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 central focus of this Master's thesis is to describe, explain and classify intersemiotic translation within current translation studies. Given the interdisciplinary nature of the thesis, the theoretical part draws inspiration also from aesthetics, semiotics, adaptation, literary and film studies. Our findings are applied to the empirical material - interlingual and intersemiotic translation of Leaving by Václav Havel. Both translations are thoroughly analysed and the identified shifts are classified into categories primarily inspired by Anton Popovič's model of translation (1975, 1983). Comparison proved that the approach to intersemiotic translations/film adaptations as interlingual translation works. Although, there was a need to create new categories for some shifts in the film adaptation. Based on that, we propose a new model of intersemiotic translation, which could serve as inspiration for further research.

This thesis examines TV series adaptation as a type of intersemiotic translation. Proposing an interdisciplinary approach to adaptations, it combines methods of translation studies, film theory, narratology, and adaptation studies. The thesis analyses the translation of Margaret Atwood's dystopian novel The Handmaid's Tale into the first season of its TV series namesake. While using Katerina Perdikaki's translation/adaptation model, it studies and interprets the shifts that occur during the adaptation process. Applying hypotheses by Linda Hutcheon, it focuses on the film means used in the TV series to express meanings narrated in the novel (such as dialogues, voice-over, sound and soundtrack, types of camera shots, camera angles and movement, editing, colours, depth of field, light, narrative and story time, actors, or misanscene).

The thesis looks at the Czech life of the Flowers for Algernon short story written by Daniel Keyes. It aims to present an analytical comparison of the short story translations and dramatizations created in the Czech cultural environment and to define their invariants. The theoretical part of the thesis informs the reader about the life and work of Daniel Keyes and depicts the process of creation of the short story in question. Furthermore, it outlines its main themes and stylistic features, as well as its reception both in the U. S. and abroad. Special attention is paid to the reception in Czechoslovakia, or rather the Czech Republic, namely to the two short story translations (Černý, 1976; Markus, 2003) and the three original dramatizations (Říhová, 1988; Hruška, 1993; Heger, 2010). All pieces of work are presented in their broader socio-cultural context, with due regard to their authors. This contextualisation lays the foundations for the subsequent translatological analysis, which is based on Gideon Toury's descriptive model (1995). In accordance with Toury, the Czech short stories are seen as products of the target culture. Therefore, the assumed translations are first assessed in terms of their acceptability in this culture and these hypotheses are then tested by means of comparison of...