Giovanni Verga is mostly known for his veristic short stories and novels, but less for his cinematographic work. Between 1909 and 1920, we know that he rewrote at least five of his texts for the cinema, namely Caccia al lupo, Caccia alla volpe, Storia di una capinera, Storie e leggende and Cavalleria rusticana. Among these, Storie e leggende is a surprising choice, as Verga himself had declared that this, written in 1875, would not fit into the new medium. By analysing the short story and the film script in a semiotic way, our investigation aims not only to demonstrate that the screenplay offers a new reading of the short story, but also to elucidate why the author decided to adapt the short story for the screen forty years after it was written. We posit that the discrepancies and incompatibilities between the film script and the short story are not anodyne or purely practical, but form a complex dialogue between the audience, its expectations and the author.

中文翻译：

---

乔瓦尼·维尔加 (Giovanni Verga) 对新媒体的争论性发现：故事与传奇 (1875–1913/17) 的案例

乔瓦尼·维尔加（Giovanni Verga）以其真实的短篇小说和小说而闻名，但他的电影作品却鲜为人知。在 1909 年至 1920 年间，我们知道他至少为电影改写了五部作品，即 Caccia al lupo、Caccia alla volpe、Storia di una capinera、Storie e leggende 和 Cavalleria rusticana。其中，Storie e leggende 是一个令人惊讶的选择，因为 Verga 本人曾宣称这本写于 1875 年的作品不适合新媒体。通过以符号学的方式分析短篇小说和电影剧本，我们的调查不仅旨在证明剧本为短篇小说提供了一种新的阅读方式，而且还阐明了为什么作者决定将短篇小说改编为四十个银幕。写成之后的几年。