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This paper studies the transfictionalization devices involved in adapting the novel Aparição (1959), by Vergílio Ferreira, to cinema, directed by Fernando Vendrell (Aparição, 2018) and scripted by Fátima Ribeiro and João Milagre. The interest is on the process of transcoding from one communicative system to another, and its consequent potential for (re)interpretation and (re)creation (HUTCHEON, 2011) of the novel. Recognizing the difficulty of transporting a worldview of a reflective, metaphysical, existentialist nature like Ferreira’s to cinema, I start from the analysis of filmic semiotics, focusing on the way in which history, time, space, characters are transfigured in the sense of refocus some axes themes of the “original” work. Among the aspects that receive new critical-thematic vigor in the film is the representation of women in a conservative, patriarchal society, in the context of the Salazar dictatorship. This representation is highlighted, greatly, in the gender performances (BUTLER, 1998) that give survival (REIS, 2018) to the characters Sofia and Ana. [ABSTRACT FROM AUTHOR]

In order to pay attention to Raul Pompeia's storytelling, this paper analyses the short story "História cândida". For this, it is based mainly on the idea of David Baguley (1995) that there are naturalisms in literature. Then, it recognizes that the literary production of this writer presents a particular naturalism. In addition, it breaks with the documentary character and its narratives are permanently current. By means of analysis of the protagonist of the plot, it is verified the peculiar way of Pompeia to tell stories about daily events, with a very much ironic prose, which traces a tragic and disillusioned vision of the feminine condition in 19th century, perpassed by questions of gender, race and class, that still continue in contemporary Brazil. [ABSTRACT FROM AUTHOR]