Possible Worlds in Sam Shepard’s Fool for Love and Its Cinematic Adaptation

Omid Amani,Seyed Mohammad Marandi,Hossein Pirnajmuddin

doi:10.29162/anafora.v4i1.4

Abstract

Possible Worlds in Sam Shepard’s Fool for Love and Its Cinematic Adaptation

Highlights

In her theorization of film adaptation, Linda Hutcheon proposes three interdependent perspectives
We argue, consider Hutcheon’s formulation of transposition or transcoding in terms of a conspicuous shift in “possible worlds,” as well
Deploying Marie-Laure Ryan’s Possible Worlds model, the present paper aims to shed light on an adaptation of drama into film, in this case Sam Shepard’s Fool for Love and Robert Altman’s adaptation

Summary

Introduction

In her theorization of film adaptation, Linda Hutcheon proposes three interdependent perspectives. Adapting the theories mainly developed in logic, these scholars have developed a semantics of fictionality, arguing that literary texts project semantic domains that must be considered as actual possible worlds. In other words, these worlds must be considered as actual the moment we as readers immerse ourselves into a work of fiction. “as an interdisciplinary approach,” in Ruth Ronen’s terms, the notion of “possible worlds” helps us understand how the semantics of fictionality propelled by the literary text is an “Alternative Possible World” ( APW) that operates as the actual world the moment the reader is immersed in a work of fiction. The other relevant central concept is “the principle of minimal departure” in that the expectation is the resemblance of TAW to AW in all aspects, whereby the TAW is accessible from AW at most

Discussion

Conclusion

Works Cited

Seyed Mohammad MARANDI Sveučilište u Teheranu