The thesis revisits film and film-culture history in Sweden, Denmark and Norway with a view to discourses and practices of the inter- and trans-Scandinavian in the silent era. Excluding the earliest films, but including the transition to synchronised sound, it covers the period of the 1900s to 1930 with emphasis on the 1910s and 1920s. The thesis identifies notions about the relations between the Scandinavian and the national by means of a number of case studies based on textual historical sources. As a consistent Scandinavian perspective on this period is new, the investigation substantially supplements and revises the individual national film histories of these countries. It adds missing context to national developments and makes visible border phenomena such as transnational collaborations and co-producing practices. The thesis finds that film production in Scandinavia in the silent era was orientated towards one of two poles, at times combined or in a state of negotiation: international economic ambitions or national cultural aspirations. The latter was frequently conceptualised as northern, Nordic and Scandinavian. ‘Scandinaviannesses’ performed when drawing on nature, folklore, literature and heritage, not least that of Norway, were employed for use in and out of Scandinavia by means of strategies of ‘double-entry book-keeping’.  During the period, the notion of location underwent changes from an illusory, theatrical device to an inherently meaningful entity carrying identities infused with the Scandinavian. Examining the effects of shared comprehension of language and a shared recent history of Scandinavist ideas, the thesis identifies instrumental notions of kindredness and senses of cultural proprietorship extending to the output of the neighbouring countries. These notions were mobilised selectively within film culture and motivated practical transnational collaboration from the side of the authorities as well as in trade organisations.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / A personagem Iracema, do romance indigenista de Josà de Alencar foi concebida para tornar-se a mÃe mÃtica do Brasil. Pouco mais de cem anos depois, Carlos Coimbra adapta canonicamente para o cinema a bela e corajosa Ãndia em Iracema, a virgem dos lÃbios de mel (1979). Todavia, cinco anos antes, Jorge Bodanzky e Orlando Senna haviam concebido em Iracema, uma transa amazÃnica (1974) uma Iracema mundana, com traÃos que a virgem dos lÃbios de mel jamais poderia ter, jà que foi criada para estar prÃxima ao divino e à castidade. Este trabalho aproxima esses filmes a partir da recriaÃÃo de suas Iracemas e do projeto de fundaÃÃo alencarino do Brasil. Levantamos uma discussÃo teÃrica acerca da adaptaÃÃo cinematogrÃfica e determinados aspectos que a ela se relacionam, como os conceitos de traduÃÃo e transcriaÃÃo, o paradigma da fidelidade, o luto na traduÃÃo e a questÃo da autoria. Investigamos a caracterizaÃÃo da Iracema de Alencar a partir de seus traÃos de heroÃna mÃtica e estabelecemos alguns paralelos entre caracterÃsticas das heroÃnas clÃssicas Pocahontas, cuja biografia ganhou contornos de mito; Atala, personagem do romance de FranÃois-Renà de Chateaubriand; e Dido, Camila e LavÃnia, trÃs personagens da epopeia romana âEneidaâ, de PÃblio VirgÃlio Maro. TraÃamos, entÃo, os perfis da Iracema de Coimbra e da Iracema de Bodanzky e Senna a partir de algumas tÃcnicas de anÃlise fÃlmica, como estudo de planos e sequÃncias e anÃlise do filme como narrativa. Aproximamos as personagens a partir de seus contrapontos e elaboramos uma reflexÃo sobre um traÃo identificado em ambas: o processo de erotizaÃÃo. Da bibliografia que norteou a elaboraÃÃo deste trabalho podemos destacar os estudos de Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont e Laura Mulvey. Encerramos com uma reflexÃo acerca da importÃncia histÃrica das produÃÃes cinematogrÃficas brasileiras e da numerosa quantidade de material de que dispomos para estudos em pesquisas acadÃmicas. / The character Iracema, of the novel of Jose de Alencar was conceived to become the mythical mother of Brazil. A little more than a hundred years later, Carlos Coimbra canonically adapts to the cinema the beautiful and courageous India in Iracema, a virgem dos lÃbios de mel (1979). However, four years earlier, Jorge Bodanzky and Orlando Senna had conceived in Iracema, uma transa amazÃnica (1974) a mundane Iracema, with traits that the virgin of the lips of honey could never have, since she was created to be close to the divine and the chastity. This work approximates these motion pictures from the reinvention of its Iracemas and the foundation project of Alencar. We raise a theoretical discussion about the cinematographic adaptation and certain aspects that relate to it, such as the concepts of translation and transcription, the paradigm of fidelity, bereavement in translation and the question of authorship. We investigated the characterization of Iracema de Alencar from his mythical heroine traits and established some parallels between characteristics of classic heroines, such as Pocahontas, whose biography gained contours of myth; Atala, character of the novel of FranÃois-Renà de Chateaubriand; and Dido, Camilla and Lavinia, three characters from the Roman epic "Aeneid", by Publius Virgilio Maro. We then traced the profiles of Iracema of Coimbra and Iracema of Bodanzky and Senna, from some techniques of film analysis, such as study of plans and sequences and analysis of the film as narrative. We approach the characters from their counterpoints and elaborate a reflection on a trait identified in both: the erotization process. From the bibliography that guided the elaboration of this work we can highlight the studies of Linda Hutcheon, Marcel Silva, Julio Plaza, Paul Ricoeur, Jacques Aumont and Laura Mulvey. We conclude with a reflection on the importance of the history of Brazilian cinematographic productions and the large amount of material we have available for studies in academic research.

First functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near-universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes´ novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17^(th) century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character´s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers´ appropriative requirements due to his paradoxical nature. The Quixote’s “cuerdo loco” or “wise fool” inherits paradoxy from Erasmus of Rotterdam’s In Praise of Folly. It is Don Quixote´s paradoxy that allows readers and viewers to choose the aspects of the protagonist that they find most useful. Some of that difference in interpretation has been diachronic, starting with a burlesque view of Don Quixote as the insane hidalgo, later developing a romantic interpretation of the protagonist as a noble knight. Much of that difference has been geographical, with Spanish appropriators tending to reflect Don Quixote as a heroic reflection of national character, and many outside of Spain choosing to use the knight as a symbol of impracticality and failure. Ultimately, Don Quixote´s long lasting influence has been due to his ability to embody the best of the human spirit; the desire to fashion oneself into a more noble identity and achieve greater deeds than one´s cultural environment would normally allow.

abstract: The nature of the link between a literary text and its film adaptation has been a point of contention within academic thought since the inception of cinema due to the fact that film adaptation forms part of film history since the early 20th century. For most of the past century, the main concern of critics has been the level of fidelity that adaptations exhibit in terms of their relationship with the text, which was viewed as "the original" that directors needed to use as a model. In the last 25 years, however, the discourse of fidelity has been challenged by a number of intellectuals as a result of poststructuralist thought, which rejects the notion of an "original" text and proclaims the existence of infinite meanings within each text that are constructed by the reader, not the writer. The present investigation will take into account this type of epistemology as its starting point in order to review and defy a number of theoretical approximations from the last several decades that deal with the relationship between literature and cinema towards its main goal of overcoming the limitations of fidelity discourse. This will be carried out through an in-depth analysis of Latin American texts that have been adapted to film. Thematically both the literary texts and the films contain elements that portray the reality of marginalized groups that build their existence in opposition to the model of patriarchal heteronormativity. In current epistemological thought such a modus vivendi falls within the realm of queer theory. Another common thread that unites all the cultural productions is the presence of violence that showcases the high level of intolerance towards any subject who somehow seems to be different, hence threatening the dominant configuration of patriarchy. Furthermore, the different texts and films expose a general fragmentation within Latin American society, a result of the constant struggles among its diverse social groups, between the ones who occupy the position of socioeconomic power and those who are left outside of it; such a fragmentation also stems from the multiple clashes that occur within the marginalized groups themselves. / Dissertation/Thesis / Ph.D. Spanish 2011

nÃo hà / Ernest Hemingway à um escritor moderno norte-americano famoso por seu estilo simples, objetivo e cuidadosamente estruturado, que buscava aproveitar ao mÃximo o mÃnimo de informaÃÃo possÃvel. Esse estilo de escrita foi definido pelo prÃprio autor como a arte da omissÃo, traÃo que passou a ser denominado de princÃpio do Iceberg (BAKER, 1974, p. 126). Assim, esta tese investiga como esse princÃpio à trabalhado pelo escritor nos contos âThe Killersâ (1927) e âThe Snows of Kilimanjaroâ (1938) e como se deu a releitura em suas respectivas adaptaÃÃes cinematogrÃficas, a saber, The Killers (1946), do diretor Robert Siodmak, e The Snows of Kilimanjaro (1952), dirigido por Henry King. Utilizamos como fundamentaÃÃo teÃrica discussÃes relacionadas à literatura comparada (CARVALHAL, 1986; COUTINHO, 2011), aos estudos da traduÃÃo (TOURY, 1995; BASSNETT, 2005) e à adaptaÃÃo fÃlmica (LINS, 1984; STAM, 2006; 2009). Nossa finalidade à observar como o recurso da omissÃo à explorado por Hemingway no texto literÃrio e pelos diretores nos textos fÃlmicos, especificamente no que diz respeito à construÃÃo das personagens centrais e do espaÃo narrativo. A revisÃo bibliogrÃfica realizada mostrou-nos que a produÃÃo de filmes inseridos no sistema hollywoodiano obedece a um conjunto de princÃpios recorrentes desde a primeira metade do sÃculo XX. AlÃm disso, as leituras efetuadas indicaram que os gÃneros fÃlmicos de melodrama e film noir foram utilizados para instituir valores morais na sociedade norte-americana, sobretudo, apÃs a Segunda Guerra Mundial. No que diz respeito a Hemingway e sua produÃÃo, o estudo bibliogrÃfico mostrou que escritor e obra se fundem tanto na ficcionalizaÃÃo da vida pessoal e profissional quanto na construÃÃo das narrativas. Talvez, por essa razÃo, suas obras tenham conquistado um pÃblico amplo e variado, tambÃm influenciado uma geraÃÃo de jovens a adotarem os padrÃes de Hemingway e suas personagens em seu modo de vida (WILSON, 2005; PRIETO, 2011). A anÃlise dos contos mostrou que ambos obedecem aos critÃrios formais do princÃpio do Iceberg. Identificamos ainda que os herÃis dessas narrativas seguem o cÃdigo de honra estabelecido pelo escritor e que os elementos da composiÃÃo do espaÃo podem revelar informaÃÃes importantes para a construÃÃo das personagens hemingwaynianas. A anÃlise das adaptaÃÃes fÃlmicas, por outro lado, mostrou que os diretores lidaram com os contos de forma distinta. Em The Killers, acreditamos que Siodmak tenha proposto um princÃpio do Iceberg prÃprio para a produÃÃo. As pistas deixadas na cena, bem como a utilizaÃÃo de aspectos comuns na obra de Hemingway, fornecem informaÃÃes acerca das personagens e estimulam o espectador a uma leitura mais atenta do que à mostrado na tela. Em The Snows of Kilimanjaro, King propÃs uma narrativa distinta e optou por um final mais palatÃvel e uma narrativa mais detalhada que facilitasse a leitura linear para o pÃblico. Acreditamos que ambas as adaptaÃÃes propÃem aplicaÃÃes sociais para o pÃblico da Ãpoca como forma de difundir valores morais, especialmente, entre os norte-americanos e que um recorte maior de adaptaÃÃes poderia reforÃar ou refutar a ideia de uma identidade ficcional de Hemingway.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A presente dissertaÃÃo analisa a traduÃÃo da personagem Lolita, de Vladimir Nabokov, para o filme homÃnimo de 1997, dirigido por Adrian Lyne. No romance Lolita (1955), a protagonista à uma menina de 12 anos que tem sua vida transformada apÃs ser alvo de uma paixÃo obsessiva por parte de Humbert Humbert, um homem adulto e bem mais experiente do que ela e que logo se torna seu padrasto. Diante de tal situaÃÃo, a personagem apresenta alguns traÃos de comportamento que podem gerar certo grau de ambivalÃncia quanto à composiÃÃo de seu carÃter na narrativa literÃria, as quais muitas de suas atitudes podem ser interpretadas tanto como fruto de uma ingenuidade infantil quanto como jogos de atributos sedutores de uma mente ardilosa. Nesta pesquisa, investigamos, especificamente, as estratÃgias do diretor na transmutaÃÃo das ambiguidades da personagem Lolita do romance para o cinema. Partimos da hipÃtese de que a protagonista como sÃmbolo da ninfeta, isto Ã, da garota sedutora, foi a faceta mais enfatizada na adaptaÃÃo fÃlmica, devido Ãs questÃes inerentes tanto à poÃtica do diretor, quanto Ãs produÃÃes hollywoodianas da dÃcada de noventa. Como fundamentaÃÃo teÃrica, recorremos aos pressupostos de Even-Zohar (1978), sobre a teoria dos polissistemas, e Ãqueles de Toury (1995), que se referem aos estudos da traduÃÃo com Ãnfase no fator cultural, considerando a influÃncia que a cultura de chegada exerce sobre o processo tradutÃrio. Trabalhamos tambÃm com o conceito de reescritura de Lefevere (2007), que enfatiza o contexto histÃrico e cultural dos textos traduzidos. Sobre a relaÃÃo entre literatura e cinema, empregamos os estudos de Cattrysse (1992), Stam (2008) e Xavier (2003). Por fim, baseamo-nos tambÃm nos postulados de CÃndido (2007) e Gomes (2007), no que se refere à construÃÃo de personagens literÃrias e fÃlmicas, alÃm de estudos prÃvios sobre Lolita, tais como aqueles de Agueros (2005) e Lazarin (2010). Os resultados mostraram que as estratÃgias utilizadas para apresentar a personagem Lolita nas telas intensificam o mito da ninfeta, da femme fatale, que permeia seu nome desde suas primeiras traduÃÃes. Por isso, na adaptaÃÃo, Lolita pode ser interpretada como a anti-herÃina de sua prÃpria histÃria enquanto Humbert se torna o herÃi apaixonado / This dissertation analyzes the translation of Lolita character, by Vladimir Nabokov, to the eponymous film made in 1997, directed by Adrian Lyne. In the novel Lolita (1955), the man character is a 12 year-old girl whose life changed when she had started being stalked by Humbert Humbert, a grown-up and much more experienced man who soon becomes stepfather of hers. By facing this situation, Lolita is seen as a character who has some behavioral traits that give us an ideia of ambivalence about her presentation in the novel. Many of Lolita‟s attitudes can be interpreted either the result of a childish naivety or as kinds of games created by a cunning mind. In this study, we investigate, specifically, the strategies used by the director to transmute Lolita‟s ambiguities from the novel Lolita to the cinema. Our hypothesis is that the protagonist as a symbol of nymphet, that is, the seductive girl, was the most emphasized aspect in the film adaptation due to the inherent issues both related to the director‟s poetic and the types of Hollywood productions in the nineties. As theoretical background, we take the Even-Zohar‟s assumptions (1978), on the theory of polysystem, and the Toury‟s ones (1995), which refer to translation studies with emphasis on cultural factor, considering the influence of the target culture has on the translation process. We also work with the concept of rewriting by Lefevere (2007), which emphasizes the historical and cultural context of the translated texts. On the relationship between literature and film, we deal with the studies by Cattrysse (1992), Stam (2008) and Xavier (2003). Finally, we also rely on postulates by Candido (2007) and Gomes (2007), regarding to the construction of literary and filmic characters, and Lolita previous studies, such as those by Agueros (2005) and Lazarin (2010). The results pointed that the strategies to present the character Lolita on screen intensify the myth of the nymph, the femme fatale, which permeates its name from its first translations. Therefore, in the adaptation, Lolita can be interpreted as the anti-heroine of her own story while Humbert becomes the passionate hero

This interdisciplinary work which draws on translation studies, semiotics, aesthetics, literary and film science deals with intersemiotic translation. The thesis will attempt to describe, explain and classify this kind of translation within the current translation theory and apply this knowledge to a specific translational situation. This situation is a comparison of an interlingual translation from English into Czech and an intersemiotic translation, which is the film adaptation of the novel. The theoretical starting point of this work is in particular the work of Anton Popovič, followed by Roman Jakobson, Jan Mukařovský, Jiří Levý and Patrick Cattrysse (see bibliography).According to Anton Popovič's theory, literary work and film adaptation can be described as two types of metatext. Semiotically, these metatexts consist of content (story) and form (expression). In the product of translation, shifts can be found at both of these levels and they serve as a source for an in-depth analysis. This thesis does not aim to evaluate but to describe the shifts in the intersemiotic and interlingual translation. The main hypothesis whose validity is supposed to be verified in this work is the assumption that some shifts are common to both types of transfer while others occur only within one of them....

The topic of this thesis is architecture and settings of gothic horrors, particularly in films. The work explores the relationship between the genre of gothic horror and gothic architecture, mainly within examples of haunted castles. The aim of the work is to study in what way the haunted castles are depicted in films and how the gothic architecture is applied in their appearance. The thesis is divided in two parts. The first one is an analysis of some of the gothic horror tendencies which have an influence on the image of haunted castles. These can be observed in films as well as in literature and theatre since the beginnings of gothic horror in the second half of the 18th century until today. The second part uses these tendencies to analyse images of haunted castles in films Dracula (John Badham, 1979), Bram Stoker's Dracula (Francis Ford Coppola, 1992) and Van Helsing (Stephen Sommers, 2004).

The aim of this diploma thesis is the analysis of the film adaptation of Ian McEwan's novel Atonement that was directed by Joe Wright and written by Christopher Hampton in 2007. The thesis focuses on the instances of functional equivalence in the film. The thesis is divided into two parts. The theoretical part elaborates on the phenomenon of functional equivalence and briefly discusses the main approaches to film adaptations. The practical part examines individual examples of functional equivalence in the film, describes and analyses corresponding passages in the novel and scenes in the film. It describes the scenes in which Hampton introduces the characters with special attention to the changes that were made to fully do so and then inspects the other segments of the film that were transformed to seamlessly transfer the adapted material to screen. Keyworrds Film, adaptation, novel, equivalence, scene, passage, theme, narration

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