Sherlock Holmes: From Paper to the Screen – An Analysis of the Intersemiotic Translation of Sir Arthur Conan Doyle’s The Hound of the Baskervilles Jorge Nuno Ribeiro Gonçalves Sequeira Dissertação de Mestrado Mestrado em Tradução e Interpretação Especializadas Porto – 2014 INSTITUTO SUPERIOR DE CONTABILIDADE E ADMINISTRAÇÃO DO PORTO INSTITUTO POLITÉCNICO DO PORTO Sherlock Holmes: From Paper to the Screen – An Analysis of the Intersemiotic Translation of Sir Arhtur Conan Doyle’s The Hound of the Baskervilles Jorge Nuno Ribeiro Gonçalves Sequeira Dissertação de Mestrado apresentado ao Instituto de Contabilidade e Administração do Porto para a obtenção do grau de Mestre em Tradução e Interpretação Especializadas, sob orientação da doutora Clara Sarmento Esta versão não contém as críticas e sugestões dos elementos do júri Porto – 2014 INSTITUTO SUPERIOR DE CONTABILIDADE E ADMINISTRAÇÃO DO PORTO INSTITUTO POLITÉCNICO DO PORTO Resumo: A adaptação relaciona-se com as produções cinematográficas e televisivas quase desde o princípio da história destes meios. Os primeiros filmes exibidos eram frequentemente baseados em obras literárias históricas ou ficcionais, sendo um importante factor na evolução e desenvolvimento da produção cinematográfica como a conhecemos. Neste estudo, será analisada, segundo o ponto de vista dos estudos da tradução intersemiótica, a obra The Hound of The Baskervilles, de Sir Arthur Conan Doyle, sendo esta uma das obras mais populares do género literário criminal. Esta análise pretende servir de ―ponte‖ para estabelecer a relação entre o processo de tradução e o da adaptação, comparando as suas semelhanças e diferenças, além de exemplificar um processo para a análise crítica de adaptações que não se baseie meramente na perspectiva dos estudos literários acerca deste tipo de trabalhos. Palavras chave: Tradução, Intersemiótica, Adaptação, Sir Arthur Conan Doyle Abstract: Adaptation has been related to cinema and televisions productions almost from their very beginning. The first movies exhibited in these two mediums were frequently based on either historical or fictional literary works, being an important factor to the development and evolution of filmmaking as we know it, today. In this study, the novel The Hound of the Baskervilles, by Sir Arthur Conan Doyle, is analysed from the point of view of intersemiotic translation studies, being one of the most popular works of the crime literary genre. This analysis serves as a means of establishing a relation betwen the process of adaptation and the process of translation, comparing similarities and differences between them, as well as exemplifying a process for the critical analysis of adaptations that is not based merely in a literary studies perspective of these types of works. Key words: Translation, Intersemiotic Studies, Adaptation, Sir Arthur Conan Doyle ii Dedication To my mother and my sister, for only they truly know how much it took for me to get here. I could not have made this far without your support. To Blackie, my faithful companion for twelve long years. I only wish I could have given you as much love and dedication as you gave me. ―... I firmly believe that any man‘s finest hour – his greatest fulfillment of all that he holds dear – is that moment when he as worked his heart out in good cause and lies exhausted on the field of battle – victorious.‖ - Vince Lombardi iii Aknowledgements Funny as it may be, this is probably the most difficult section of this work. It is not easy to refer to five years of work to highlight the people who helped me carry this ‗boat‘ to the ‗shore‘. Regardless, yet fearing I might commit an injustice towards some people (to whom I apologize in advance), I would like to thank the following people for their contribution (directly or otherwise) to the fulfilment of this work: To my mother and my sister. The past five years have not been the easiest in our lives; yet, we preservered, we survived our ‗bottom of the well‘ and we came back. I couldn‘t get this far without you. And that is why this work is also yours. I thank you and I love you both. To professor Clara Sarmento. She was my supervisor for this work, my supervisor over the course of my studies and my teacher. She is also a dear colleague and friend. Thank you for all the support and for allowing me to enter the ‗academia world‘. Thank you for all the good memories we shared over the years. And thank you for all the times you ‗kicked me in the rear end‘ when I was asking for it (by the way, I‘m sorry for those times). I definitely couldn‘t have come this far without you. Thank you. (I am still trying to figure out if having your son grow up as a little version of me is a good thing or a bad thing – I would keep my distance and beware, though.) To my Portuguese friends. I can honestly say I feel I have more friends now than I thought I would a few years back. In your own way, you also helped me get here. I will not name any of you in particular because you know the role you play in my life. I thank you for all the support and the patience. To my ‗not so Portuguese‘ friends. I could call you ‗international‘ friends, but I find the term rather ‗mainstream‘ and too generic to describe you all. Also, I honestly believe you carry part of Portugal with you in your everyday lives and that I am responsible, in any way, for you carrying such a ‗burden‘. You met me at a difficult time in my life and I can say that it became a much more colourful place after you came in it. We shared good moments, we shared not so good moments, we shared bad moments – and, in iv some cases, I am deeply thankful that we still do. Again, I will not name any people, to try and be as fair ar possible with everyone. We still keep in touch, anyway, so you definitely know who you are. To all my teachers at ISCAP. At different times, in different ways, you all helped me get here. You all made me a better professional, a better student and a better man. There have simply been too many for me to name but you all played a role in this five-year journey. To ISCAP. For giving me a second chance at being who I really am. For allowing me to reedem myself from some moments I had before coming here. For being my ‗second home‘ for the past five years. And for being part of my ‗story‘ – I hope I have repaid it in equal measure. v Table of Contents Introduction ...................................................................................................................... 1 Chapter I – Theories of Adaptation: Adaptation as a Means of Translation .................... 4 The concept of fidelity .................................................................................................. 5 The different ‗languages‘ in adaptation ........................................................................ 8 Analysis of adaptations ................................................................................................. 9 Adaptation as a means of Translation......................................................................... 10 Chapter II – The Adaptations of The Hound of the Baskervilles.................................... 13 Analysis of 1939‘s The Hound of the Baskervilles .................................................... 16 a) Introduction ................................................................................................................. 16 b) Plot analysis ................................................................................................................ 16 c) Character analysis ....................................................................................................... 19 d) Adaptation analysis ..................................................................................................... 21 Analysis of 1968‘s The Hound of the Baskervilles – Parts One and Two .................. 25 a) Introduction ................................................................................................................. 25 b) Plot analysis ................................................................................................................ 25 c) Character analysis ....................................................................................................... 26 d) Adaptation analysis ..................................................................................................... 27 Analysis of 1988‘s Sherlock Homes ........................................................................... 29 a) Introduction ................................................................................................................. 29 b) Plot analysis ................................................................................................................ 29 c) Character analysis ....................................................................................................... 31 d) Adaptation analysis ..................................................................................................... 32 Analysis of 2012‘s The Hounds of Baskerville .......................................................... 33 a) Introduction ................................................................................................................. 33 b) Plot analysis ................................................................................................................ 33 c) Character analysis ....................................................................................................... 36 d) Adaptation analysis ....................................................................................................