Adaptation and Illustration: New Cartographies (Hardcover, 2024)

Contributor bios:

Kate Newell is the Dean of the School of Liberal Arts and Library Services at the Savannah College of Art and Design. Her areas of research include adaptation and intersections of literature and visual culture. She is the author of Expanding Adaptation Networks: From Illustration to Novelization (Palgrave Macmillan, 2017), and has published essays on the topics of adaptation, illustration as adaptation, and intermediality. 

Kamilla Elliott is Professor of Literature and Media in the Department of English and Creative Writing at Lancaster University. Her principal interests lie in relations between British literature of the long nineteenth century and other media (painting, illustration, theatre, film, television, new media). She is co-chair of the Association of Adaptation Studies, and author of Rethinking the Novel/Film Debate (Cambridge, 2003), Portraiture and British Gothic Fiction: The Rise of Picture Identification, 1764-1835 (Johns Hopkins, 2012), and Theorizing Adaptation (Oxford, 2020). She is working on a sequel to Portraiture and British Gothic Fiction, continuing the study to 1918. Prior works on illustration include Chapter 2 of Rethinking the Novel/Film Debate and “The Illustrated Book”, in Late Victorian into Modern, 1880-1920 (Oxford, 2016).

Nathalie Colle is Senior Lecturer in English Studies at the Universite de Lorraine in Nancy, France. She is the co-director and an active member of the research group IDEA (Interdisciplinarite Dans les Etudes Anglophones), and also a member of SHARP (the Society for the History of Authorship, Reading and Publishing), IAWIS (the International Association for Word and Image Studies), SAIT (Societe des Amis d’Inter-textes), SELVA (Societe d’Etude de la Litterature de Voyage du monde Anglophone), SEAA XVII-XVIII (Societe d’Etudes Anglo-Americaines des XVII^e et XVIII^e siecles) and IJBS (International John Bunyan Society). The author of a doctoral thesis on the illustrated editions of John Bunyan’s The Pilgrim’s Progress, she specialises in the illustration of classics of English literature, particularly of seventeenth- and eighteenth-century fictional travel literature. The fields covered by her research include book history, print and material culture, reading and reception, text-image relationships, literary afterlives, adaptation and intermediality. She is the co-founder of the international research network Illustr4tio, and co?founder, ?director and ?editor of Book Practices & Textual Itineraries, a book collection devoted to book history, textual scholarship and illustration studies published at the Presses Universitaires de Nancy ? Editions Universitaires de Lorraine (now EDUL) since 2011.

Ann Lewis is Senior Lecturer in French Studies at Birkbeck, University of London, where she is programme director for BA French Studies, and BA Comparative Literature & Culture. Her research interests centre on eighteenth-century French literature and text/image relations, especially the illustrated book. She is author of Sensibility, Reading and Illustration: Spectacles and Signs in Graffigny, Marivaux and Rousseau (Legenda 2009), and has co-edited several collections, most recently: Adapting the Canon: Mediation, Visualization, Interpretation, with Silke Arnold-de Simine (Legenda, 2020); “Picturing the Eighteenth-Century Novel Through Time: Illustration, Intermediality and Adaptation”, with Christina Ionescu (special issue of Journal for Eighteenth-Century Studies, December 2016) and Prostitution and Eighteenth-Century Culture: Sex, Commerce and Morality, with Markman Ellis (Pickering & Chatto, 2012).  She is currently working on a monograph on the figure of the prostitute in eighteenth-century France.

Chris Louttit is an Assistant Professor of English Literature at Radboud University in Nijmegen, the Netherlands, who works primarily on the mid-Victorian novel and its multimedia afterlives. He has published articles and chapters on Dickens’s later illustrators in Book History and the essay collection Reading Dickens Differently (Wiley-Blackwell, 2020). Other work dealing with aspects of adaptation studies and neo-Victorianism has been published in Adaptation, Gothic Studies and The Journal of Adaptation in Film and Performance. He is also Editor-in-Chief of English Studies, and serves as the current Vice-President of the Dickens Society. 

David Pinho Barros (Porto, 1986) is a professor, researcher and curator in the fields of literature, film and comics. He holds a BA in Modern Languages and Literatures from the University of Porto, an MA in Communication Sciences from the New University of Lisbon, with a dissertation about New Wave Japanese Cinema, a PhD in Literature from the KU Leuven and a PhD in Literary, Cultural and Interartistic Studies from the University of Porto, with a thesis elaborated under a cotutelle agreement between both institutions and entitled The Clear Line in Comics and Cinema: A Transmedial Approach. Since 2008, he has worked as a curator and producer of exhibitions and film events in Portugal, Belgium, the United Kingdom and Brazil, and taught film and comics history and analysis at the Alliance Francaise, at the University of Porto, at the University of Minho, at the New University of Lisbon, and at the Catholic University of Portugal. He is now an assistant professor at the Faculty of Arts and Humanities of the University of Porto.

Julie LeBlanc is a Full-Professor in the Department of French and the Centre for Comparative Literature at the University of Toronto. Her research pertains to autobiographical narratives, word and image theories and genetic criticism. She has had numerous research grants from SSHRC, a university federal granting agency on various topics dealing with her principal fields of inquiry. She is an active member of l’Institut des Textes et Manuscrits Modernes (ENS, Paris : equipe de recherche Autobiographie et Correspondence). Her more recent funded research project (2015-20) deals with unpublished illustrated diaries and notebooks of writers and artists of WWI and WWII. She is the author of numerous articles and book chapters. She has published theoretical and critical books : Geneses de soi : l’ecriture du sujet feminin dans quelques journaux d’ecrivaines ; Enonciation et inscription du sujet : textes et avant-textes de Gilbert La Rocque ; Les Masques de Gilbert La Rocque ; Narrativite et iconicite au feminin (under review). Her new monograph (Journaux de guerre illustres, nearing completion) pertains to the intermedial and autobiographical nature of the war diaries / notebooks of writers and artists. She has also edited several thematic volumes of Texte. Revue de theorie et de critiques litteraire, Recherches semiotiques, Voix et images, Arborescence, etc. pertaining to autobiography, genetic criticism, feminist writings, intermediality, rhetoric and literary theory.

Helene Martinelli is a university lecturer at the Ecole Normale Superieure de Lyon. She has a PhD in comparative literature from the Aix-Marseille University and the Sorbonne University (Dissertation title: “The Practice, Imagination and Poetics of Self-illustration in Central Europe (1909-1939): Alfred Kubin, Josef Va?chal and Bruno Schulz”). Her main research topics are Central European literature, book history, illustration and, more recently, adaptation issues.

Carol Adlam is a writer and illustrator. She is a part-time Senior Lecturer in Illustration at Nottingham Trent University, and in 2021-22 is Visiting Fellow at Girton College, University of Cambridge. She specialises in graphic novels, children’s books, and reportage, working closely with archives, museums, and universities. She is category winner of the 2018 World Illustration Awards for Research and Knowledge Communication, and her graphic novels and illustrated books include The New Wipers Times (2014), Suzanne’s Story (2014), Ministry of Women (2015), Amy in Love (2016), Chronicles of Dissolution (2016), Thinking Room (2017), Armistice and Legacy (2018). Her forthcoming graphic novel The Russian Detective will be published by Jonathan Cape. Clients include The National Archives, The National Army Museum, Delayed Gratification/The Slow Journalism Magazine, The Guardian, the House of Illustration, and the United Nations. www.caroladlam.co.uk.

Xavier Giudicelli is Associate Professor at the English Department of the University of Reims (France), where he teaches British and American literature as well as translation, and a member of CIRLEP (Interdisciplinary Research Centre on Languages and Thought). His research interests include Oscar Wilde, fin-de-siecle art and literature, word and image studies, as well as questions of rewriting and translation. He authored a monograph entitled Portraits of Dorian Gray (Paris: Presses de l’Universite Paris-Sorbonne, 2016), which proposes an analysis of the illustrated editions of Oscar Wilde’s The Picture of Dorian Gray. He co-edited a collection of essays on The Importance of Being Earnest in 2015 (Paris: Presses de l’Universite Paris-Sorbonne) and edited an issue of Etudes anglaises on Wilde and the arts in 2016. He has also published several essays on contemporary British writer Alan Hollinghurst and is currently working on several translation projects, including a translation of Tom Stoppard’s 1997 play The Invention of Love.

Miriam Vieira is a professor at the Department of Letters, Arts and Culture at Universidade Federal de Sao Joao del Rei, Brazil. Postdoctoral fellowship funded by CNPq at UFMG (2018). Doctor in Literary Studies with mobility funded by Erasmus Mundus at Lunds Universitet, Sweden (2016). Member of the International Society for Intermedial Studies, the International Association of Word and Image Studies (IAWIS/AIERTI), and the Centre de recherches intermediales sur les arts, les lettres et les techniques (CRIalt). She also belongs to Grupo Intermidia: estudos sobre a intermidialidade. Vieira has published several articles in Portuguese on the ekphrasis, literature, painting and architecture, and some in English, such as the chapter “Building Bridges: the modes of architecture” (2020). She has edited journal dossiers on intermedial studies, the volumes Escrita, som, imagem v.1 (2019) and v.2 (2020), and is currently co-editing The Palgrave Handbook of Intermediality. Fields of research: literature, painting, and architecture; intermediality; ekphrasis; adaptation.

Camila A. P. de Figueiredo has a Doctorate in Comparative Literature from Universidade Federal de Minas Gerais (UFMG), Brazil, with a mobility period at the Technische Universitat Braunschweig, Germany, and Master in English Literature in the subarea of Literature, Other Arts and Media. Her research focuses on intermedial studies, with an emphasis on transmedia and adaptations, especially those involving cinema, TV series, and comics. She is the author of Hollywood Goes Graphic: The Intermedial Transposition of Graphic Novels to Films (2010), “Transmedial Collaborative Productions in Secret Path and Airplane Mode” (2018), and coeditor of the volume of translations A intermidialidade e os estudos interartes na arte contemporanea (2020). She currently works at UFMG University Press (Editora UFMG), as Editorial Manager and Vice-Director.