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 correct answer is 1423.

To determine the proper sequence, we need to identify the logical flow of ideas among the four sentences.

Sentence 1 serves as an excellent opening statement. It introduces the concept of "literature on screen" and presents the idea that literary adaptations hold a dual nature, being "at once cinema and literature."

Sentence 4 naturally follows Sentence 1. It directly references the concept introduced in Sentence 1 by mentioning "this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation." It then introduces a new related idea: "the assumption that the primary context within which adaptations are to be studied is literature." Therefore, 1-4 is a mandatory pair.

Sentence 2 elaborates on the assumption introduced in Sentence 4. While Sentence 4 states that the primary context for studying adaptations is literature, Sentence 2 highlights the persistent nature of this assumption. It points out that even though films adapt material from various non-literary sources (like print journalism, video games, etc.), "academic studies of adaptation remain stubbornly attached to literature as cinema's natural progenitor." This links Sentence 2 directly to Sentence 4, creating the sequence 1-4-2.

Sentence 3 acts as the concluding sentence. It provides a possible reason or motivation for the phenomenon described in Sentence 2. It explains that adaptation studies remain attached to literature ("borrowing the cultural cachet of literature") in order to "claim its institutional respectability and gravitas." This summarizes the author's argument regarding the relationship between adaptation studies and literature.

Combining these logical links, the coherent paragraph is formed by the sequence 1-4-2-3.