La donna del tenente francese. Scrittura e riscrittura.

Translated title of the contribution: [Autom. eng. transl.] The French lieutenant's woman. Writing and rewriting.

Margherita Ulrych

Research output: Book/ReportBook


[Autom. eng. transl.] The multiplicity of relationships that can be established between a source text and its final product requires a broad vision of the concept of translation. All types of translation imply some form of mediation. The texts are reformulated to allow their usability by new recipients, often passing through a sequence of recontextualizations and rewriting. The juxtaposition of translation with the rewrite phenomenon acquires particular importance in the context of filmic translation where the translator / adapter finds itself having to omit, add, replace the search for an equivalent effect of the source text and return a message in a different language-culture in a holistic way. An interesting chain of translations is represented by the various intralinguistic, interlinguistic and intersemiotic rewrites of the novel The French Lieutenant's Woman by John Fowles. The original text, published in English in 1969, was followed by the screenplay by playwright Harold Pinter in 1981, entitled The Screenplay of the French Lieutenant's Woman, and the film directed by Karel Reisz in the same year. On the interlinguistic level, each of these texts were in turn translated into Italian: John Fowles' novel in 1970 by Ettore Capriolo and published by Mondadori with the title The French lieutenant woman; Pinter's script in 1982 by Camillo Pennati for Einaudi entitled Harold Pinter. The French lieutenant's woman. Screenplay from the novel by John Fowles, which succeeded the release of the film The French Lieutenant's Woman in 1981 voiced in Italian. In his novel The French Lieutenant's Woman Fowles aims to write not only a "Victorian novel" but also a Victorian novel that no writer of the time could have written. As a 20th century narrator, he can therefore adopt a double perspective, the Victorian one in 1867 and the 1969 one, which Fowles himself calls "stereoscopic vision", in which two points of view are simultaneously active on the same object. This double perspective allows him a critical and ironic look at both the story itself and the form of the novel. The stratagem of a sub-plot adopted by Pinter and realized as the film in the film in the film version transposes the critical presence of the narrator in that of the two actors who play the part of the protagonists of Victorian history, and who read the script and comment on it. Through the technique of cross-cutting, the alternate editing that allows the parallel narration of different stories that cross each other, the viewer is faced with the filmic equivalent of that stereoscopic vision of which the narrator speaks in the novel. The essays collected in the volume The French woman's lieutenant. Writing and rewriting retrace the underlying intentions of the narrative techniques of John Fowles and then explore linguistic and translation aspects of dubbing. The critical pieces have been included as examples of the chain of rewrites, which goes beyond the versions of the novel but which is still a form of mediated and "reflected" discourse addressed to a wide audience of users. In today's globalized world, much of the knowledge and experience we have of other cultures is mediated by various forms of rewriting, both oral and written, which involve practically all aspects of human experience and the French woman's Lieutenant volume. Writing and rewriting is just another link in the rewrite chain of The French Lieutenant's Woman.
Translated title of the contribution[Autom. eng. transl.] The French lieutenant's woman. Writing and rewriting.
Original languageItalian
Number of pages117
ISBN (Print)978-88-8311-902-6
Publication statusPublished - 2012


  • Adattamento filmico
  • Audiovisual translation
  • Doppiaggio
  • Dubbing
  • Film adaptation
  • Rewriting
  • Riscrittura
  • Traduzione
  • Traduzione audiovisiva
  • Translation


Dive into the research topics of '[Autom. eng. transl.] The French lieutenant's woman. Writing and rewriting.'. Together they form a unique fingerprint.

Cite this