Foregrounding Narrative Production in Serial Fiction Publishing
Total Page：16
File Type：pdf, Size：1020Kb
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2017 To Start, Continue, and Conclude: Foregrounding Narrative Production in Serial Fiction Publishing Gabriel E. Romaguera University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Romaguera, Gabriel E., "To Start, Continue, and Conclude: Foregrounding Narrative Production in Serial Fiction Publishing" (2017). Open Access Dissertations. Paper 619. https://digitalcommons.uri.edu/oa_diss/619 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. TO START, CONTINUE, AND CONCLUDE: FOREGROUNDING NARRATIVE PRODUCTION IN SERIAL FICTION PUBLISHING BY GABRIEL E. ROMAGUERA A DISSERTATION SUBMITTED IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2017 DOCTOR OF PHILOSOPHY DISSERTATION OF Gabriel E. Romaguera APPROVED: Dissertation Committee: Major Professor Valerie Karno Carolyn Betensky Ian Reyes Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2017 Abstract This dissertation explores the author-text-reader relationship throughout the publication of works of serial fiction in different media. Following Pierre Bourdieu’s notion of authorial autonomy within the fields of cultural production, I trace the outside influence that nonauthorial agents infuse into the narrative production of the serialized. To further delve into the economic factors and media standards that encompass serial publishing, I incorporate David Hesmondhalgh’s study of market forces, originally used to supplement Bourdieu’s analysis of fields. Additionally, I employ textual criticism, through Tanselle’s distinctions of work, text, and document, alongside Shillingsburg’s textual performances in order to better analyze the process that authors working within different serial media undertake from having the initial idea for a narrative, through the production of subsequent installments, until the completion of its publication. Each chapter focuses on a different medium of publication and provides a brief history of how their industry standards affected narrative production. Chapter 2 explains the concept of the author and develops the core principles serial storytelling of renowned print works: One Thousand and One Nights, Don Quixote, Great Expectations, Sherlock Holmes, and Harry Potter. Chapter 3 details the different aspects of comic strips, comic books, and graphic novels as writer and artist form a joint authorship in the various texts encompassing the character of Superman, as well as other famous newspaper comic strips. Chapter 4 focuses on digital storytelling, primarily in webcomics, and how authors here can start from scratch and find a following as the work is serialized, especially in Order of the Stick and Goblins and how interpretive communities do more than passively receive the text. Throughout this dissertation, I showcase how the industry standards of different media, exerted by different forms of nonauthorial agents, affect the narrative production of serial fiction. Authors adapt their storytelling to these outside factors and interweave these different elements of expectation in order to initiate and maintain the serialization of their works. Acknowledgements I would like to take this moment to appreciate all the hard work that my dissertation committee has undertaken as this dissertation evolved from work, to text, and now to document. I wouldn’t be here today without the tireless efforts of Carolyn Betensky, Ian Reyes, Michael Rice, and last but not certainly not least, Valerie Karno. They have honed my writing and analytical skills and in this process have helped me become a better writer and researcher. To the University of Rhode Island, for giving me a chance as an exchange student as part of being an undergraduate student and then for accepting me into their PhD program. To the many professors and friends along the way who have mentored me throughout the years with various academic and life lessons. Of special note, I would like to thank Michelle Caraccia, who patiently assisted me throughout the many layers of paperwork needed to complete this degree. To the University of Puerto Rico, Mayaguez Campus, my first alma matter and current haven for teaching the next generation of students to think beyond what is expected of them. To all the professors (now colleagues) for continuing in polishing my pedagogical and scholarly skills. Particularly to Ricia Chansky and Eric Lamore for their aid in finding my academic voice through clouded times. Also, to Laura García de la Noceda for her diligent labor as a nonauthorial agent in helping this project make sense to expert and layman alike. To all my friends and loved ones who have taken an innumerable amount of rainchecks as writing took over my life. Especially, to my beloved Ruth for her patience and understanding as date nights were postponed for writing sessions. iv Finally, to my parents, whose constant unconditional love and support have served as an example throughout all my life and have forged me into the person I am today. When things were at their worst, they carried me through the hardships and I have no idea how I can ever repay them for everything they have done for me. v Dedication: To my paternal grandfather and maternal grandmother for showing the value of family and hard work no matter your context in life. Mariano (Nano) Romaguera (1928-2014) Luisa (Tata) Fernandez de Rodriguez (1918-2013) vi Table of Contents Abstract .......................................................................................................................... ii Acknowledgements ....................................................................................................... iv Dedication: .................................................................................................................... vi Table of Contents:.........................................................................................................vii List of Figures ............................................................................................................... ix Chapter 1: Introduction .................................................................................................. 1 Research Questions ............................................................................................................... 18 Methodology ......................................................................................................................... 20 Chapter Outlines ................................................................................................................... 28 Chapter 2: From Cover to Cover:................................................................................. 34 I. The Development of Printed Documents ...................................................................... 41 II. Serialization and Storytelling over Time ...................................................................... 45 III. Don Quixote and Its Sequels .................................................................................... 49 IV. The Victorian Serials ................................................................................................ 57 A. Readers Redirecting the Narrative ............................................................................ 67 B. The Development of an International Copyright ...................................................... 73 V. The Post-Victorian Serial ............................................................................................. 76 A. The Serialization of Harry Potter .............................................................................. 78 Chapter 3: Dividing and Agglomerating Authorship: .................................................. 90 I. The Different Shapes of Comics ................................................................................... 96 A. Comic Strips ............................................................................................................. 96 B. Comic Books .......................................................................................................... 117 C. Graphic Novels ....................................................................................................... 126 II. Up, Up, and Away: The Case of Superman ................................................................ 130 A. The Siegel and Shuster Era ..................................................................................... 130 B. The Crisis of Continuity ......................................................................................... 134 C. The Death and Return of Superman ....................................................................... 141 III. The Case for a Nonchronological Continuity ......................................................... 148 vii Chapter 4: The More Things Change: ........................................................................ 156 I. The Ins and Outs of Webcomics ................................................................................. 159 A. Authorial Responsibilities beyond Narrative Production ....................................... 162 B. The Screen as