Titlebook: Expanding Adaptation Networks; From Illustration to Kate Newell Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Literary Ada

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,“It Wasn’t Like That in the Movie”: Novelization and Expansion,luctant readers, to expand readers’ understanding of characters and context, to provide alternative versions of a work’s narrative and outcome, and to affirm the set of recognizable reference points audiences come to associate with a given work. This chapter provides a brief overview of the history

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Harridan

Literary Maps and the Creation of a Legend, some cases, create the experience of a particular narrative landscape through visual, pictorial, and spatial representations of writers, characters, settings, and scenes from preexisting creative works. This chapter begins with an overview of the genre of literary maps and the manner in which they

DECRY

Pop-up Books: Spectacle and Story,and moments and by reinforcing through repetition a synecdochic approach to reading literature. In the rendering of three-dimensionality with a two-dimensional medium, pop-up books draw attention to the role perception, expectation, and habit play in constructing boundaries between media. The chapte

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致詞

maculated

Vertriebsmanagement für Industriegüter artistic production. I argue that the challenge of defining and delineating adaptation increases for works that have been adapted numerous times in a range of media and across multiple media platforms. Using . as a test case, I consider a myriad of Oz-based and Oz-inspired works within the model of

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Doris Gr?ve Miescher,Charlotte Holzerrk to representative scenes, moments, and elements. The aspects of a prose work that illustrators depict (and how they do so) correspond to those similarly reinforced in other illustrated editions as well as in film adaptations. Looking to several sets of illustrations of Henry James’s novellas . an