{"data":{"id":"10.6084/m9.figshare.6968120","type":"dois","attributes":{"doi":"10.6084/m9.figshare.6968120","prefix":"10.6084","suffix":"m9.figshare.6968120","identifiers":[],"alternateIdentifiers":[],"creators":[{"name":"Dalmaso, Renata","nameType":"Personal","givenName":"Renata","familyName":"Dalmaso","affiliation":[],"nameIdentifiers":[]},{"name":"Thayse Madella","affiliation":[],"nameIdentifiers":[]}],"titles":[{"title":"The Many Graveyard Books: Artistic Collaborations and Possible Multiple Readings in Illustrated Works"}],"publisher":"SciELO journals","container":{},"publicationYear":2018,"subjects":[{"subject":"Linguistics"},{"subject":"FOS: Languages and literature","schemeUri":"http://www.oecd.org/science/inno/38235147.pdf","subjectScheme":"Fields of Science and Technology (FOS)"},{"subject":"FOS: Languages and literature","subjectScheme":"Fields of Science and Technology (FOS)"},{"subject":"200503 British and Irish Literature","subjectScheme":"FOR"},{"subject":"200506 North American Literature","subjectScheme":"FOR"}],"contributors":[],"dates":[{"date":"2018-08-15","dateType":"Created"},{"date":"2021-03-23","dateType":"Updated"},{"date":"2018","dateType":"Issued"}],"language":null,"types":{"ris":"DATA","bibtex":"misc","citeproc":"dataset","schemaOrg":"Dataset","resourceType":"Dataset","resourceTypeGeneral":"Dataset"},"relatedIdentifiers":[{"relationType":"IsSupplementTo","relatedIdentifier":"10.5007/2175-8026.2018v71n2p57","relatedIdentifierType":"DOI"}],"relatedItems":[],"sizes":["460140 Bytes"],"formats":[],"version":null,"rightsList":[{"rights":"Creative Commons Attribution 4.0 International","rightsUri":"https://creativecommons.org/licenses/by/4.0/legalcode","schemeUri":"https://spdx.org/licenses/","rightsIdentifier":"cc-by-4.0","rightsIdentifierScheme":"SPDX"}],"descriptions":[{"description":"Abstract: This article investigates how diverse layers of meanings can be seen in different interactions of the same work, as it is illustrated or adapted by different artists. Starting from a single source material, Neil Gaiman’s The Graveyard Book (2008), we analyze two versions and one adaptation of the text: one novel illustrated by Dave Mckean (2008) and another by Chris Riddell (2009); and a graphic novel (2014), adapted by P. Craig Russell. We draw our analysis from authors in the fields of Children's Literature and Comics Studies to discuss the construction of meanings between the interplay of written and visual texts. 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