dreadful

Sinan Akilli and Seda Öz

Adaptation: Mutations of Cultural Capital’, Shakespeare Studies 38 (2010), 104–13). Yet another metaphor, that of the ‘palimpsest’, was introduced by Gerard Genette in his 1982 study of ‘hypertextuality’ as ‘any relationship uniting a text B … to an earlier

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Adapting Brittany

The Ker-Is Legend in Bande Dessinée

Armelle Blin-Rolland

strategies (that go from ‘celebration’ to ‘allusion’, as the hypertextual shades into the intertextual), they are found in the ninth and penultimate category of ‘secondary, tertiary, or quaternary adaptations’ that are ‘adaptations not of an earlier story