{"id":{"repo_id":"ohiolink","oai_identifier":"oai:etd.ohiolink.edu:bgsu1363444777"},"canonical_url":"https://search.dev.ndltd.org/etd/ohiolink/oai:etd.ohiolink.edu:bgsu1363444777","repository":{"repo_id":"ohiolink","name":"OhioLINK","base_url":"https://etd.ohiolink.edu/acprod/odb_etd/ws/oai/oai"},"display":{"title":"The Comic(s) Shakespeare: <i>Kill Shakespeare</i> and Audience Experience in Adaptation Studies","abstract":"In this thesis, I expand upon Linda Hutcheon's use of the terms knowing and unknowing audiences that she briefly outlines in her book <i>A Theory of Adaptation</i>. Hutcheon suggests that when experiencing an adaptation, one may be a knowing audience member, someone that knows the adapted work, or an unknowing audience member, someone who is not familiar with an adapted work. Hutcheon proposes the terms knowing and unknowing audiences as a way to reorient adaptation studies to consider the experience and the knowledge of the audience members. This model runs contrary to orthodox adaptation theory or fidelity criticism, wherein the value of an adaptation is determined by its closeness to an original. Theoretical discussions that rely upon studying the closeness of an adaptation to an original text do not provide insight into the text but simply re-establish a hierarchy for an original. Thus, Hutcheon's use of the terms knowing and unknowing audiences is valuable because these terms provide new language to reinvigorate the field. Thus Hutcheon's new language presents a step toward redefining the theory and producing scholarship that explores audience literacy or literacies.","abstract_html":"In this thesis, I expand upon Linda Hutcheon&#x27;s use of the terms knowing and unknowing audiences that she briefly outlines in her book &lt;i&gt;A Theory of Adaptation&lt;/i&gt;. Hutcheon suggests that when experiencing an adaptation, one may be a knowing audience member, someone that knows the adapted work, or an unknowing audience member, someone who is not familiar with an adapted work. Hutcheon proposes the terms knowing and unknowing audiences as a way to reorient adaptation studies to consider the experience and the knowledge of the audience members. This model runs contrary to orthodox adaptation theory or fidelity criticism, wherein the value of an adaptation is determined by its closeness to an original. Theoretical discussions that rely upon studying the closeness of an adaptation to an original text do not provide insight into the text but simply re-establish a hierarchy for an original. Thus, Hutcheon&#x27;s use of the terms knowing and unknowing audiences is valuable because these terms provide new language to reinvigorate the field. Thus Hutcheon&#x27;s new language presents a step toward redefining the theory and producing scholarship that explores audience literacy or literacies.","abstract_has_math":false,"creators":["Zullo, Valentino L."],"institution":"Bowling Green State University","degree_name":"Master of Arts (MA)","degree_level":"masters","degree_discipline":"English/Literature","degree_department":null,"school":null,"contributors":["Gearhart, Stephannie"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-05-23","date_published":"2013-05-23","updated_at":"2026-07-24T03:36:39Z","subjects":["Literature","Adaptation","Theory","Linda Hutcheon","Comics","Graphic Novel","Shakespeare","Hamlet","Pop Culture","Literacy","New Media"],"languages":["English"],"rights":["unrestricted","This thesis or dissertation is protected by copyright: all rights reserved. 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This model runs contrary to orthodox adaptation theory or fidelity criticism, wherein the value of an adaptation is determined by its closeness to an original. Theoretical discussions that rely upon studying the closeness of an adaptation to an original text do not provide insight into the text but simply re-establish a hierarchy for an original. Thus, Hutcheon's use of the terms knowing and unknowing audiences is valuable because these terms provide new language to reinvigorate the field. Thus Hutcheon's new language presents a step toward redefining the theory and producing scholarship that explores audience literacy or literacies."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf","p.64","1.68 MB"]},{"key":"dc:title","label":"Title","values":["The Comic(s) Shakespeare: <i>Kill Shakespeare</i> and Audience Experience in Adaptation Studies"]}]}],"canonical_facts":{"dc:contributor":["Gearhart, Stephannie"],"dc:creator":["Zullo, Valentino L."],"dc:date":["2013-05-23"],"dc:description":["In this thesis, I expand upon Linda Hutcheon's use of the terms knowing and unknowing audiences that she briefly outlines in her book <i>A Theory of Adaptation</i>. Hutcheon suggests that when experiencing an adaptation, one may be a knowing audience member, someone that knows the adapted work, or an unknowing audience member, someone who is not familiar with an adapted work. Hutcheon proposes the terms knowing and unknowing audiences as a way to reorient adaptation studies to consider the experience and the knowledge of the audience members. This model runs contrary to orthodox adaptation theory or fidelity criticism, wherein the value of an adaptation is determined by its closeness to an original. Theoretical discussions that rely upon studying the closeness of an adaptation to an original text do not provide insight into the text but simply re-establish a hierarchy for an original. Thus, Hutcheon's use of the terms knowing and unknowing audiences is valuable because these terms provide new language to reinvigorate the field. 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