Este artigo tem como principal objetivo analisar algumas
marcas de reconfiguração das narrativas dos romances Mrs. Dalloway
(1925) e Orlando (1928), de Virginia Woolf, em suas adaptações para o
cinema. Considerando princípios teóricos sobre o romance moderno e a
narrativa cinematográfica (BORDWELL, 1985; AUERBACH, 1998),
descreveremos procedimentos tradutórios no processo de
representação dos universos literários desses romances para as telas,
bem como traços particulares de criação por parte das diretoras na
construção das narrativas cinematográficas Mrs. Dalloway (1997), por
Marleen Gorris, e Orlando (1992), por Sally Potter.
This paper has as the main objective to analyse some marks
of narrative reconfiguration of the novels Mrs. Dalloway (1925), and
Orlando (1928), by Virginia Woolf in their adaptations to the cinema.
Considering some theoretical principles on modern novels and
cinematographic narratives (BORDWELL, 1985; AUERBACH, 1998), we
will describe some procedures of translation in the process of
representation of the literary universes of these novels into screen, as
particular traits of creation by the directors in the construction of the
cinematographic narratives Mrs. Dalloway (1997), by Marleen Gorris,
and Orlando (1992), by Sally Porter.
