Theory of adaptation and analysis of Alice Munro´s short stories and their adaptations, Appunti di Lingua Inglese

Scarica Theory of adaptation and analysis of Alice Munro´s short stories and their adaptations e più Appunti in PDF di Lingua Inglese solo su Docsity! Letteratura inglese II Francesconi 23/09/19 Film adaptations of literary texts A multimodal stylistic analysis Stories connect us: engagement (historical, political…), social, dynamic. Intersemiotic adaptation: to turn a book into a movie. Every adaptation tells a story. Voice-over: voce fuoricampo Exam: analysis of a short story; analysis of a film or of a multimedia adaptation (character, setting…); theory of adaptation. Alice Munro She is a Canadian author. She was born in 1931 in Wingham, Ontario and she attended the university of Western Canada for two years. With her first husband she moved to Victoria and with her second one to Clinton (Ontario). These experiences had an impact on her writing. The setting of her short stories is usually Ontario and the are of British Columbia. She was rewarded with the Nobel Prize for Literature in 2013 as the master of the contemporary short story. Stories appeared in the New Yorker, The Athlantic Monthly, Saturday Night, The Paris Review; Numerous awards and prices in Canada, USA and Europe; Collections have been translated into numerous languages. Quotation: Every final draft, every published story, is still only an attempt, an approach, to the story” she shows an open, fluid approach to the story. She doesn’t tell us the formula for the perfect short story. She considers the story as a process, never as a product. She often tries to justify her writing short stories. Editors kept asking her a novel, to show that she can write one. The novel has always been considered as more authoritative, more legitimate. For this reason her life has been a struggle against the short story, within the short story. Munro is very ironic, subtle and we need to be critical. “Lives of Girls and Women”: it was published as a novel, but it is a collection of short stories which are interconnected. Her obsession for a novel is often used as a trope as we can read in the second quotation. “I did not “choose” to write short stories. I hoped to write novels. When you are responsible for running a house and taking care of small children, particularly in the days before disposable diapers or ubiquitous automatic washing machines, it’s hard to arrange for large chunks of time”.A. Munro, “Introduction”, Short Stories, Penguin, Toronto, 1996, p. x. “Friend of my youth”: third quotation. “I I had my own ideas about Flora’s story. I didn’t think that I could have written a novel but that I would write one. I would take a different tack. I saw through my mother’s story and put in what she left out. My Flora would be as black as hers was white. Rejoicing in the bad turns done to her and in her own forgiveness, spying on the shambles of her sister’s life. A Presbyterian witch, reading out her poisonous book”. Munro [1990] (1996), Friend of My Youth, McClelland & Stewart, p. 20 It is about rewriting, adaptation. It is about taking a character and adapting it. (intralinguistic adaptation). An example is the adaptation by Almodovar in the movie Julieta. The director added something to the text. The movie provides an explanation. This is a story retelling. Letteratura inglese II Francesconi If we want to find traces of her aesthetic we have to read her stories, not search in her life. She is very reserved. 4th quotation from “Too much happiness”: “How are we to live is the book’s title. A collection of stories, not a novel. This in itself is a disappointment. It seems to diminish the book’s authority, making the author seem like somebody who is hanging on to the gates of Literature, rather than safely settled inside”. General belief that a short story is a minor genre, with less authority. From the essay “What is real?”:” I don’t take up a story to follow it as if it were a road, taking me somewhere, with views and neat diversions along the way. I go into it, and move back and forth and settle here and there, and stay in it for a while. It’s more like a house: everybody knows what a house does, how it encloses space and makes connections between one enclosed space and another and presents what is outside in a new way. This is the nearest I can come to explaining what a story does for me, and what I want my stories to do for other people”. Here she presents her idea of the short story. She uses the image of a house rejecting the image of a road, of a direction. However she is not interested in the architecture of the building, but in the internal connections and in the connections with the outside. She doesn’t offer a definition, she id interested in what a story does for her and for the others. From a house the things outside change depending on the point of view. Fourteen of her collections has been published. The first one in 1968. 1. Dance of The Happy Shades, Ryerson Press, 1968 2. Lives of Girls and Women, New American Library, 1971 3. Something I’ve Been Meaning to Tell You, McGraw-Hill Ryerson, 1974 4. Who Do You Think You Are? Macmillan Canada, 1979 5. The Moons of Jupiter, Macmillan Canada, 1982 6. The Progress of Love, McClelland & Stewart, 1987 7. Friend of My Youth, McClelland & Stewart, 1990 8. Open Secrets, McClelland & Stewart, 1994 9. The Love of a Good Woman, McClelland & Stewart, 1998 10. Hateship, Friendship, Courtship, Loveship, Marriage, McClelland & Stewart, 2002 11. Runaway, McClelland & Stewart, 2004 12. The View from Castle Rock, McClelland & Stewart, 2006 13. Too Much Happiness, McClelland & Stewart, 2009 14. Dear Life, McClelland & Stewart, 2012. She can also be considered as the master of storytelling. She shows a pleasure in storytelling and retelling, with additions, omissions… many of her characters love particular stories, and she often uses it as a trope. “Royal Beatings”: “Flo liked the details of a death: the things people said, the way they protested or tried to get out of bed or swore or laughed. […] Flo telling a story […] would incline her head and let her face go soft and thoughtful, tantalising, warning”.--> performance of storytelling Letteratura inglese II Francesconi Three attempts of resettlement were initiated by the Government between 1954 and 1975 which resulted in the abandonment of 300 communities and nearly 30,000 people moved. It was a material experience: many people took their house and moved it. It is considered as an exotic tourist destination. It has a history of being discovered (Vikings, John Cabot, writers, painters…). Ex. Movie: The Shipping News; Authors: Farley Mowat; Michael Winter… 1/10/19 Linda Hutcheon acknowledged that people are emotionally attracted by adaptations, but then they tend to denigrate them and greeted as minor and subsidiary, despite the ubiquity and longevity of adaptation as a mode of retelling stories. We can say that there is an emotional relation to adaptations, both regarding the attraction and the rejection. There is an ever-widening range of forms of adaptations, well beyond the fiction-to-film discussions that dominated the field in its early years: musicals; TV-series; theatre plays; video-games; comic books; nature - park rides; monuments; ballet; opera; song covers... “In beginning to explore this wide range of theoretical issues surrounding adaptation, I have been struck by the unproductive nature of both that negative evaluation of popular culture adaptations as derivative and secondary and that morally loaded rhetoric of fidelity and infidelity used in comparing adaptations to “source” texts”. To be second is not to be secondary or inferior; likewise, to be first is not to be originary or authoritative.. Linda H. denounces a hierarchical organisation of the two texts. She invites to use the words “adapted text”, it is preferred to source or original. It is more neutral. It is also better to avoid the word “secondary” because it has a negative perception (only bevause it comes after). Fidelity discourse: We usually condemn the adaptation because it betrays the original work. The rejection is generally emotionally grounded. Words such as betrayal, violation, molestation, distortion or travesty are often used. Robert Stam proposes to use these words instead: reading, rewriting, critique, translation, transmutation, metamorphosis, recreation, actualisation, performance...Fidelty is only one way to see it and it has an emotional appeal. A critical work should go beyond that and consider a wide range of relations amongst the texts. Linda H. has the proposal to challenge the notions of priority. A comparative approach is nonsense . As a reaction she invites to think multiple versions laterally, not vertically. Lateral positioning into the intertextuality. Intertextuality seen as dialogic relations among texts. Works in any medium are both created and received by pople, and it is this human, experiential context that allows for the study of the politics of intertextuality. It regards people who share a story. Adaptations make explicit the relation among texts and among people. Moreover the different media and genres that stories are transcoded to and from in the adapting process are not just formal entities. Transcodification entails formal, cultural, social and political elements. We need to go beyond the formal relations and discover the way different texts involve the spectators/audiance/readers. We are involved in a different way, the meaning making changes. ex. Comic books combine the visual and the verbal. There are three modes of involvement: telling; showing; interacting. Some adaptational strategies demand that we show or tell stories, but in others we interact with them. The verbal transitivity of showing and telling had to be replaced by the engagement of the with that signals something as physical and kinetic as it is cognitive and emotional.[Adaptations] also represent various ways of engaging audiences”: “some media and genres are used to tell stories (for example, novels, short stories); others show them (for instance, all performance media); and still others allow us to interact physically and kinesthetically with them (as in videogames or theme park rides). Linda H. has a background in comparative literatures. She felt the need to have a partner in this study with knowledge in video-games. What is an adaptation? They are examined as deliberate, announced; ( they have to declare which text are they adapting. It has business/market reasons. People come because of the adaptation,adaptations sell as adaptations), and extended(only a quote is not enough) revisitations of prior works. A parody is not considered an adaptation according to Linda H. The term adaptation is used to refer to both a product and a process of creation and reception. Letteratura inglese II Francesconi A product is for example a film; the process is a circular trajectory. It is a never-ending decodification and codification. Adapting means also interpreting. Adaptation as a process: example of the short story by Alice Munro. It was first published in a newspaper with the title “The bear is over the mountain”. The title refers to a nursery rhyme known by English children. The short story is about dementia and the title of the nursery rhyme is an unusual choice: it is a long title, but it is a profound song in its meaning. It has somehow a connection with dementia. The short story was then adapted by Sarah Polly. She changed the title. She wanted to launch the film in a international level, and the nursery rhyme is not known by an European audience. She uses a quote (Away from her). After it was launched as a film, they republished the story with the title of the film in order to attract readers. We can see how adaptation can be a process that includes many aspects (cultural, political…). It is enriched we can say that we do not like an adaptation, but not because it is an adaptation. Seen as a process of creation, the act of adaptation always involves both (re)interpretation and (re)creation. The interpretation is always contextual (ex. Almodovar reads the stories from his cultural point of view Spanish context; favourite colour red and so he uses red in a saturated, powerful way in his films…we cannot avoid that). TIME in ADAPTATIONS There is an ordo naturalis and ordo artificialis (narrative time). Ex. The bear came over the mountain vs Away from her the film subverted the temporal organisation of the story. The director has fragmented a section and scattered it towards the film in order to disrupt temporal continuity. We can consider it as an interesting interpretation of her approach instead of considering it a betrayal. It is an alternative approach and a manipulation at different levels. Seen from the perspective of its process of reception, adaptation is a form of intertextuality: we experience adaptations (as adaptations) as palimpsests(memory of other works) through our memory of other works that resonate through repetition with variation (without replication). Change is inevitable. And with change some corresponding modifications in the political valence and even the meaning of stories. A lot of elements change. A fidelity discourse is not possible, it is superficial and ontological distant and invalid; limited. The two texts express different logics. Changes in page-to-screen adaptations • Medium • Length • Channel • Sender • Time of production • Place of production • Modes of production • Recipient • Context of fruition • Social modes of fruition • Temporal mode of fruition • Logic • Semiotic resources • Inter-semiotic resources Letteratura inglese II Francesconi From space- to time-based text: Various integrated semiotic resources are articulated upon the unfolding in time to engender dynamic instances. Rather than a static, fixed and still unit, the video is a dynamic text, a “system in flux”, governed by “patterns of change”. There are often new titles for the films: Renamed Munro’s adaptations a) Edge of Madness (“A Wilderness Station”) b) Away from Her (“The Bear Came over the Mountain”) more catchy title for the film; more memorable c) Canaan (“Post and Beam”) d) Hateship Loveship (“Hateship, Friendship, Courtship, Loveship, Marriage”) e) Julieta (“Chance”, “Soon”, “Silence”) at first Almodovar chose Silence as title. But there was another film with this title at the time. So he chose the name of the protagonist (connecting device) to name the film.  the conventions of storytelling —and story retelling—are changing daily;  this process of change has “intensified”, “quickened” and “multiplied”(p. XXI)  neither the product nor the process of adaptation exists in a vacuum: they all have a context—a time and a place, a society and a culture. Four clichés that Linda H. unveils in her chapters: 1. Only the telling mode (especially prose fiction) has the flexibility to render both intimacy and distance in point of view. 2. Interiority is the terrain of the Telling Mode; Exteriority is best handled by Showing and Especially by Interactive Modes A. Munro is deeply interested in the interiority. The film can also express interiority through the soundtrack, the setting, the voice-over… 3. The Showing and Interacting modes have only one tense: the present; the mode of telling alone can show relations among past, present, and future also the film can express past and future through flash-backs(changes in colour; black and white scenes; disaturated colours…); the soundtrack; titles; costumes; setting…) 4. Only Telling (in Language) can do justice to such elements as ambiguity, irony, symbols, metaphors, silences, and absences; these remain untranslatable in the Showing or Interacting modes also the film can express them through prosodic devices(ex. Accent); ex. Image of the mirror as symbol of interiority; dissonance between the visual and the soundtrack… 08/10/19 To sum up: – Popularity and denigration (marginal, secundary forms) of adaptation. Linda H. renames the terms to overcome a hierarchical vision. – Adaptation as a product and as a process( every adaptation has a story because it involves people) – process of story retelling – adaptation and intertextuality: a text is a political fact (it regards people). The discourse of intertextuality replaces the fidelity discourse. Traditionally adaptations have been regarded if they're faithful to the original text. Lindia H. says that this is a superficial way to view them, she reconceptionalises the relationship between the two texts. She suggests intertextuality (ex. Film adaptation: we may experience the memory of previous works). – Three forms of involvement – biased approach: four clichès Letteratura inglese II Francesconi caves of shade, and the crops and the meadows in front of them, under the hard sunlight, were gold and green (94): syntagmatic combination of two colours and tension between two colours. Mixidness as strategy.  And now a small reddish-brown dog arrives to join in the commotion (75): not mixidness. Not red, but less powerful. Negative connotation (connoted modulation). Colour Dynamism: it changes in time; not only nuances, but also colours that keep changing in time. The original blue paint showed in streaks here and there but was mostly faded to gray, and the effects of winter road salt could be seen in its petticoat fringe or rust (91). Sara’s soft, fair, flyaway hair, going gray and then white (150). During the years that it had been dyed red it had lost the vigor of its natural brown—it was a silvery brown now, fine and wavy (150). When the professor read that word (which she could not now remember), his forehead had gone quite pink and he seemed to be suppressing a giggle (81). It is a unique way of expressing colour. We go within the text; we observe minor items within the text. Shift of focus: we observe the language in literature and the function it has. Language of literature vs language in literature (the way language behaves, the role it plays, the function in the text). Literature is language for its own sake: the only use of language, perhaps, where the aim is to use language. (Halliday, 1964, p. 245). According to Halliday language is semiotic (content and expression are integrated). Level of content: semantics and lexicogrammar; level of expression: phonology and phonetics. Language is functional (it makes meaning). Halliday’s three metafunctions are: 1. the ideational (representation of where a story happens, environment); 2. The interpersonal (referring to actions upon participants, political dimension); 3. The textual (related to the message organisation). Language is contextual: If story content signals the horizon of adapted text/adaptation continuity, situations and conditions of the storytelling process mark a profound discontinuity. The literary transcodification is, thus, a site of tension, where the adapted text is negated while it is being adapted. Originated in the intertextual contact zone, this friction [dis/continuity] generates meaning, expressed as a potential for story(re)telling. Ex. If we watch the adaptation of Julieta we find a different colour system. Here we have saturated colours. The style is the one of Almodovar, which is distinct, unique (saturation and contrast). He obsessively uses the colours blue and red expressing tension and when he wants to represent objects with a deep meaning (symbolic objects). Letteratura inglese II Francesconi What methodological tools are appropriate for the exploration of this contact zone as a space of story(re)telling tension? A socio-semiotic multimodal analysis can provide a feasible methodological framework (Bateman & Schmidt, 2012; Burn, 2013; Wildfeur, 2014), as it foregrounds the meaning-making potential of socio-culturally negotiated modes and modal resources (e.g., camera movement, size of frame, shot transition, colour changes, illumination…). A socio-semiotic multimodal analysis enables us to be concerned with semiotic affordances and constraints of modes and with plural and different ways of telling a story within a given context. Adaptation as change (ex. The film unfolds in time, a text is present, always there) and not as betrayal. Changes in page-to-screen adaptations • Medium • Length • Channel • Sender • Time of production • Place of production • Modes of production • Recipient • Context of fruition • Social modes of fruition • Temporal mode of fruition • Space-time logics Semiotic resources • Inter-semiotic resources (McFarlane 1996) From space- to time-based text Various integrated semiotic resources are articulated upon the unfolding in time to engender dynamic instances. Rather than a a static, fixed and still unit, the film is a dynamic text, a “system in flux”, governed by “patterns of change”. (O’Halloran 2004: 109) Dynamism in a film is very pervasive. Element of dynamism in a film: Intra-shot dynamism Inter-shot dynamism • colour changes • light changes • camera movements • participants’ gestures and movements (action) • shot transition • sound continuity via music • sound continuity via voice-over • participants’ voice Film structure: terminology Frame (=fotogramma) it is the still of a shot. A shot is the basic of meaning in a video, an uncut video unit. It is generally made of 30 frames. (shot= clause). Scene is a one time-space unit. The sequence embraces multiple space-scenses. Letteratura inglese II Francesconi The kineikonic chronotope Moving image from a semiotic view point. Idea of a shot making meaning. Mode= semiotic resource for making meaning. Drawing on the Bakhtinian concept of chronotope to illustrate space–time relations in literary discourse, Burn writes of ‘the kineikonic chronotope’ in films: Kinein (move) + eikon (imagage). Eikon • spatial dimension • simultaneous co-patterning • synchronic syntagmatic axis the frame Kinein • temporal dimensions • sequential co-patterning • diachronic syntagmatic axis the shot The kineikonic mode a) modal co-patterning in space within the frame synchronic syntagmatic axis. b) modal sequential unfolding in time across shots diachronic syntagmatic axis. Multimodal stylistic analysis as the integration of stylistics and multimodal analysis Multimodal stylistics […] aims to use literary stylistics with multimodal theory to analyse texts […]. The role of multimodal stylistics is to demonstrate how the different semiotic resources interact to produce meaning. Linda Pillière 2014 “Crossing New Frontiers? Investigating style from a multimodal perspective”,Études de stylistique anglaise [Online], 7, 2014. In order to describe the text, a multimodal stylistic analysis addresses communication systems going beyond the verbal, that is, it addresses a range of distinct modes, often co-occurring with language, in its written or/and oral forms. Modes thus become semiotic resources, modes for making meaning. 15/10/19 To sum up: we have outlined the methodological framework that we will be using in order to inspect adaptations. We have defined stylistics with reference to its origins in the ancient rhetoric and with reference with linguistic and formalism. We have defined style as variation in language use and we have clarified that we are adopting a bottom up approach, that is, we will carry out a close inspection. We will try to offer a Letteratura inglese II Francesconi •fixed camera but horizontal movement: pan •fixed camera but vertical movement: tilt •fixed camera but moves in on the subject: zoom •moving camera: follow, forward-backward tracking, circle tracking etc. •hand-held camera. Montage: shot transition •Cut (stacco, passaggio con schermo nero) •Cross cutting •Fade-in/ out slower transition. Ex. flashbacks •Crossfade = Dissolve Intershot dynamism: The Reverse angle (controcampo), or answershot, reaction(in a dialogue: close- up on Character1 + CUT + Close-up on Character 2): here it creates tension or distance. The close-up has an interpersonal metafunction and it creates intimacy. We feel empaty. The close-up and Edge of Madness The close-up is, at the same time, a strategy of foregrounding the female character and of text structuring. The whole film is, indeed, constructed through several flashbacks narrating Annie’s story, and all flashbacks are originated by close-ups on Annie’s face. A minor technique can be analysed as shaping the narrative. Letteratura inglese II Francesconi 21/10/19 First case study: Short story “Boys and Girls” by Alice Munro. Published at first in the pages of the newspaper Montrealer in December 1964. There are many versions of this story because she keeps manipulating their stories. According to Munro, in an essay she wrote, this short story is rooted in her personal experience, in what she called “the real material”. Then this real material has been filtered through the lenses of a narrator and written down. Therefore it has been completely transformed, adapted. Alice Munro herself is an adaptor. [T]he narrator relays the story of her eleven-year-old self liberating a horse before it was to be killed by her farmer father and thus actively, if perhaps subconsciouly, resists both obedience to her father and the gender role imposed up on her as a girl.  What? We have a focaliser, a narrator. We immediately understand that age makes meaning Who?  an 11 year old girl. “At first sight “Boys and Girls” seems to bring into focus gender role stereotyping and the limitations enforced on the girl as she grows into adolescence”. Gender expectations with the growing process. Where?  The constrictions of her life are represented in terms of a shrinking space. It looks as if Munro is here mapping out the passage into adolescence and exploring boundaries. Highly structured and polarised topography. Letteratura inglese II Francesconi “We seem to be moving from an initial stage, in which an elder sister has the lead over her younger brother because of her maturity, sense of responsibility and hard work, to a final stage in which the young girl, having reached her eleventh year, is dispossessed of her vantage ground when she fails to uphold the practices of her milieu: the systematic killing of animals destined to feed the foxes raised by her father”.  social-cultural context “When I read this story over I have a feeling of failure and despair; I feel that there’s so much more that should be there, a whole world really, and I have strained it out into this little story and cannot tell if I got what matters.” Munro. Concept of adaptation in terms of amount of material; reduction. She had to compress her experience. Storytelling and adaptation are already present in Munro. The short story wan then included in the collection “”Dance of the happy Shades” (1968) . First translated into Italian by a feminist publisher “La Tartaruga” in 1994 (la danza delle ombre felici). Then it was retranslated for Einaudi. Analysis: Calendars the origins are the two companies. Then we have a description of what they show. They show the conquest, appropriation of Canada. We have colonisation in an oblique way here. Munro makes it clear that the colonisers are two. The two companies are two symbols (Anglophone and Francophone). A business being imposed, exploitation of the local population, flags of England or of France (symbolic colonisation). We have the focalisation of a young girl. A dichotomy system will be used: on one hand we have adventurers planting flags and we have her. The child is describing her father’s job but in an indirect way she denounces colonisation. History is never the core of a story, it is always presented in an indirect way. We should pay attention to details in the content and in the style. Magnificent savagesImplicit reference to exploitation. In the Italian translation, “chinavano la schiena sotto il gravoso carico”; “formidabili selvaggi”; “avventurieri impennacchiati”. In the second part the pelting operation in described in great details. The family had to do this for survival. It was an economic system of colonisation. The two brothers are watching from a particular point of view. The setting is the cellar and the father is the object but the gaze is from the two brothers who are enjoying a particular perspective (vertically). Mother: we know that she dislikes the whole pelting operation (disapproval). We have sight, vertical perspective. Then we have another sensorial component, the smell. The source of the smell is blood and fat. It is persistent in time and it is also pervasive. It invades, conquers concept of invasion and conquest. Penetration also evokes gender discourse, evocative from another form of “conquest”. It is very dense and polysemyc. This aggressive smell is then described from the view point of the girl, who considers it as a part of her life, it is a domestic smell. She observes it not in a frame of colonisation or patriarchal vision, but in a domestic one. Comparison with natural elements. The paragraph ends with this particular perspective, not a visual one, but a cognitive one, which offers a view point. In the third part we have a dynamic configuration of colour, colour as transition, as change. The we signals I and Laird. At the very beginning of the short story we have a proximity between the narrator and her brother. The conclusions of paragraphs are very important in Munro. The two shares the same horizons. Letteratura inglese II Francesconi horse can be defined through traditional male elements. We have then a meditation section. We go deeper into a discussion about language and gender language: what it means when language carries social expectations. “The word girl…” we have the perspective of a girl who is 11 years old and she is meditating on language. Social roles and expectations are shaped through language: reflection on language not intended as a neutral tool, not intended as denotation but in terms of connotation. This “girl” implies what I have to become. Again we have the idea of fitting into something. Then she provides evidence of the growing expectation from her gender. We see some sort of rejection and rebellion towards this social expectation that is first shaped through language but also in terms of gender based rules gendering as a process which grows with the coming of adolescence. This is an embedded unit which invites a meditation. Then we go back to the horses. “When spring came…” it is about preparing Mack towards his end. There is also a natural perception of time flowing. Page 120: In the calendars we have a symbol. These calendars are outside, in the domain of the father, they belong to the male environment. We have a mirror scene. In the previous passage they were well described, now they are invisible, we cannot see what they show. The content is only indirectly evoked. Showing and not showing can be both very powerful as narrative strategies. We can guess that they show images that the mother does not like (probably they show the exploitation of the female body). “Come to say goodbye…”: here the protagonist is asking but no one answers her. She admit again forgetting. She is not referring to her storytelling now, she is telling about her as a character, but she admits her own limits. Page 121 “In the loft…”: reference to temperature and light in terms of absence. There is a reference to a light effects in a poetic way. She is so detailed in describing this game of light. The girl is struggling to find a view, to find the possibility to see the shooting scene in the film adaptation it starts from here. She finds a view point also for Laird. This is offering a passage for a director! It could be a script for a director. We have a tension to the vision: object and forms of the gaze. Then we have the description of the shooting: action concludes the sentence. Page 123: “Two weeks later…” we have a mirror scene with reference to Flora, who is supposed to be killed. Here the girl decides not to obey to her father. She opens the gate as an act of rebellion not only toward the father but also towards the social order of things on which her family lives. The verbal language of colour: Against a background of cold blue sky and black pine forests and treacherous northern rivers, plumed adventures planted the flags of England or of France; magnificents avages bent their backs to the portage. (111) The cellar was white-washed, and lit by a hundred-watt bulb over the worktable. (111) He would cough and cough until his narrow face turned scarlet, and his light blue, derisive eyes filled up with tears; (112) Laird came too, with his little cream and green gardening can, filled too full and knoknocking against his legs and slopping water on his canvas shoes. (114)They were beautiful for their delicate legs and heavy, aristocratic tails and the bright fur sprinkled on dark down their backs—which gave them their name—but especially for their faces, drawn exquisitely sharp in pure hostility, and their goldeneyes. (115)Then he took a pitchfork and threw fresh-cut grass all over the top of the pens, to keep the foxes cooler and shade their coats, which were browned by too much sun. (115)I turned away and raked furiously, redin the face with pleasure. (116)I walked on stubble in the earlier evening, aware of the reddening skies, the entering silences, of fall. (116)In the kitchen there was a fire in the stove all day, jars clinked in boiling water, sometimes a Letteratura inglese II Francesconi cheese cloth bag was strung on a pole between two chairs, straining blue-black grape pulp for jelly. (116) mixed colour; hybrid I hated the hot dark kitchen in summer, the green blind sand the flypapers, the same old oil cloth table and wavy mirror and bumpy linoleum. (117)He was wearing a little bulky brown and white checked coat, made down from one of mine. (122) juxtaposition of two colours; syntagmatic combination of two colours Colour as a semiotic mode: it tells something. Reference is often to Canada. They can be used to denote specific or classes of people, places and things, as in the case of flags, brands and uniforms, •or to create coherence in texts through chromatic repetition, coordination or contrast, •mainly used to perform interpersonal meanings. Colours as signifier carry a set of affordances from which sign-makers and interpreters select; according to their communicative needs and interests in a given context (ex. website of the company: particular colour for the background for a cohesive layout, also to convey a particular symbolic meaning). Colours can be perceived as a continuum, where one colour flows gradually into another. For instance, green is not a fixed colour, but gradually flows into other colours, running from almost yellow, on the one hand, to almost blue, on the other hand. Colours can be perceived as a continuum, where one colour flows gradually into another. For instance, green is not a fixed colour, but gradually flows into other colours, running from almost yellow, on the one hand, to almost blue, on the other hand. Through the use of modality markers, colour features are not mapped in terms of binary choices (e.g., ‘saturation’ vs‘ desaturation’; ‘modulation’ vs ‘flatness’), but according to a graded system, as a matter of degree. Parameters of colour: Hue (very basic; kind of colour) Munro is very precise, very detailed; value (defines colour in terms of the light it carries); saturation (intensity of colour; saturated/desaturated); purity (absolute colour or hybrid); modulation ( colour is not flat, it has many shades, nuances…); differentiation (juxtaposition of a palette of colours). The verbal language that Munro uses in order to describe scenes in visually dense: she pays attention to particular hues (golden eyes: meaningful; they express the value of the foxes); value (light blue eyes presence of light); saturation (clear gold from a formal view point this can be ambiguous, value or saturation? We can translate it “oro puro” into Italian. Dipende dal significato che diamo al termine e alla funzione che riveste. Qui esprime la forza di queste volpi, animali totemici); differentiation (the hard grey and brown earth(120)brown and white checked coat(122)); modulation (blackish tongue there is connotation; it is always connoted); transition ( turned scarlet; aware of the reddening skies dynamic, fluid This story is about changing once body, thoughts, social expectations…). 29/10/19 The short film “Boys and girls” has been directed by a Canadian director “Don Mc Brearty” and it was released in 1983 and is based on a story with the same title, from the first collection by Alice Munro, Dance of the happy shades (1968). It stars Megan Follows as Margaret (first element of discontinuity from the novel the main character has a name). this 25-minute-adaptation was produced by the small company Atlantis Films, which received the Academy Arward, and marked the beginning of the director’s television career. From a technical point of view it relies on the voice over. From the screenshot we have an explicit acknowledgement of the source text, there is an explicit and clear reference to the short story. Research design: 1) micro-analysis: shot-by-shot observation: analysis of adopted modes and their modal resources; observation of their interaction Letteratura inglese II Francesconi 2)discussion of the narrative implicatures. We want to avoid a comparison between the adapted text and the adaptation and an evaluation based on fidelity. A multimodal stylistic analysis acknowledges and foregrounds the textual discontinuity between the adapted text and the adaptation. The procedure is based on collection of data. Screenshot: Scene organised in terms of depth; three generations of women in the same kitchen, domestic place. We have position but also perspective. Step 1. Data collection Step 2. Video viewing Step 4. Transcription and analysis Step 5. Discussion of data Different softwares can be used in order to analyse videos ex. Elan. View of the film: First impression uncomfortable; Munro never tells comfortable stories. the adapted text creates some expectations. The processes of reading and viewing are interconnected. The viewing of a film is also influenced by when we read the short story and how. The ideational metafunction: Who?: there are some changes we have a name; she is older (13) The naming trope is foregrounded. The naming process creates an emotional connection. Margaret is foregrounded (52% present). We see her the most of the time alone. When with other participants she is basically together with her brother. The relationship between mother and daughter seems different: there is one occasion where the mother tries to establish a contact when she shows her a piece of cloth to make a dress from it. The mother is presented as an adapter who tries to transform an item in order to fit the changing body of the daughter. Also when she cooks vegetables for the winter we can see a sort of adaptation of food in order to fit for the winter. What? The storytelling trope is missing, but it is compensated through the fact that there are a lot of scenes where Margaret and her brother are represented together. Where? Also in the film there is an oppositional dicotomic tension between outside and inside; at the beginning we have a scene of verticality. When? The film updates the time of the story and we understand it thanks to the tools which may refer to a later period. The interpersonal metafunction:  Size of frame? The most of the time we have a close-up (75%), then medium shots and very few long shots. We are close to her. We immediately identify with her.  Angle? We have an eye angle for the 73% of the time; then we have low angle and high angle. This means that we are close to her, we are at the same level. She is a girl, young and “poor” character (different dimensions interacting: intersection of gender and class issues, here also age matters).  Social distance? The consequence of these techniques is an intimate social distance.  Light? It is very important especially in terms of tension/contrast between light and darkness.  Colour? Letteratura inglese II Francesconi Thanks for the ride was first published for a literature magazine. It was written in 1955 and first published in 1957 and then later collected in her first work. What is “or”? A linguistic marker that means an opposition. Dicotomic discourse is central in Munro. It is an exclusive opposition (do you want this or this?). the two elements are equally important. The unmarked value of the or marker is exclusive. The relation of elements in Munro connecting by or is more ungraspable. It is not one or the other. We have an inclusive function of the or it is like a reformulation/reparation of what has been said conversational tone. the two terms are not mutually exclusive but the second seems a clarification that doesn’t clarify; it makes the other element more vague. Ex. of the landscape: Formally we have or and the two elements are valid. If we visualise them they are co- present. Or should express opposition, but if we look at that place we see the two items together connection. she uses the "o“" in a very unusual way. It is not a documentary description, she is most interested in painting an atmosphere (European interpretation). We have accumulation. The syntax is suspended. Instead of a binary logic we have a long list of connected elements which are ungraspable. No alternative option, but connected elements. When we find an “or” we know that it is a mix and we should ask ourselves what it offers. Generally Munro makes tension between exclusion and inclusion. 7/11 Thanks for the Ride 1. Where?  Location/place: precise, accurate locations. This is interesting because many American and Canadian critics say that Munro is a realistic writer. European critics have a different interpretation. Here we have references to real places. This is defined as a strange place. There is a tension between the urban background and the rural one. Accurate description of the landscape; we have precise names for flowers, trees… we have a connotation: unpaved, bare landscape and the “or” marker. As a first impression we consider it a realistic description but if we go deeper we realize that she wants to connote this landscape (cold, no trees absence, negation…). Light also matters. Here we have never bright lights. p. 54-55: the reference to the bush expresses the kind of landscape (not green, not flourishing vegetation). We have a sarcastic tone here. She is criticizing the kind of approach of men. 2. Who?  The protagonist or focaliser (Dick) + his cousin George. They come from a privileged social context. Lois is very cold, ungraspable, detached. But she also invites Dick to meet her family. We also have the maternal perspective. The mother expresses popular believes. Lois is critical and tries to reconstruct this. We know the age of Lois. p. 56 her life is determined by something she experienced. George does not change, he is very flat. Lois on the contrary is a complex, modulated character (and also Dick). 3. How? Pg. 51-52: smell is defined in terms of a possible origin. It is pervasive and related to the old woman. The repetition of the word “The smell” foregrounds this element and renders the conversational tone. Pg. 50: we have an accurate description of the interior. Munro is inviting close ups. We also have an hybrid expression of colour. Letteratura inglese II Francesconi Pg. 51: presentation of the situation as a caricature of the date. Smell comes often, trying to give meaning to the date interpretation. Smell is used as a filter through which we can perceive the house. We also have a clash between sight and smell as if as sight was only superficial. It marks the limit of vision. Smelling allows us to go deeper, to understand the situation better. End page 51 we have a story (Munro often uses “storytelling”). The mother tells a story to Dick. the story is about an accident, a family tragedy. It is interesting to see how Dick reacts to this. Dick notices something else, he is not a listener. Munro is trying to express not only gossip in terms of content but also in terms of developing. It seems that the mother is telling a sensationalistic gossip story. This short story is interesting because we have a male narrator, but since the beginning he is shown as unreliable. He doesn’t know, he doesn’t listen, he is not emphatic. Lois arrival: here we have accumulation. It is a subjective description. His point of view makes she look as ridiculous. “like Christmas wrapping” we may perceive Dick as childish and snobbish, also because of the background. p. 53: blanck space. They are very meaningful in Munro’s stories in expressing a shift in time, characters, places… this empty space expresses something. We have a shift from interiority to exteriority; from the family to the two couples. p. 55 The words in italic are a prosodic device; it doesn’t have a semantic function here. It’s a stylistic device. p. 57 the kiss scene is spontaneous, unplanned. La particella or crea pura tensione. Va a costruire una differal of meaning. Alla fine di questa scena può succedere di tutto. Blanck space: they have sex. It’s really dense, rich in terms of diegesis. Tactile experience: we have some sort of crescendo. p. 58 we are still inside Dick’s mind. We know that there is a reversal: she looked cold and detached but she is really engaging. The italic here marks a potential dialogue repressed; potential words which are unsaid, unuttered. Conclusion: it gives the last word to Lois, while Dick could not say what he wanted. Bigot has interpreted it as Lois challenging the caricature of the date having the last word subversion in terms of gender. THE COORDINATING CONJUCTION “AND” This short story is about connection between different social classes, situations, characters. “And” doesn’t connect in a cohesive way, it adds accumulation. Polisyndeton it creates accumulation; Asyndeton omission or absence of a conjunction. The basic rule for canonical multiple coordination stipulates that the coordinated elements are separated (or joined!) by commas and the last element is to be separated from the second to last one by “and” (Blin, 2010, p. 10). UNMARKED AND MARKED •U: It was a town of unpaved, wide, sandystreetsand bare yards. (47) •U: It wasknowledgeable, calm, andhostile. (51) •M: She was cold and narrow and pale. (50) •M: Stripped their spire a bushes and peenies and climbing’ clemantis. (52) Syndeton and juxtaposition (M): A and B and C: elements are isolated, separated, dissociated. Letteratura inglese II Francesconi Unmarked: expected solution. It marks the last element, it gives order, it anticipates closure. It performs disposition (order, cohesion, conclusion). The focus is unity. Marked: three elements that are isolated and dissociated. We have the focus on the single elements, not on the whole scene. It gives a dissociative view point. A and B and C elements are separated, isolated, fragmented focus on elements Analytical approach: dissociative point of view and cumulative effect •But theseothers are bornslyandsadandknowing. (52) •The fieldsweremoonlit, chillyandblowing. (54) Vs unmarked A, B and C, where readers are invited to cast an overall, synthetic gaze, and capture associations, shared properties among elements. Focus on unity, on the whole (Pillière 2015, p. 45) A, B, C (elsewhere in Munro)I would read again the descriptions on the map provided on the inside of the box-top: hazelnut, creamy nougat, Turkish delight, golden toffee, peppermint cream. (Connection, p. 3) asyndeton—coordination via the comma Independent elements, fragmentation. Blin has foregrounded preferences for either A and B and C or A, B, C in “Friend of my Youth”, and Pillière herself notices Munro’ preference for dissociative patterns in Dance of the Happy Shades. Such property may be envisaged in nominal groups, clause complexes, and sequential sentences. How can we use it to interpret the short story? Interpersonal point of view among characters they are detached, independent or in the end we do not hear. 11/11 Visione film “Thanks to the ride” Appunti miei: when the girl appears for the first time lower view point objectifying strategy? Name: he doesn’t hear it because of the music. Number on the jaket used as name. Mother: at first she doesn’t look at him and starts speaking. During the walk of Dick and Lois music changes, more intimacy. The conclusion is different from the short story shut up! Thanks for the ride (1983) written and directed by John Kent Harrison (Canadian director). Lesley Donaldson (Vicky), Melissa Bell (Lore Ann), Peter Kranz (George), and Carl Maroote (David). “Based on a short story by Alice Munro” overexplicit acknowledgement of the adaptation. The ideational metafunction: WHO? Male character as focaliser (unique in Munro). On screen in 46% of total shots, David is depicted alone in 51% of shots, whereas in 22% of shots he is with Vicky, and in 17% with George. George+ Lore Ann + David shot in the live bar David + Vicky’s mother Viky’s house Letteratura inglese II Francesconi First dialogue: Joyful, lively atmosphere . minor and vivid scene. We start to appreciate them as storyteller. We have a very intense scene about the meaning of a word naming process. Here we are developing a discussion about the layered dimension of language. Here we have the “acceptable” aspect of language. We also have references to register. Then we develop it regarding behaviour (respectable). Asyndoton.. Parenthesis: it has also to do with respectability. It contains what someone thinks. Page 3, 4: we have sound. Form of connection, staying together. One of the clichès is about the fact that the short story is perfect for narration and the film for description. Mother: we know that she is from a different place that she praised for many reasons. More privileges social condition. Then she is connected to people from England. The cousins are relevant because they enable the narrator to find a connection with the world. They provide also an historical connection (diachronic). We have reference to history in an oblique way. Stylistic analysis: to seem. Most important word in Munro’s stories. Page 1: to seem it evokes uncertainty and impression. Two semantic domains. Form and fuction: how this verb behaves from a formal view point and its meaning and aesthetic implicatures. First of all it can occur as positive or negative (thanks for the ride). Tense: ex. Present-past shift view point in the present. Three temporal layers. Seem affects what? Modality: it modulates. The degree of modulation increases if we have a co-occurrence with modal verbs. The degree of possibility is more complex. Placement (dispositio). Parenthetical: meaning more yes than no, but with a doubt. Così dicevano. Seem+ adj,: perception; attribution. Focaliser and narrator may collide but not necessary. This verb marks an opposition, dischrasia to reality. Seem + infinitive: first example epistemic. Hedging strategy ( sfumare; sembra suggerire ecc.; to temper the prepositions). In Munro we have always a low commitment in modality. Seem + like Seem + that: intersubject meaning si dice che…many people who say that. Anticipatory it. To me is subjective shared or subjective? Tension. Seem+ as if: hedging. It creates a tension between subjectivity and objectivity…never a clear, objective source perception. Epistemic commitment generally blurred. Epistemic uncertainty. 28/11 Analisi del testo: bottom up approach; ribaltamento dal modello tradizionale dove prima si analizza il contest e poi il testo ad un modello dove si parte leggendo il testo e da qui si può espandere. Entrare nelle viscere del testo: Munro è maestra del dettaglio. Analisi delle micro particelle, da lì si può svelare una visione del Letteratura inglese II Francesconi mondo. Munro spesso accusata di occuparsi di temi poco alti, poco nobili e di occuparsi del domestico anche in modo ripetitivo e un po’ ossessivo. Poi il Nobel ha consacrato il suo valore nella profondità di analisi capacità introspettiva e di curare il dettaglio. Attenzione alla descrizione degli spazi e degli oggetti spesso abbandonati e inutili. Munro li celebra. Una scrittura di questo tipo non si presta a campi lunghi ma ad una trasposizione con un uso quasi ossessivo del close up. To seem: va a svelare l’estetica di Munro. Da un punto di vista morfologico è multiforme. Dal punto di vista semantico delinea questo orizzonte dell’apparenza (non come sono le cose ma sfuma l’impianto ontologico vedi colori); dal punto di vista della linguistica ci sono due piani: piano epistemico (riguarda la conoscenza e quindi controllare la realtà; antipodi del narratore onnisciente incertezza) e piano dell’evidenza (piano individuale/ soggettivo che si appoggia sulla sensorialità ad esempio in boys and girls abbiamo un’ossessiva sottolineatura della percezione sensoriale della vista, vista come modalità di conoscenza; piano della docsa, ciò che la gente dice: si dice che… collegato ad un contesto socio-culturale meno privilegiato. Sapere comune, componente di gossip e di pregiudizi). Architettura del racconto: prima e dopo; qui e là. Due nuclei spaziali (Ontario e British Columbia) e la stessa protagonista nell’adolescenza e nell’età adulta. Linea di continuità dell’aspetto tematico della visita: nella prima parte di 4 cugine e nella seconda parte di una di loro che avrà delle implicazioni. Pg. 13: quarta riga. We see first of all the division between Richard and the protagonist. We have this metaphor “amputation”. By connection we mean connection to the family’s history and memory and to the social milieu. Here we have something that we should read in junction with this idea of connection. Amputation is not just forgetting the past, it refers to the fact that that past is an atomical part of your body. If you get rid of the past you may not be able to survey or you need to cope with an amputated body. Richard wants this woman to be amputated: psychologically violence in terms of shaping, changing, manipulating negative connotation of adaptation. Use of the verb to seem: the past is the place of the connection. First of all we notice that we do have the experiencer, the focaliser (to him)  is this evidential or epistemic? It is evidential. Infatti non stiamo parlando di grado di certezza (epistemic modality), ma stiamo dicendo che questo è il suo punto di vista specifico. L’origine della conoscenza è soggettiva ed è il suo punto di vista maschile. Such intensifier. Descrizione della cugina Iris what do we know about the protagonist? Very dense passage in which we have Iris descprition and the position of the narrator. Description: language of colour (parameter of mixidness); peacock blue dress (parameter of the hue; very specific; this woman is unique; very vibrant and unique colour). And then we have “a sort of gold spray” ( hedging strategy and conversational marker). “Now that I think of it…” the temporal marker creates a crash of tension between the object of the story and the storytelling. This now clarifies and highlights the storytelling position and it is also a metanarrative marker and from the ideational metafunction “content “she expresses here regrets. Richard was a lawyer echoes to “My father was a fox farmer” in boys and girls. Professional identity. We have an or marker: it is part of the structure either or unmarked. But we have to go deeper. The logical semantic value it seems exclusive (alternative) but if we go deeper it expresses more a constriction; it expresses the same social imposition, is inclusive because it is part with the same professional profile expected to have by this person. The verb seem shows that we have to start with the unmarked interpretation in Munro and then we have to go deeper. It carries ambiguity. Gin Tonic corresponds to the peacock dress in a certain way. Letteratura inglese II Francesconi We have memories being shared from the present of this situation. Perhaps: low modality. It has an epistemic value  Munro’s horizon. Iris is a storyteller: we have seen this in the first part of the story and also in the second one. Iridescent dress value system. We interpret this as Iris’ liveliness. She emanates light. Elements: obsessive storytelling, and, or, now. Before we had a regret, here we have a clash between 2 sections of the narration. The narrator is denouncing her limits and that she had been disaused. We are discussing her as a character and focaliser here. She is questioning her position, her identity also with reference to the word connection: what is she connected to? Indirect speech. Kernel of the story: she throws the lemon pie. From a verbal view point: ripresa della lemon pie di sua madre + genteel echoed from the beginning. Come se tutti i nodi venissero al pettine. We have maybe  epistemic uncertainty; low commitment. In terms of time we have past, present, past. Relevance of sound nursery rhyme very relevant in Munro. Used twice as a cohesive device in this short story. Blanck spaces Art work: perfectly composed and cohesive work. The title “interstizi” defines the art work in terms of its blanck spaces. Il testo viene dato da un processo di lettura individuale, sociale e quindi epistemico. Black space as a semantically dense space: •Frequency•Distribution •Form •Logico- semanticfunction•Narrative Function•Aesthetic function. Her short stories seem to be very compact but we have many sections: we may have titles or numbers or letters. Munro has increased the number of black spaces. As a mature writers she kept disseminating her stories with black spaces. They are a stilema in Munro. What do they mark?  A shift in time, temporal transition (weeks, years…). The empty space contains time.  A shift in space  A shift in character  A shift in subject/ topic  Action  Very often to mark the shift from action to thought  Scene  Narrative line Letteratura inglese II Francesconi Per frequentanti: slides; 3 racconti e 3 film + Linda H. 1-77 Andrew B. 373/ 383 Adattamenti filmici: intesi come testi con configurazione testuale molto specifica e storie di adattamento adattamento come storia a parte, processo che implica una storia; adattamento come riracconto: riproposta con scarto che rappresenta l discontinuità a livello narrativo. Distinguere tra punto di vista narrativo (piano del contenuto) e forma (risorse modali). Specificità dell’autrice: es. finale aperto Stilistica: provare a partire dalle particelle minime per un’interpretazione Botton-up approach (ribaltamento prospettico dal basso). Quadro amato da Munro, Chagall: colori fondamentali Parametri dei colori: dal punto di vista grammaticale vi sono delle ricorrenze. La tinta (hue: colore come dato; come elemento; molto particolare; value (il colore interseca la luce; presenza/assenza; direzionalità ed effetti di luce; spesso contrasto e tensione tra luce e ombra); saturazione (intensità); differenziazione(sintagmatico; i colori mantengono una loro individualità); Mixing (marcato dal trattino, ma dal punto di vista ontologico va a smantellare i confini del colore, ibridazione, creazione di un colore intermedio); modulazione (sfumatura spesso connotata; aggiunta di un valore ulteriore); transizione (elemento dinamico del colore; sempre transitorio. Munro cattura questi passaggi; colore come fluido es. turned…). Funzione di “or”: In Boys and Girls pag. 123 “This time I didn't think of watching it. That was something to see just one time. I had not thought about it very often since, but sometimes when I was busy, working at school, or standing in front of the mirror combing my hair and wondering if I would be pretty when I grew up, the whole scene would flash into my mind: I would see the easy, practised way my father raised the gun, and hear Henry laughing when Mack kicked his legs in the air”. Spesso usato per riformulare (repair strategy; afterthought) stile che sembra casuale, creato sul momento, colloquiale. Qui abbiamo un’altra cosa perché è unmarked e segue un comportamento più normativo. Dal punto di vista stilistico introduce un dubbio, uno sfuggire alla norma, non essere in grado di inserirsi. Contenuto Si crea un’opposizione tra outside e inside, sfera pubblica e sfera privata. La scena dello specchio è molto forte per introdurre un discorso sul confronto con il sé. Verbo to seem: pg. 119 “It seemed that in the minds of the people around me there was a steady under-current of thought, not to be deflected, on this one subject”. Funzione narrativa: costruzione del focalizzatore e della prospettiva sfumatura della posizione del narratore (fa un passo indietro, non parla di sé). Comunque la soggettività non scompare mai in Munro tensione; tentativo di allargare un discorso dell’io. Porta sempre nell’intimo, nel personale. Funzione stilistica: effetto sfumato (blurred) Letteratura inglese II Francesconi Funzione formale: collocazione di seem con that al passato (tense); impersonale (it) e manca l’experiencer/reflector. Evidential or epistemic: sfuma la frase, è al passato (epistemic) o si porta dietro un sistema di pensiero generalizzato che impone una certa etichetta alle donne (evidential). Howells: ha continuato a sfuggire al racconto per superarlo e in tal modo lo ha rappresentato al meglio. Racconto come laboratorio di sperimentazione dove ha cercato di rappresentare la stratificazione della realtà e la percezione di vari punti di vista (con il verbo to seem critica di una visione univoca e stabile della realtà). Non esiste una versione definitiva del racconto ma che sia sempre aperto e che si presti a riscritture. Es. Maccuhan: una volta lette le storie diventano dei lettori, diventano altre storie. Discorso poetico sull’intertestualità e discorso politico stories connect us. Attraverso la lettura siamo interconnessi. Sembra un atto molto intimo e individuale, ma in realtà ci mettiamo in gioco. Involvement: opera che illustra l’adattamento. Mettersi in relazione nel fruire un adattamento di una storia. Discorso emotivo: tanta gente va a vedere un adattamento perché ha un collegamento emotivo con un’opera, poi però lo critica in quanto adattamento. Vederlo immediatamente dopo porta alla critica perché si è emotivamente attaccati all’opera di partenza. Rivederlo aiuta a discostarsi un po’ di più e ad apprezzarlo come testo individuale. I 3 film sono molto in continuità con i racconti di Munro dal punto di vista della Ideational metafunction. Cambia la struttura. Es. sezione frantumata e sparsa nella scena filmica. Attività: Chiedere di rappresentare la struttura del film schematicamente + esposizione verbale per far riflettere sulla strategia di impianto. Schema dove si chiede di identificare in una tabella la lunghezza del romanzo e la lunghezza del film che permette di discutere sulla differenza. Schemino da completare. Modalità di fruizione ecc. Gruppo di lavoro da 3 a 5: identificare le pagine nel testo di partenza e i minuti del film di riferimento di varie scene. Poi ci si può concentrare su come può essere rappresentato uno spazio (es. dettaglio- stacco-dettaglio). Lavoro sul finale (soprattutto se si lavora con Munro) riscrivere un finale individualmente. Fondamentale dare limiti (es. 120-150 parole) e chiave ( es. usare la prima persona o cambiare l’ambientazione/ personaggio). Poi scambio. 20/12 ore 14.00: esame