The last voyage of the Demeter: uma tradução intersemiótica de Drácula, de Bram Stoker

Abstract

The cinematic adaptation of literary works is a recurrent process that involves the transposition of signs across distinct semiotic systems. Within this context, this research is grounded in the hypothesis that The Last Voyage of the Demeter (Øvredal, 2023) updates and re-signifies the vampire myth, originally represented by the character Dracula (Stoker, 1897), through intersemiotic translation, while preserving its essential elements. The central objective of this study is to analyze how the literary image of the vampire is translated and reimagined through cinematic language, using the iconic, indexical, and symbolic categories of intersemiotic translation proposed by Júlio Plaza (2003), based on the theories of Roman Jakobson (2008) and Charles S. Peirce’s semiotics (2005). This is a qualitative, bibliographic study that conducts a film analysis of The Last Voyage of the Demeter, engaging with theoretical perspectives on literature and cinema from authors such as Linda Hutcheon (2013), André Bazin (1991), Robert Stam (2003, 2008), and Gilles Deleuze (1983). In the fields of semiotics and intersemiotic translation, the study draws on the works of Charles S. Peirce (2000), Lucia Santaella (1996), Júlio Plaza (2003), and J. Teixeira Coelho Netto (2010), among others.The findings suggest that the film not only translates but reinvents the aesthetic sign of the vampire, updating it in light of contemporary cultural transformations. By integrating tradition and innovation, the film demonstrates the creative potential of intersemiotic translation as a form of narrative and aesthetic recreation, reaffirming the enduring presence of the Dracula myth in popular imagination