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Numerous scholars have debated the transmediality of Gomorrah - The Series, offering varying opinions. The thesis we aim to support is that this is a case of incomplete transmediality, primarily due to gaps in Sky Italia's promotional strategies, especially concerning social media. Even a spin-off like L'Immortale (2019) can be considered a makeshift and limited attempt. Simultaneously, it is possible to identify a «Saviano style» to describe the approach of the Campanian author to all his productions, creating a strong bond that connects them all, including his graphic novel Sono ancora vivo. However, in confirmation of the lack of transmediality of Gomorrah - The Series, are the social media activities of its two main protagonists, Salvatore Esposito (Genny Savastano) and Marco D'Amore (Ciro Di Marzio), which focus more on the actor's persona than on their acting performances in the series. Weak transmediality is also confirmed by the activities of the fans that revolve around this product, but are hindered by the production, which, in two Facebook groups, has gone as far as banning clips from Gomorrah - The Series not belonging to official channels.

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This article focuses on a few recent publications, all of them devoted to a new semiotic intepretation of Pasolini's theoretical works on cinema. It provides a short summary of the ancient debate between Pasolini and semioticians, then offering an overview of those recent publications. Later, it discusses the indications we can draw from them about the state of art of semiotics, in order to put the basis for future researches even despite the epistemological different positions. The article is a preliminary work that places itsef within a wider attempt to apply Pasolini's theoretical contributions, re-read from today's semiotic point of view, to digital cinema.

La straordinaria fortuna di Dante nella cultura britannica fra la fine del Settecento e il primo trentennio dell’Ottocento – vista attraverso le lenti di Henry Francis Cary, autore di una traduzione canonica della Commedia in lingua inglese, e quelle di William Blake, il poeta-illustratore di Dante per antonomasia – getta un fascio di luce sulle idee religiose, politiche ed estetiche dominanti in quel periodo. I romantici britannici modernizzano l’escatologia medievale della Commedia, alcuni di essi deteologizzano in toto la visione dantesca. Notevole è la forza attrattiva dell’anticlericalismo dantesco, inteso come segno di proto-protestantesimo. Il paradigma romantico è ambivalente: viene riconosciuta la genialità di Dante, ma il suo peculiare plurilinguismo con forti accenti realistici è ritenuto dissonante nell’epica religiosa. Il realismo figurativo, reputato grottesco, contraddice i dettami del sublime-patetico elaborati da Burke. Eloquente la comparazione fra la rappresentazione dantesca di Lucifero e le sue metamorfosi in epoca romantica, il cui archetipo è il Satana eroico di Milton. H. F. Cary e W. Blake, nel tradurre Dante, dialogano con due testi originali, La Commedia e il Paradise Lost, talché il Satana eroico di Milton si sovrappone al Lucifero bestiale del Canto XXXIV dell’Inferno. Il Satana blakeano – emblema di un’umanità decaduta a causa di un’immaginazione poetica rattrappita – modernizza ma non offusca il sostrato concettuale del male assoluto espresso dalla metafisica cristiana.

Questo contributo intende concentrarsi sulla forma più antica di traduzione intersemiotica: l’ekphrasis. In un’epoca come la nostra, sempre più dominata dalle immagini, praticare l’ecfrasi significa ritenere che le parole, la narrativa e più in generale la letteratura siano in grado di tenere testa all’universo visuale. Per mostrarlo, esaminerò tre opere letterarie del 2010 in cui viene impiegata l’ekphrasis: Point Omega di Don DeLillo, La carte et le territoire di Michel Houellebecq e Autopsia dell’ossessione di Walter Siti.The aim of this paper is to focus on ekphrasis, the oldest form of intersemiotic translation. In an increasingly image-dominated age like ours, using ekphrasis means to believe that words, fiction and more generally literature can compete with the visual universe. In order to show this, three literary works published in 2010 in which ekphrasis is used will be analyzed in detail: Don DeLillo’s Point Omega, Michel Houellebecq’s La carte et le territoire and Walter Siti’s Autopsia dell’ossessione.

Introduzione alla sezione monografica su traduzione intersemiotica e nuove forme di testualità.An introduction to the monographic section on intersemiotic translation and new forms of textuality.

Il mio contributo intende mettere alla prova alcune delle nozioni operative proposte dalla neuroretorica applicandole a uno degli altri filoni di indagine privilegiati dalla narratologia – o meglio, dalle narratologie – del nuovo millennio: la traduzione intersemiotica e, in particolare, lo studio dalle mutevoli relazioni tra linguaggi iconici e linguaggi verbali. Rivolgendomi allo specifico ambito dell’adattamento cinematografico intendo quindi illustrare come l’annosa e spinosa questione della fedeltà possa essere meglio affrontata attraverso l’utilizzo di tali strumenti, nonché di alcune preziose nozioni che costituiscono il corollario teorico della neuronarratologia – la produttiva discrepanza tra script e frame; il concetto di embodied narration; l’interazione tra memoria episodica e memoria semantica – piuttosto che di una banale comparazione tra l’ipotesto e l’intertesto invariabilmente condotta a partire dal piano dell’enunciato. Da una simile premessa si potrebbe così affermare che il successo di un adattamento sia determinato non solo e non tanto dalla rielaborazione della medesima forma del contenuto in una differente materia dell’espressione, quanto piuttosto dalla capacità dell’autore secondo di ricreare analoghi «schemi di negoziazione della conoscenza» in diversi media: come nel caso delle trasposizioni filmiche di Lolita realizzate da Stanley Kubrick (1962) e da Adrian Lyne (1997), oggetto specifico del mio studio.The aim of my paper is to apply some of the insights from the so-called neurorhetoric to the field of intersemiotic translation, thus trying to establish a dialogue between two of the more stimulating theoretical developments of narratology – or, perhaps should I say, of narratologies – in the recent years. Focusing especially on cinematographic adaptation I wish to highlight how the often discussed issue of “fidelity” could be better addressed using analytic tools as the productive friction between script and frame, the concept of embodied narration, the interaction between episodic memory and semantic memory, rather than drawing an obvious comparison between the hypotext and the hypertext based mainly on content. More importantly, my intention is to demonstrate that in such cases the success of an adaptation is not determined by a proper transposition of the same content-form through different expression substances, but it depends on the second author’s skill in re-creating similar “knowledge negotiation schemes” across various mediums and devices. A few texts will be analysed in detail: Vladimir Nabokov’s Lolita, along with two of its best-known adaptations, directed by Stanley Kubrick (1962) and Adrian Lyne (1997).

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]

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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.

Right from the beginnings of Dante Gabriel Rossetti’s career, his most striking quality lies in his deep commitment to a continual interrelation between the arts of poetry and of painting. This essay aims at revealing the strategies applied to the intersemiotic process taking place between Rossetti’s first Pre-raphaelite canvas, The Girlhood of Mary Virgin, and the two sonnets written to ‘illustrate’ it. To better examine the shift between different media and Rossetti’s own appraisal of such a translating process, reference has been made to some of the great names of the contemporary debate about intersemiotic translation, such as Greimas, Eco and Jakobson. By applying such modern tools of intersemiotic analysis to the artist’s first double work of art it will eventually be clear how Rossetti’s Pre-raphaelite phase is anything but an immature debut in the Victorian artistic scene. Many of the features of his early career are in fact to be found as faithfully maintained in the more complex development of his maturer art. This essay will show how The Girlhood of Mary Virgin and “Mary’s Girlhood” are to be considered as a true manifesto of Rossetti’s entire career and of his appraisal of the relation between the sister arts.

This paper explores the passage from the tale Il mantello (1942) to the theatrical adaptation, with the aim of verifying the relationship between literature and theatrical code, investigating the idea of source text and its survival in code-switching.

Metamorphosis is a threshold infringement marking the passage to a new configuration; an intersemiotic translation is also a threshold infringement and a code one. In the comparison between Collodi’s Le avventure di Pinocchio to Luigi Comencini’s 1972 TV adaptation of the same title, and taking into account three further threshold-spaces – intercodical (technical), chronological (historical), and interpretative (ethical-artistic) –, this study aims to interpret the filmic adaptation, based on the addition to the original fabula of metamorphic stages which were not in the source-text: the reversible transformations of Pinocchio the puppet in Pinocchio the boy. Recurrent metamorphoses become narrative plot, associated with a moral meaning; denying Collodi’s narrative gratuitousness and dialectics of disorientation/re-collocation, Comencini replaces these interpretative bets with inferential intuitions connected to an ethical code. Furthermore, the comparison of the TV adaptation with the source-text allows for a clarification of some unresolved or ambigous passages of the latter, casting new light right on the metamorphic nature of Collodi’s Pinocchio.