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).
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.
Gli specchi di Lolita: un’ipotesi di lettura tra neuroretorica e traduzione intersemiotica, 2016.
Gli specchi di Lolita: un’ipotesi di lettura tra neuroretorica e traduzione intersemiotica
CHIURATO, ANDREA
2016-01-01
Abstract
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).File | Dimensione | Formato | |
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