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Do you need foreknowledge about Bulgakov and Woland? Making Juliane Blank’s comics adaptation parameters more flexible

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Abstract

Adaptation (case) studies have long been criticized for their lack of theoretical basis and/or analytical tools that could make the observations of their authors more transferable to other, comparable case studies. Substantially younger than film (adaptation) studies, the prospering discipline of comics (adaptation) studies can boast, since 2015, the existence of Juliane Blank’s Literaturadaptionen im Comic: Ein modulares Analysemodell (Comics Adaptations of Literature: A Modular Analysis Model). It is this 404-page book that gave rise to the present article, with a threefold aim: (1) to acquaint a larger audience with Juliane Blank’s comprehensive parameter set for studying comics adaptations of literary works; (2) to elaborate on this set and regroup the parameters into several clusters, in order to make them more practically useful (also for, e.g., translation scholars, scholars of narrative cohesion and those interested in reading experiences); and (3) to introduce some possible case studies—one about foreknowledge—on four comics adaptations of Mikhail Bulgakov’s Master and Margarita, which may benefit from the (regrouping in) clusters presented in (2).

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Notes

  1. To illustrate this, this tendency is much more prominent in Cattrysse’s monograph (2014) than in Gideon Toury’s 1995 book that gave the subdiscipline its name, Descriptive Translation Studies and Beyond. On several occasions, Cattrysse refers to and applies Genette’s theories and notions, while the name of the influential Frenchman remains absent in Toury’s list of ‘References’ and ‘Name index’ (Toury 2012, 317–338).

  2. By ‘comics adaptation’ I mean in this article, if not specified otherwise, any adaptation of a (more or less) literary work into the medium of comics (and not an adaptation of a comics book/series into a film; cf. Pratt 2017) .

  3. Namely parameter 6.3, and those from analysis levels 7 and (more indirectly) 8 (cf. infra). Overall, it is especially Blank’s penchant for systematic classifying which reminds one of Genette.

  4. The absence of references to Blank in The Routledge Companion to Comics (Bramlett, Cook and Meskin 2017) and in Oxford Handbook of Adaptation Studies (Leitch 2017) is telling. German academia has favourably welcomed Blank’s monograph; see the two already mentioned reviews by Ingold (2016) and Höppner (2017).

  5. The five comics adaptations under scrutiny are Isabel Kreitz’s Die Entdeckung der Currywurst (The Invention of Curried Sausage), a 1996 adaptation of Uwe Timm’s 1993 novella of the same name; Chantal Montellier and David Zane Mairowitz’s The Trial, a 2008 adaptation in English (translated into German in 2013) of Franz Kafka’s well-known Der Prozess; Manuele Fior’s Mademoiselle Else, a 2009 adaptation in French (translated into German in 2010) of Arthur Schnitzler’s 1924 novella Fräulein Else; Flix’ Faust: Der Tragödie erster Teil (Faust: The Tragedy’s First Part), a 2010 adaptation of Part One of Goethe’s famous drama; and Alexandra Kardinar and Volker Schlecht’s Das Fraülein von Scuderi (Mademoiselle de Scudéri), a 2011 adaptation of E.T.A. Hoffmann’s 1819 novella of the same name.

  6. For the comics terminology, I have made use, wherever possible, of the list ‘More than 100 comics-related words in 8 languages’, edited by Pascal Lefèvre (2018).

  7. In this respect, Blank’s parameters could also be conceived as a set of practical guidelines for comics adapters themselves, whereas they are of less help in, say, more analytical (cognitive) frameworks such as Neil Cohn’s (Cohn 2013, 2016).

  8. I replace Blank’s ‘Paratext’ here with another Genettian term: peritext, that is, the paratexts within the work, since that is what Blank means in her analysis level 7. In fact, Genette’s paratext (although later, admittedly, often used with regard to the peritext alone) is the broader, umbrella term for his more specific concepts of peritext and epitext (the texts, such as reviews, which are external to the work at hand). As Genette himself formulated it: ‘paratexte = péritexte + épitexte’ (Genette 1987, 11).

  9. De Dobbeleer and De Bruyn (overlooked by Blank, possibly because this 2013 article appeared too late and/or because she focused on German studies) operationalize these terms to discuss what they call the ‘visual’ and ‘verbal style’ of comics adaptations. As a subcategory of their visual level they study the ‘medium-bound’ aspects or devices (2013, 187), which I have adopted here, in my visual cluster (cf. infra), too.

  10. Cognitive studies-based comics research has demonstrated why such divisions are in fact untenable (Cohn 2013). Cf. also my use of / reference to studies such as Kress and Van Leeuwen (2001); Borodo (2015), and Tseng and Bateman (2018), on the multimodality of the medium, further on.

  11. One should think here of parameters that have not yet been applied to comics specifically, such as those regarding the grammar of visual design in Gunther Kress and Theo van Leeuwen’s semiotic study Reading Images (2006, e.g., those on 148, 209–10).

  12. Given the potentiality of the foreknowledge, I could also have called it, more easily, ‘knowledge cluster’, since it also pertains to knowledge that could be acquired by the reader during or after he has read the comics adaptation. Be that as it may, ‘knowledge cluster’ in my opinion sounded somewhat too general, not adaptation-related enough. By the way, at least seven parameters of analysis levels 2 to 6 cannot be fully operationalized without (thorough) foreknowledge of the adapted work: 2.4; 3.1, 3.2, 3.3, 3.4; 4.1, 4.2; and to a certain extent 6.3. This means, for that matter, that the other parameters can.

  13. The cognitivist approach presented by Magliano, Clinton, O’Brien and Rapp, partially based on ‘the psychological study of comics comprehension’ (2018, 300), suggests that the complications could indeed be solved. Several of their observations – concerning a 1987 comics story (Frank Miller and David Mazzucchelli’s Batman: Year One) and its 2011 animated film adaptation – are applicable to our case study, which however highlights the role of the peritext.

  14. Since only the front-peritext foreknowledge is manifestly meant to be foreknowledge, I do not put ‘fore’ here between brackets, which I do regarding back-peritext (fore)knowledge and context (fore)knowledge.

  15. For my preference for Genette’s term ‘peritext’, instead of ‘paratext’, see note 8.

  16. Although the straightforward transliteration of the first letter of his name would be ‘V’ (Boлaнд: Voland), I prefer the variant with ‘W’, since in Bulgakov’s final text the character Ivan Bezdomnyi remembers that the alleged professor’s surname begins with a w (Bezdomnyi read it on the latter’s card; Sokolov 2000, 156), a letter whose transliteration into Cyrillic coincides with that of the v.

  17. Blank herself has already given the initial impetus to such a broadening, namely in her chapter on different adaptation strategies, which ‘are not necessarily limited to comics [adaptations]’ (Blank 2015, 313; my translation; cf. also, on the same page, note 30).

  18. See also Blank (2015, 181–90), with regard to the influence of director Orson Welles’ Le procès (1962) on Montellier and Mairowitz’s adaptation of Kafka’s The Trial (cf. note 5).

  19. Jonathan Evans offers other possible meanings of ‘translation’ in comics contexts (Evans 2017, 319–320).

  20. The first two groups of signs have to be looked for in the verbal cluster (typographic signs also being part of the visual cluster), the third group of pictorial signs only belongs to the domain of my visual cluster. Changes of pictorial signs – e.g., the removal of a character’s moustache (D’Arcangelo and Zanettin 2004, 194)—are rarely to be found in present-day translations of comics adaptations. For refinements of Kaindl’s criteria, see Celotti 2008, and Zanettin 2014, in whose ‘typology of visual adaptation strategies’ the peritext of the publication format is taken into account as well.

  21. Albeit not in the way in which Daniel Stein uses this term (Stein 2013, 145). Evidently, every such translation or readaptation will entail and operationalize new culture-specific vocabulary and associations, as has been studied with regard to five Master and Margarita translations (Lénárt 2017).

  22. Because of the interweaving of biography of the author and content of the adapted literary work, this approach may remind one of David Zane Mairowitz and Robert Crumb’s Introducing Kafka (1993), but Egger’s very personal contextualization and motivation (already in the second panel, we see her in a taxi in Moscow) makes Moscou endiablé (seem) less ‘didactic’ (Ahmed 2016, 136-38) than Mairowitz and Crumb’s approach towards Kafka.

  23. It is, of course, most of all the answering of the optional open-ended questions 1.1 and 2.1 that would make completing this questionnaire time-consuming. The questionnaire I present here may remind one of the ‘protocols’ that were used in Magliano, Clinton, O’Brien and Rapp’s difference-detection experiment (2018, 292–295), but in fact only my question 2.1 is compatible with their approach.

  24. I leave out Tanaev’s adaptation (1997) because, apart from the cover and the title page, this does not have any substantial peritext (cf. supra).

  25. That a colleague of mine ‘recognized’ Vladimir Putin in the portrait offers an example of how (mis-)interpretations such as this could curiously affect a reader’s front-peritext foreknowledge-based expectations.

  26. Throughout her study, Blank uses a ‘gender-fair language’ (2015, 11, note 1).

  27. For my preference for Genette’s term ‘peritext’, instead of ‘paratext’, see again note 8.

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Appendix: Juliane Blank’s 31 parameters and their corresponding analysis questions

Appendix: Juliane Blank’s 31 parameters and their corresponding analysis questions

Analysis level 1: adapted text (Prätext)

  1. 1.1.

    Canonicity of the adapted texts and/or authors (Kanonizität von Prätexten und/oder AutorInnen) Footnote 27

  • Is the adapted text included in the so-called ‘world literature’ canon?

  • Part of a national canon?

  • Relatively new and still largely uncanonized?

  1. 1.2.

    Genre specifics of the adapted text (Gattungsspezifika des Prätextes)

  • Epic (novel, tale, novella, short story)?

  • Drama (comedy, tragedy, drame bourgeois, stage play)?

  • Lyric (ballad, etc.)?

  1. 1.3.

    Language barrier (Sprachgrenze)

  • Was the adapted text written in the mother tongue of the adapter, and if not, did he/she at least know this language?

  • Did the adapter use an existing translation or was there an extra one made?

  • Who translated?

Analysis level 2: ‘surface’ of the comics book (‘Oberfläche’ des Comics)

  1. 2.1.

    Technique (Technik)

  • Coloured or black-and-white?

  • Surfaces filled up, in halftone, hatched, etc.?

  • Lines closed and uniform or irregular?

  • Conventional comics technique or more complex approach?

  1. 2.2.

    Panel framing (Panelrahmung)

  • Framing or no framing?

  • Lines looking machine-made or hand-written?

  • Straight or not straight?

  1. 2.3.

    ‘Comics-likeness’: more realistic vs. more cartoony aesthetics (‘Comic-Haftigkeit’ bzw. realistischere vs. cartoonistischere Ästhetik)

  • Drawings realistic or cartoony?

  • Motion lines?

  • Onomatopoeias?

  • Visual metaphors typical of comics (such as seeing stars, etc.)?

  • Speech balloons?

  • Unusual speech balloon forms?

  1. 2.4.

    Leitmotifs (visual or verbal) (Leitmotive (visuell oder verbal))

  • Recurring images or phrases?

  • Have these been conceived in the adapted text or have they been introduced by the adapter?

  1. 2.5.

    Linguistic form (Sprachgestalt)

  • Standard language or everyday language (trivialization)?

  • Modern or historical language?

  1. 2.6.

    Intra- or intermedial references on the surface of the comics book (intra- oder intermediale Bezüge auf der Oberfläche des Comics)

  • To other comics, films, the visual arts?

  • In the form of an allusion or a clearly recognizable quotation?

  • Marked or unmarked?

Analysis level 3: plot (Handlung)

  1. 3.1.

    Abridgement and compression (Kürzung und Komprimierung)

  • Is the whole plot, with subplots, maintained or are subplotlines dropped?

  • Are all characters of the adapted text present or are some of them removed?

  • Are certain aspects of the adapted text ignored (mostly in favour of others)?

  1. 3.2.

    Additions (Ergänzungen)

  • Addition of characters?

  • Addition of subplots?

  • Addition of plot elements?

  1. 3.3.

    Time in which the comics plot takes place (Handlungszeit des Comics)

  • Is the narrated plot left in its time or is it moved in time (mostly in the direction of the present)?

  1. 3.4.

    Structuring (Gliederung)

  • Taking over of the chapters of the adapted text?

  • Exploiting of spreads and page structures?

  • Structuring in panels (layout)?

Analysis level 4: character representation (Figurendarstellung)

  1. 4.1.

    Relying on specific types or real persons (Anlehnung an bestimmte Typen oder reale Personen)

  • Have the characters been shaped after a specific type?

  • Have they been based on really existing persons or on visual-media characters?

  1. 4.2.

    Facial expressions and gestures (Mimik und Gestik)

  • Unmoved or very expressive?

  • Specific gestures?

  • Are specifications in the adapted text regarding facial expressions and gestures taken into account?

  1. 4.3.

    Character-specific formal details (Figurenspezifische Details)

  • Are characters assigned a peculiar speech-balloon shape (e.g., wavy, jagged, etc.)?

  • Are they assigned a peculiar lettering / font?

  1. 4.4.

    Character-specific language (Figurenspezifische Sprache)

  • Dialect?

  • Characteristic style?

  • Everyday or elevated language?

Analysis level 5: scenery (Szenerie)

  1. 5.1.

    Spatial representation in general (Raumdarstellung im Allgemeinen)

  • In perspective or ‘flat’?

  1. 5.2.

    Designing of concrete spaces or landscapes (Entwerfen von konkreten Räumen oder Landschaften)

  • Semantization of spaces and landscapes?

  • Are real (historical) buildings recognizable?

  1. 5.3.

    Inner spaces and their furnishing (Innenräume und ihre Ausstattung)

  • Characterization of the characters or situations through the furnishing of the spaces?

Analysis level 6: perspectivization (Perspektivierung)

  1. 6.1.

    Shot sizes (Einstellungsgrößen)

  • Predominance of close, medium or wide shots?

  • Continuous or varied?

  • Emphasizing of single panels through deviant shot sizes?

  1. 6.2.

    Angle (Blickwinkel)

  • Predominance of top view, bottom view or normal view?

  • Emphasizing of single panels or scenes through deviant perspectives?

  1. 6.3.

    Focalization (Fokalisierung)

  • Can the perspective be assigned to the view of a specific character?

  1. 6.4.

    Distribution of the textual material (Verteilung des Textmaterials)

  • Dialogization?

  • Dissolution of descriptions into visual depiction?

  • How is the larger portion of narratorial speech transposed?

Analysis level 7: peritext (Paratext)Footnote 28

  1. 7.1.

    Mentioning of the adapted text: authors, adapters, titles and genre specifications (Nennung von Prätext – AutorInnen, Adaptierenden, Titel und Gattungsangaben)

  • In the author position: author of the adapted text, the adapter or both?

  • Positioning vis-à-vis the adapted text (e.g., formulas such as ‘after’, ‘inspired by’, ‘based on’)?

  • Title identical with that of the adapted text or not?

  • Genre designation as graphic novel, as adaptation, etc.?

  1. 7.2.

    Dedications and words of thanks (Widmungen und Danksagungen)

  • If available, directed to whom?

  • Positioning in the book?

  1. 7.3.

    Other additional texts (Andersartige Zusatztexte)

  • Addition of the adapted text?

  • Addition of documentary texts?

  • Commentaries?

  • Authors of the additional texts?

Analysis level 8: context (Kontext)

  1. 8.1.

    Publisher (Verlag)

  • Comics publisher, children’s book publisher, non-fiction publisher, fiction publisher?

  • Publisher’s link with adaptations (series, isolated adaptations)?

  1. 8.2.

    Motive behind the adaptation (Ausgangspunkt der Adaption)

  • Ordered by an individual person or an institution?

  • Ordered by a publisher?

  • Independent project of a comics author?

  1. 8.3.

    Adapter (Adaptierende)

  • Individual persons or teamwork?

  • Artistic background and image of the adapters?

  • Role of comics adaptations in the adapter’s oeuvre?

  1. 8.4.

    Target group (Zielgruppe)

  • Younger readers, who do not yet know the adapted text?

  • Adult readers, who do not know the adapted text?

  • Trained adult readers?

  • Experts?

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De Dobbeleer, M. Do you need foreknowledge about Bulgakov and Woland? Making Juliane Blank’s comics adaptation parameters more flexible. Neohelicon 49, 201–228 (2022). https://doi.org/10.1007/s11059-021-00615-9

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