| dc.description.abstract | A remarkable feature of William Shakespeare’s creative genius is a taste for adaptation. While he transposed stories from his and other cultures to the creation of his plays and poems, several other authors have adapted and continue to adapt the stories ofthe English playwright. An example of this phenomenon is the Canadian writer Margaret Atwood, who transposed the dramaturgy The tempestinto the novel Hag-seed, in the Brazilian translation, Semente de bruxa. From the perspective of this process, we understand the initial work as a reference for the final work that, however, acquires new characteristics and specificities of the language with which it works, while maintaining a dialogue with the initial work. It is understood in the articulation between both artistic languages in question, dramatic and narrative, beyond the mere construction of the fable, the resources that are used in this new artistic process. Thus, the scope of this research is to recognize the process of adaptation from the play into thenovel and to reflect on its procedures. Therefore, this thesis is based mainly on the theory of adaptation by Julie Sanders (2006) and Linda Hutcheon (2013), as well as on the theories of the Shakespearean theater (BRADBROOK, 1968; FRYE, 1992; HELIODORA, 1997; KOTT, 2003) and the novel (CANDIDO et al, 2005; TODOROV, 2006). | |
