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This work aims to look at certain aspects involved in the translation process, from a linguistic as well as an intercultural and inter-semiotic point of view. Starting from the inter-semiotic translation concept theorized by Roman Jakobson, we will analyse the film adaptation of a pièce, written in 1990 by Jean-Luc Lagarce and filmed in 2016 by Xavier Dolan, in order to highlight the process of resemantization and multiplication of meaning involved in the transition from the page to the screen. After some theoretical information, through a semiotic analysis and a continuous comparison between written and visual text, we will try to highlight some of the film adaptation's mechanisms with a particular focus on thematic and figurative isotopies and on the filmmaker's plastic and stylistic choices. [ABSTRACT FROM AUTHOR]

This paper comes out of the will to go beyond inter-linguistic translation and, instead, to dwell on the inter-semiotic, which allows the passage from a literary work to its cinematographic adaptation. In this case, my study starts from the graphic novel, Gemma Bovery, written by the British authoress Posy Simmonds, and arrives at the homonymous French film directed by Anne Fontaine and screened at cinemas in 2014. In particular, I go into the graphic novel and the film, touching on Flaubert's novel. Indeed, the title of the graphic novel echoes that of the famous work of the French writer, Madame Bovary - dear to the authoress - and by which it is inspired. My analysis starts by reading Simmonds' graphic novel and Flaubert's novel and continues with the vision of the French film Gemma Bovery, in order to well understand each work and to compare them.In other words, the aim of my paper is to show an outline of the analogies and the differences between these three works, concerning the events, the setting and, especially, the characters. [ABSTRACT FROM AUTHOR]

Nel percorso di canonizzazione grazie a cui un’opera si trasforma in un classico, la parodia costituisce spesso una tappa obbligata. Si direbbe quindi che la sottrazione dell’aura o, meglio, la manipolazione in chiave dissacrante sia tra i prerequisiti necessari a garantire l’inclusione negli esclusivi ranghi della tradizione. Guardando alla storia letteraria del Novecento si potrebbero d’altronde trovare varie conferme di questa ipotesi, ma anche qualche clamorosa smentita. Si considerino, ad esempio, le trasposizioni filmiche tratte da Lolita, romanzo vittima di innumerevoli fraintendimenti e trasformazioni. Sebbene lo stesso Nabokov si lamentasse della tendenza del grande pubblico a farsi abbagliare dagli aspetti pruriginosi della vicenda, trascurandone il sottile humor, i due registi che si sono cimentati nel portare Lolita sul grande schermo – Stanley Kubrick e Adrian Lyne – sembrano aver frainteso lo spirito di questa indicazione. Nei rispettivi adattamenti ne hanno, infatti, stravolto completamente il senso: l’uno adottando una mise-en-scène di taglio classicheggiante volta a attenuare lo shock prodotto dall’ipotesto; l’altro enfatizzandone il lato scabroso e solleticando gli appetiti voyeuristici dello spettatore. Nel corso della mia analisi intendo dunque ricostruire le motivazioni di un simile, duplice “tradimento”, cercando di illustrare come esso abbia ridefinito l’aura del romanzo nabokoviano, nonché l’intenzione autoriale di partenza.

Sciascia on Screen: Between pamphlet and thriller. Two Posthumous Re-readings: Porte aperte and Una storia sempliceThis essay treats two adaptations of Leonardo Sciascia’s novels, that, as they appeared soon after the author’s death, stand as a sort of literary memorial to the author: Porte aperte by Gianni Amelio, published in 1990, and Una storia semplice by Emidio Greco, from 1991. The intention is to highlight the original project of transposition from novel to film by means of the structural approach and the analysis of passages that are significant to the screenplay.

The purpose of this paper is to present an unexplored case study in the field of the studies on adaptation: the dance in Alice's Adventures in Wonderland (1865) by Lewis Carroll and its transformations during the transmodalization. In particular the two most popular film adaptations of the novel of the Victorian writer will be presented and analysed: the cartoon produced by Disney in 1951 and the 2010 film directed by the Californian director Tim Burton. If in Alice's Adventures in Wonderland Carroll introduce a dance performed by some lobsters (precisely in chapter X that is titled "The Lobster Quadrille"), in the Disney's masterpiece there is no trace either of lobsters, turtles or griffins. Paradoxically, dancing in the cartoon is a recurring motif, which is the background to the vicissitudes of the protagonist from the beginning to the end. The viewer of Burton’s Alice will be even much more shocked by the presence of the dance in two specific moments of the film – at the beginning and at the end – which are not present nor in the hypotext, nor in its Twentieth-century adaptation. In other words, although the dance is present in the three works, it never appears at the same time.