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This thesis discusses Such Tweet Sorrow and #dream40, adaptations of Romeo and Juliet and A Midsummer Nights Dream by William Shakespeare, produced by the Royal Shakespeare Company. The first chapters approach both works in details, which is necessary due to the novelty of the productions under discussion. Both productions were staged on social media websites. This thesis investigates the modes of engagement allowed by these adaptations. When discussing the process through which a playscript was adapted to social media, it is detailed how Twitter and Google+ work as the main stages for these productions. Lastly, in relation to Linda Hutcheons exposition of the modes of engagement, this thesis approaches how the written texts, visual and audiovisual media, and interactive aspects of social media websites allow for different ways of engaging audiences. Essa dissertação discute duas produções da Royal Shakespeare Company, Such Tweet Sorrow e #dream40 que são, respectivamente, adaptações das obras Romeu e Julieta e Sonho de uma noite de verão, de William Shakespeare. Ambas as produções usaram redes sociais como palco. Essa dissertação investiga os modos de engajamento do público nessas adaptações de obras literárias para as redes sociais. Para isso, primeiramente, se dá a apresentação de ambas as adaptações tendo em vista seus caráteres inovadores e o modo como os textos dramáticos são adaptados para o ambiente digital, dando ênfase nos palcos principais de cada uma delas, Twitter e Google+. Posteriormente, discute-se, a partir dos apontamentos de Linda Hutcheon, os modos de engajamento presentes nessas adaptações, com relação aos textos escritos, à presença de produtos de mídias visuais e audiovisuais e à possibilidade de interação tendo em vista o ambiente das redes sociais.

A escritora dominicana-americana, Julia Alvarez, frequentemente retrata em suas obras sujeitos imigrantes que vivenciam biculturalismo. Em Returnto to Sender, Alvarez problematiza o tópico que envolve a imigração mexicana nos Estados Unidos. Essa dissertação investiga o surgimento de uma nova subjetividade imigrante mexicana a partir desse encontro cultural. Com o avanço das tecnologias, o mundo contemporâneo parece um espaço sem fronteiras e limites. Indivíduos se conectam com uma multiplicidade de lugares e culturas, estabelecem vínculos, fomentam negócios, e criam famílias. Em outras palavras, eles promovem o que Gloria Anzaldúa chama de polinização cruzada (Borderlands 99) criando, assim, raízes em todo lugar. Esse imigrante que estabelece conexões e tem raízes em todo lugar é reconhecido e representado do campo literário como imigrante rizomático. Este termo é originário da biologia e se refere a espécies de caules subterrâneos comumente confundidos com raízes devido ao fato de ambos terem funções semelhantes. A biologia também apresenta outra espécie particular de rizomas que ocorrem sobre o solo conhecidos como Estolhos de quem tomo o termo por empréstimo para nomear esse sujeito imigrante contemporâneo que sai da escuridão do anonimato e confinamento buscandooxigenação, espaço ventilado, fluidez e visibilidade. Sob a luz dessa analogia, este trabalho dialoga com a biologia de forma a analisar o surgimento e o comportamento do imigrante Estolho na narrativa de Julia Alvarez, assim como a investigar se a representação da escrita da personagem em forma de cartas e diário é uma extensão da sua própria subjetividade Estolho. The Dominican American writer, Julia Alvarez, often portrays in her works immigrant subjects that experience biculturalism. In Return to Sender, Alvarez problematizes the issue that involves Mexican immigration in the United States. This dissertation investigates the emergence of a new Mexican immigrant subjectivityfrom this cultural encounter. With the advance of technologies, the contemporary world seems a space without boundaries and limits. Individuals connect with a multiplicity of places and cultures, establishing bonds, fostering business, and raising families. In other words, they promote what Gloria Anzaldúa calls cross-pollination (Borderlands 99), creating roots everywhere. This immigrant that establishes connections and has roots everywhere is recognized and represented in literary realm as a rhizomatic immigrant. This term is originated from biology and refers to species of underground stems commonly mistaken to roots due to the fact that both have similar function. Biology also presents another particular species of rhizomes that occurs above the ground known as stolons from which I borrow the term to name this contemporary immigrant subject that comes out from the darkness of anonymity and confinement, seeking for oxygenation, ventilated spaces, fluidity, and visibility. Under the light of this analogy, this work dialogues with biology in order to analyze the emergence and behavior of the Stolon immigrant in Julia Alvarezs narrative, as well as to investigate whether the representation of the characters writing in form of letters and diary, is an extension of her own Stolon subjectivity.

Histórias em quadrinhos sempre estiveram relegadas às estantes infanto-juvenis das livrarias e bibliotecas. Recentemente, no entanto, um grande número de publicações de quadrinhos destinadas a um público adulto os romances gráficos tem atraído a atenção de acadêmicos, críticos e da indústria cinematográfica. Apesar da vasta bibliografia teórica existente sobre adaptações de romances, tais teorias não conseguem, satisfatoriamente, explicar as versões fílmicas de quadrinhos e romances gráficos, uma vez que não concebem, entre outros aspectos, a tradução da imagem desenhada dos quadrinhos para a fotografia do filme. Neste sentido, este trabalho pretende analisar uma área que permanece relativamente sem teorização o caso específico da tradução de quadrinhos e em especial dos romances gráficos para o cinema. À luz dessas questões, analisaremos os romances gráficos Watchmen, de Alan Moore e Sin City, da autoria de Frank Miller e suas respectivas versões fílmicas. Neste debate, utilizaremos as relações intermidiáticas de Irina Rajewsky bem como as considerações de Pascal Lefèvre sobre adaptações fílmicas de quadrinhos. Comic books have always been consigned the children's shelves at libraries and bookstores. Recently, however, a massive publishing of comic books designed for the adult audience called graphic novels has caught the attention of academics, critics and the film industry. Despite the existence of a vast theoretical bibliography of screen adaptations based on novels, those theories can not be satisfactorily applied to the analysis of films based on comics and graphic novels, since they do not conceive, among other aspects, the translation of the drawing image in comics to the photography of film. In this sense, this thesis focuses on an area that has remained quite untheorized: the specific case of the translation of comics and particularly of graphic novels into films. In light of this, I approach Alan Moore's Watchmen and Frank Miller's Sin City and their respective film versions. In order to support this debate, I will draw upon Irina Rajewsky's categories of intermedial relations as well as Pascal Lefvre's considerations about film adaptations of comics.

xxx 'Bloom', Sean Walsh's filmic adaptation of James Joyce's 'Ulysses', brings to screen Leopold Bloom's, Stephen Dedalus', and Molly Bloom's representation of thought. Relying on Robert Humphrey's theory of stream of consciousness in literature and Haim Callev's theory of stream of consciousness on screen, the present research aims at analyzing the tools used by the filmmaker to make feasible such representations. Moreover, Gérard Gennete's contemporaneous theory of transtextuality is used to identify and bring to light the differences and intersections between the mentioned novel and film

O século XX foi responsável pelo retorno das artes visuais, especialmente depois do advento do cinema que passa a emprestar técnicas para a literatura. Este retorno é ilustrado pelas traduções intersemióticas de Moça com Brinco de Pérola, uma vez que um filmebritânico independente chama a atenção do público geral para um retrato feito no século XVII, lembrando que o ciclo não seria fechado sem seu principal catalisador: o livro. Criando assim uma rede semiótica.O objetivo desta dissertação é analisar este retorno visual provocado pelas traduções intersemióticas feitas a partir da obra do mestre holandês Johannes Vermeer. A relação entre textos verbais e não-verbais é considerada uma forma de tradução, e inclui o processo de tradução intersemiótica de adaptações verbais para outras mídias. A obra literária que se constrói em torno de descrições ecfrásticas é um tipo de romance conhecido como Künstlerroman. Para o estudo da adaptação fílmica, demonstro como cortes, adições e inversões de cenas, afetaram, ou não, a essência do enredo, além do estudo de ecfrase. Investigo também o efeito da obra do pintor na fotografia do filme sob a luz da transtextualidade proposta por Gérard Genette, que foi apropriada aos estudos fílmicos por Robert Stam. James Naremore propõe um estudo de reciclagem dentro de uma teoria geral de repetição, que confirmo ao estudar a influência do legado de Vermeer na produção de arte e mídia contemporânea. The twentieth century was responsible for the revival of the visual arts, lending techniques to literature, in particular, after the advent of cinema. This visual revival is illustrated by the intersemiotic translations of "Girl with a Pearl Earrign": a recent low-budget movie was responsible for the revival of ordinary public interest in an art masterpiece from the seventeenth century. However, it was the book about the portrait that catalyzed this process of rejuvenation by verbalizing the portrait and inspiring the cinematographic adaptation, thereby creating the intersemiotic web. The objective of this dissertation is to analyze the visual revival via the intersemiotic translations of the work of the Dutch master Johannes Vermeer. The relationship between verbal and non-verbal texts is deemed translation, and includes the process of intersemiotic translation of verbal text adaptations to other media. The literary work, built on ekphrastic descriptions, is a type of novel called a Künstlerroman. Concerning the movie adaptation, in addition to the study of ekphrasis, I intend to show how cuts, additions and shuffling of scenes affetcted, or not, the core of the story. Additionally, I shall investigate the effect of the painter's works on the film's photography from the point of view of Gérard Genette and his proposed concept of transtextuality, which has been appropriated and applied to film studies by Robert Stam. Finally, I will confirm the study of recycling within a general theory of repetition proposed by James Naremore through an overview of Vermeer's influence on contemporary art and media production.

O título desse trabalho refere-se ao projeto inicial cujo objetivo era analisar como o conceito de identidade de gênero não fixa, presente na obra Mrs. Dallloway de Virginia Woolf, foi expandido e atualizado por duas novas obras - o romance The Hours, de Michael Cunningham, e sua adaptação fílmica, do cineasta Stephen Daldry, também intitulada The Hours. Nossa intenção era, investigar, a partir da teoria da Transtextualidade, de Gerard Genette e da teoria da Adaptação, de MacFarlane, como Cunningham e Daldry construíram seus hypertextos. Finalmente, havia a proposta da discussão do conceito de identidade de gênero não fixa, sob a perspectiva da crítica feminista Toril Moi. Entretanto, essa ultima discussão foi suprimida. O trabalho ora apresentado consiste em um estudo da literatura em segundo grau, uma análise do processo de criação do romance The Hours através da reescrita da obra Mrs. Dalloway. O objetivo deste trabalho é analisar como o romance Mrs. Dalloway foi expandido e atualizado por duas novas obras: o romance The Hours, e o filme homônimo. Em primeiro lugar, investigamos , à luz da teoria da Transtextualidade, a criação do hipertexto de Cunningham a partir do hipotexto de Woolf, expandindo a obra Mrs. Dalloway no romance The Hours. Então, passamos à análise da adaptação fílmica The Hours para investigar, através da teoria da Adaptação, como Daldry construiu seu hipertexto a partir dos hipotextos de Cunningham e Woolf. As escolhas que tanto o romancista quanto o cineasta fizeram para criar suas próprias obras nos servem de dados para a investigação dos fatores que contribuíram para a transformação destes dois trabalhos. The title of this work refers to the initial project that aimed to analyze how the concept of non-fixed gender identity, present in Woolfs novel Mrs. Dalloway, was expanded and updated by two new works - Michael Cunninghams novel The Hours and its homonymous film adaptation, by filmmaker Stephen Daldry. It was our intention to consider Genettes Theory of Transtextuality and McFarlanes Theory of Adaptation in order to investigate how Cuningham and Daldry built their hypertexts. Finally, we intended to discuss the concept of non-fixed gender identity, under the perspective of the feminist and critic Toril Moi. However, this last discussion was suppressed. Presented now is a study of Literature in the second degree resulting in an analysis of the process that created The Hours by rewriting Mrs. Dalloway. This work, therefore, aims to analyze how Virginia Woolfs novel Mrs. Dalloway was expanded and updated by two new works: the novel The Hours, by Michael Cunningham and its homonymous film adaptation, by filmmaker Stephen Daldry. But first, the analysis considers Gérard Genettes Theory of Transtextuality when investigating the creation of Cunninghams hypertext from Woolfs hypotext, expanding Mrs. Dalloway into the novel The Hours. Then, this analysis continues by applying McFarlanes Theory of Adaptation in order to investigate how Daldry built his hypertext from Woolfs and Cunninghams hypotexts. The choices the novelist and filmmaker had to make in order to create their works serve as resources for our investigation of the factors that contributed to the transformation of these two works.

In the 60s and 70s, Conceptual Art emerged as ground-breaking tendency when making of verbal language one of its most sigfnificant instruments of creation. Taken off the intimacy of paper, words were put in evidence shaking artistic categories with works that stood between images and letters. In an environment of de-mythification of the imagetic value, Conceptual Art appeared in an impetus to disfigure the solid tenets of Fine Arts by proposing a textual turn and showing both the material presence of language and its inconsistencies as source of meanings. Conceptual written artworks suspended the stricteness of the sign turning their texts into obscure and enigmatic even if making use of very simple statements.Written artworks were brought into the field of literature to be approached under literary and semiotc theories. Conceptual Art literature bears a thoughtful contribution on narrative, authorship and reception. Artists often refused the taxonomy of poets, for their literature was to promote new readings ahead of artistic demarcations. The presence of words emphasized the opacity of language in two ways: in both its plastic, solid characteristics and the amplitude textts could reach. Language in Conceptual Art also contributed to the questioning of the long-lasting art object; it suggested a less alienated social function of art and artists, and it turned viewers/readers into active participants in the reading of art.Thus, language became a revolutionary tool in Conceptualism having an important effect in the to come.

This work analyzes the novels Lady Oracle and Cat's Eye by the Canadian writer Margaret Atwood in order to investigate the critical discussion about representation and self-representation. Focusing on the artistic development of the two protagonists, writer Joan and painter Elaine, respectively, both novels similarly draw our attention to the processes of artistic and literary production, which becomes, in the narratives, a powerful medium to voice and contest aesthetical and political issues of representation and self-representation. But means of parady, Atwood's narratives and the protagonists' texts and paintings revisit traditional literature and visual art, revealing that contemporary cultural poduction often subverts literay and artistic conventions of mainstream culture. Furthermore, as Atwood concentrates on how these two fictional artists represent their selves into literatures and art, her novels also question the construction of subjectivities that is seen as an achievable product. When Lad Oracle and Cat´s Eye address the issues of subjetivity in the perspective of women artists, both novels challenge the representation of women' subjectivities and their bodies in both literature and art that have endorsed, for a long time, the patriarchal view of femininity. Bearing this mind, this thesis attempts to show the critical reflection which the representations of these two women artists' subjetivities emphasize and the aesthetical and political analysis which their literay and artistic works reveal in the novels.