Collaborative self-translation in the screenplays of The Godfather trilogy

This study examines the adaptation of the novel The Godfather into screenplays by author Mario Puzo and director Francis Ford Coppola. Combining translation and adaptation studies, we regard this adaptation as a case of ‘collaborative self-translation’, a concept that has so far been rarely applied beyond translations studies, and use a model designed for the study of adaptation to analyse it. However, we expand the model by applying it to screenplays, and examining prequel and sequel, which are mainly present in the second and third screenplays of the trilogy. In addition to calling attention to the screenplay as a vital stage in the transformation of a literary work into a film, this article shows that the adaptation model can be a valuable tool to systematically analyse adapted screenplays, thus expanding the methodological repertoire of both adaptation and screenwriting studies. Moreover, it was found that the combined discussion of adaptation, sequel and prequel may contribute to an understanding of the complex relations between them and the source. Based on these theoretical insights, we show that through merging the creative powers of Puzo and Coppola, the screenplays shed new light on social, family and cultural themes that appear to some extent in the novel, taking the conventions of the crime genre in new and surprising directions.

WRITER’S INDIVIDUALITY IN THE LITERARY INTERPRETATION OF SOCIAL AND MORAL PROBLEMS

The article examines the question of writer’s individuality in the literary interpretation of social and moral problems etective novels on the examples of works "The Godfather" by Mario Puzo and "Shaytanat" by Tahir Malik. The article focuses on the study of the relationship between the reality of a work and reality of life in the context of the period. The comparative method was used in the process of understanding the content of these works, created in different periods

Code Switching in the Movie The Godfather by Mario Puzo and Francis Ford Coppola

The study entitled Code Switching in the Movie The Godfather by Mario Puzo and Francis Ford Coppola is aimed at identifying and analyzing types and reasons for code switching which are found in the trilogy movie ‘The Godfather’. The data of this study are the trilogy movie adapted from novels by Mario Puzo; The Godfather (1972), The Godfather II (1974), and The Godfather III (1990), as long as the transcript of each movie transcribed Malta. Data of this study are in the form of utterances spoken by the characters found within the transcript and the movies. The is analyzed using the theory of types of code switching proposed by Poplack (Romaine, 1995), theory of reasons for code switching proposed Grosjean (1982), and theory of four factors which cause the change of codes and varieties proposed by Tripp (Grosjean, 1982). The data were collected by doing observation and documentation. The result of this study shows that three types of code switching, and nine out of ten reasons for code switching are found within the data; as well as four other reasons are found in the data using the theory of four factors which cause the change of code and varieties, they are (1) show close relationship between participants, (2) to convince or persuade other participants, (3) habit of using more than one language in conversation, and (4) show-off.

The Godfather: A Translator’s and Writer’s Subconscious and Conscious Skills in the Process of Evoking Reader’s Emotions

The article is an unyielding argument supporting the thesis that not only a writer, but also a translator is expected to use their creativity so that nothing is lost in translation. Amongst various factors that influence the process of translating a novel the article focuses on two of them: a translator should stick to the original text with taking the semantic fields differences into account while s/he should keep the atmosphere of the source language, making as little changes in the target language as possible. Marking a translator’s existence in a text is strongly connected with a perlocutionary act. A great example of the translation that covers both principles is The Godfather, written by Mario Puzo and translated from English into Polish by Bronisław Zieliński. He translated only English words into Polish, leaving the target Italian words with no metamorphosis. The article presents the effect obtained by such an action.