The complex and often paradoxical representation of time and history in Giuseppe Tomasi di Lampedusa’s The Leopard has its roots in an existential vision which is charged with different meanings and shadowed by a dark pessimism. In order to convey his peculiar perspective, Lampedusa uses specific narrative techniques, transforming earthly elements into eternal symbols. In turn, Luchino Visconti, in his movie adaptation of the novel, translates these multi-layered symbols into visual representations, emphasising some of them more than others, and giving even more substance to the material as a vehicle of complex, theoretical reflections. The analysis of the emblematic role of landscape, interiors, objects and animals in The Leopard, both in the written approach and the visual re-interpretation, offers new insights into a novel and a movie which have always divided critics, who have alternatively considered them a celebration of immobilism or a faithful historical depiction.

朱塞佩·托马西·迪·兰佩杜萨（Giuseppe Tomasi di Lampedusa）的《豹》中时间和历史的复杂且常常是自相矛盾的表现，其根源在于存在主义的存在视角，它充满了不同的含义，并被黑暗的悲观主义所掩盖。为了传达他的独特观点，兰佩杜萨（Lampedusa）使用特定的叙事技巧，将尘世元素转化为永恒的象征。反过来，卢奇诺·维斯孔蒂（Luchino Visconti）在他对小说的电影改编中，将这些多层符号转化为视觉表现形式，其中一些比其他符号更加强调，并为材料提供了更多实质内容，成为复杂的理论思考的载体。分析《豹子》中景观，室内设计，物体和动物的象征作用无论是书面形式还是视觉上的重新诠释，都为小说和电影提供了新的见解，它们总是使评论家意见分歧，他们也将评论家视作纪念不动产或忠实的历史描写。