ABSTRACT

The article focuses on international, multilingual film adaptations of Antonio Tabucchi’s writing. It uses two case studies, Toni Salgot’s 2001 Spanish-language Dama de Porto Pim and Alain Corneau’s 1989 French-language Nocturne indien, to suggest that the film adaptations significantly emphasise issues of multilingualism and transnational encounter. It focuses on the way in which the adaptations focus on struggles between European cultural and linguistic identities, played out in non-European spaces, with the power struggles of wartime Europe of particular importance. The article proposes a modified version of Louise Pratt’s ‘contact zone’ as a means of thinking through these encounters, in which struggles between competing European linguistic, historical, and cultural identities are played out in non-European spaces, against a backdrop of imperial ‘remnants’. The article draws on Gérard Genette’s concept of ‘hypertextuality’ as a way of highlighting the multilevelled process of rewriting that characterises film adaptation, especially adaptations of translated texts.

摘要

本文重点介绍安东尼奥·塔布基（Antonio Tabucchi）作品的国际多语言电影改编。它使用了两个案例研究：Toni Salgot的2001年西班牙语Dama de Porto Pim和Alain Corneau的1989年法语夜曲indien，表明这部电影改编作品着重强调了多种语言和跨国遭遇的问题。它着眼于改编的方式着重于在非欧洲空间中发挥作用的欧洲文化和语言身份之间的斗争，其中战时欧洲的权力斗争尤为重要。本文提出了路易丝·普拉特（Louise Pratt）的“接触区”的修改版本，作为通过这些遭遇进行思考的一种方式，其中，在帝国主义的背景下，在非欧洲空间中竞争欧洲语言，历史和文化身份之间的斗争。残余物”。本文借鉴了杰拉德·吉内特（GérardGenette）的“超文本性”概念，以强调电影改编，尤其是翻译文本改编的多层重写过程。