Question:
The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.
1. "Literature on screen" suggests something more capacious and defining than citation: the possibility that literary adaptations are at once cinema and literature.
2. Even though a growing number of films eligible for Academy Awards for Best Screenplay Based on Material from Another Medium borrow that material from print journalism, franchise characters, television series, comic books, video games and toys, academic studies of adaptation remain stubbornly attached to literature as cinema’s natural progenitor.
3. It is as if adaptation studies, by borrowing the cultural cachet of literature, sought to claim its institutional respectability and gravitas even while insuring adaptation’s enduring aesthetic and methodological subordination to literature proper.
4. Beneath this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation is an even more pervasive legacy that haunts adaptation studies: the assumption that the primary context within which adaptations are to be studied is literature.
The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.
1. "Literature on screen" suggests something more capacious and defining than citation: the possibility that literary adaptations are at once cinema and literature.
2. Even though a growing number of films eligible for Academy Awards for Best Screenplay Based on Material from Another Medium borrow that material from print journalism, franchise characters, television series, comic books, video games and toys, academic studies of adaptation remain stubbornly attached to literature as cinema’s natural progenitor.
3. It is as if adaptation studies, by borrowing the cultural cachet of literature, sought to claim its institutional respectability and gravitas even while insuring adaptation’s enduring aesthetic and methodological subordination to literature proper.
4. Beneath this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation is an even more pervasive legacy that haunts adaptation studies: the assumption that the primary context within which adaptations are to be studied is literature.
1. "Literature on screen" suggests something more capacious and defining than citation: the possibility that literary adaptations are at once cinema and literature.
2. Even though a growing number of films eligible for Academy Awards for Best Screenplay Based on Material from Another Medium borrow that material from print journalism, franchise characters, television series, comic books, video games and toys, academic studies of adaptation remain stubbornly attached to literature as cinema’s natural progenitor.
3. It is as if adaptation studies, by borrowing the cultural cachet of literature, sought to claim its institutional respectability and gravitas even while insuring adaptation’s enduring aesthetic and methodological subordination to literature proper.
4. Beneath this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation is an even more pervasive legacy that haunts adaptation studies: the assumption that the primary context within which adaptations are to be studied is literature.
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When sequencing sentences, look for transitions that logically link ideas and concepts together, such as general to specific or cause to effect.
Updated On: Jul 4, 2026
- Option 2
- Option 4
- Option 1
- Option 3
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The Correct Option is A
Approach Solution - 1
Approach: Find the opener (a sentence that states the problem and needs no prior context), then chain the rest using pointer words like "this," "beneath," and "as if."
Step 1: Opener is 2. Sentence 2 states the central tension freely: even though many films adapt non-literary sources, academic adaptation studies stay "stubbornly attached to literature as cinema's natural progenitor." It introduces the problem and depends on nothing before it, so it leads.
Step 2: 1 follows 2. Sentence 1 offers the contrasting idea: "Literature on screen" suggests adaptations are "at once cinema and literature" — i.e., they hold dual status. This responds to the bias set up in 2 by floating the more generous view.
Step 3: 4 follows 1. Sentence 4 opens with "Beneath this contradictory notion of film adaptations as... texts holding dual citizenship in two modes of presentation." The phrase "dual citizenship" directly picks up 1's "at once cinema and literature." So 4 must come right after 1, and it reintroduces the haunting assumption that literature is the primary context.
Step 4: 3 closes. Sentence 3 begins "It is as if adaptation studies, by borrowing the cultural cachet of literature..." — this explains and concludes the legacy that 4 just named, sealing the paragraph.
Sequence: 2 \(\to\) 1 \(\to\) 4 \(\to\) 3, i.e. 2143.
Step 1: Opener is 2. Sentence 2 states the central tension freely: even though many films adapt non-literary sources, academic adaptation studies stay "stubbornly attached to literature as cinema's natural progenitor." It introduces the problem and depends on nothing before it, so it leads.
Step 2: 1 follows 2. Sentence 1 offers the contrasting idea: "Literature on screen" suggests adaptations are "at once cinema and literature" — i.e., they hold dual status. This responds to the bias set up in 2 by floating the more generous view.
Step 3: 4 follows 1. Sentence 4 opens with "Beneath this contradictory notion of film adaptations as... texts holding dual citizenship in two modes of presentation." The phrase "dual citizenship" directly picks up 1's "at once cinema and literature." So 4 must come right after 1, and it reintroduces the haunting assumption that literature is the primary context.
Step 4: 3 closes. Sentence 3 begins "It is as if adaptation studies, by borrowing the cultural cachet of literature..." — this explains and concludes the legacy that 4 just named, sealing the paragraph.
Sequence: 2 \(\to\) 1 \(\to\) 4 \(\to\) 3, i.e. 2143.
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Approach Solution -2
Approach: Trace backward-pointing words, "this," "it," "than citation," to build the chain link by link instead of guessing the opening line directly.
Sentence 4 opens with "this contradictory notion of film adaptations as... holding dual citizenship in two modes of presentation," a demonstrative that can only point back to sentence 1's claim that adaptations are "at once cinema and literature." So 1 must come immediately before 4.
Sentence 3 opens with "It is as if adaptation studies, by borrowing the cultural cachet of literature...," continuing directly from sentence 4's closing idea that literature is treated as adaptation's "primary context." So 3 follows 4.
That leaves the block 1-4-3 needing a lead-in. Sentence 1 compares "literature on screen" as offering something "more capacious... than citation," a phrase that only makes sense as a response to a prior claim about adaptation studies barely crediting non-literary sources beyond passing citation, which is exactly what sentence 2 describes, academic studies staying "stubbornly attached to literature" despite films drawing on comics, games and franchises. So sentence 2 opens the paragraph.
Sequence: 2-1-4-3.
Sentence 4 opens with "this contradictory notion of film adaptations as... holding dual citizenship in two modes of presentation," a demonstrative that can only point back to sentence 1's claim that adaptations are "at once cinema and literature." So 1 must come immediately before 4.
Sentence 3 opens with "It is as if adaptation studies, by borrowing the cultural cachet of literature...," continuing directly from sentence 4's closing idea that literature is treated as adaptation's "primary context." So 3 follows 4.
That leaves the block 1-4-3 needing a lead-in. Sentence 1 compares "literature on screen" as offering something "more capacious... than citation," a phrase that only makes sense as a response to a prior claim about adaptation studies barely crediting non-literary sources beyond passing citation, which is exactly what sentence 2 describes, academic studies staying "stubbornly attached to literature" despite films drawing on comics, games and franchises. So sentence 2 opens the paragraph.
Sequence: 2-1-4-3.
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