10.13125/2039-6597/677
In an analysis of what presents itself as a cinematic transposition of a literary text, it is difficult to break away from the &ldquo;binary oppositions [...] literature versus cinema, high culture versus mass culture, original versus copy" (James Naremore). In the case of Princesa (2001), directed by Henrique Goldman, it is questionable whether we can speak about an adaptation at all. As Goldman himself stated, he got the idea for making the film after reading the eponymous 1994 book written by Fernanda Farias de Albuquerque in collaboration with Maurizio Jannelli. In his film, Goldman has made drastic changes to the autobiographical story of Fernanda, the Brazilian transsexual prostitute who travels to Europe in order to earn money for her sex-change operation. However, the film was in fact dedicated to the memory of the real Fernanda, who had passed away in the meantime. In this contribution, the two works will be examined in their relationship to a third source-text by paying special attention to the processes of worldmaking as developed in Nelson Goodman's seminal 1978 book and expanded in the 2010 collection of essays Cultural Ways of Worldmaking. Media and Narratives. 
application/pdf
2039-6597
677
4
en
Polina Shvanyukova
Between
heteronormativity
From Princesa to Princess with a Prince: 1994 and 2001 Fernanda's Stories
Text.Serial.Journal
https://ojs.unica.it/index.php/between
2
On the Screen
2012-12-10
2012-08-31
2012-12-04
2012-12-10
1
Polina Shvanyukova
2012/12/10
10.13125/2039-6597/677
University of Bergamo
2039-6597
4
heteronormativity
en
From Princesa to Princess with a Prince: 1994 and 2001 Fernanda's Stories
https://ojs.unica.it/index.php/between/article/download/677/586
2
  




       From  Princesa  to  Princess  with  a  
        Prince:  1994  and  2001  Fernanda'ʹs  
                       Stories  
                               Polina  Shvanyukova  
  

       Clear  and  lucid  as  it  is,  Linda  Hutcheon'ʹs  definition  of  adaptation  
as  «a  derivation  that  is  not  derivative  -­‐‑   a  work  that  is  second  without  
being  secondary.  It  is   its   own   palimpsestic   thing»  (2006:  9),  brilliantly  
captures   the   essence   of   this   complex   phenomenon.   Moreover,   the  
scholar'ʹs   in-­‐‑depth   discussion   of   adaptation   as   being   simultaneously   a  
process   and   a   product,   with   the   proposed   three-­‐‑dimensional   model  
that  is  drawn  up  to  account  for  its  palimpsestic,  multi-­‐‑layered  structure  
(ibid.:   7-­‐‑8),   provides   new   perspectives   on   the   study   of   social   and  
communication  dimension  of  media.
       The  analysis  of  a  specific  case  study  of  a  cinematic  adaptation  that  
is  discussed  in  the  present  contribution  has  been  profoundly  informed  
by   Hutcheon'ʹs   ambition   to   challenge   the   widespread   critical  
denigration   of   the   phenomena   of   adaptation   across   the   media.   Her  
refusal   to   treat   adaptations   as   a   priori   secondary,   derivative,   inferior,  
subordinate  to  the  original,  is  the  central  premise  of  the  present  study.  
       The   theoretical   framework   that   is   developed   in   the   collection   of  
essays   published   in   the   volume   Cultural   Ways   of   World-­‐‑making:   Media  
and  Narratives  (Nünning  –  Nünning  –  Neumann  2010)  has  been  another  
major   influence.   The   different   essays   in   the   volume   explore,   expand,  
supplement,  and  apply  the  framework  of  theory  of  symbol  systems  as  
discussed   in   the   philosopher   Nelson   Goodman'ʹs   seminal   1978   book  
Ways   of   Worldmaking.   To   summarise   it   briefly,   what   is   meant   by   the  
term   'ʹways   of   worldmaking'ʹ   are   the   specific   procedures   that   help   any  


Between,  vol.  II,  n.  4  (Novembre/November   2012)    
Polina  Shvanyukova,  From  Princesa  to  Princess  with  a  Prince:  1994  and  2001  Fernanda'ʹs  Stories  

  

single   individual   build   different,   often   conflicting   worlds   or   'ʹworld-­‐‑
versions'ʹ,  an  activity  that  we  face  in  our  everyday  life,  in  the  absence  of  
one,  'ʹgiven'ʹ  version  of  the  world.    The  general  scope  of  the  volume  can  
be  presented  as  an  attempt  to  explore  the  question  of  how  worlds  are  
made   and   how   the   relation   between   worldmaking   and   orders   of  
knowledge  can  be  described.  Specific  attention  is  paid  to  the  discussion  
of  how  the  ways  of  worldmaking  operate  in  particular  cultural,  literary  
and   historical   contexts,   analysing   synchronic   and   diachronic   issues   as  
well   as   the   question   of   what   functions   specific   ways   of   worldmaking  
fulfil  in  each  case  and  in  varying  cultural  contexts1.  
       Seemingly   taking   a   completely   different   perspective,   the   authors  
of   these   essays   nonetheless   succeed   in   setting   up   a   broader   cultural  
framework   for   Linda   Hutcheon'ʹs   work   on   adaptation.   More  
specifically,   in   the   chapter   entitled   “Media   as   Ways   of   Worldmaking:  
Media-­‐‑specific  Structures  and  Intermedial  Dynamics”,  Birgit  Neumann  
and   Martin   Zierold   (2010)   present   an   enlightened   analysis   of   the  
intermedial  dynamics  of  processes  of  worldmaking.  
       The  backbone  of  this  analysis  is  «the  idea  that  media  do  not  only  
mould  forms  of  social  knowledge,  norms,  and  values  by  intermedially  
representing   and   debating   stereotypes,   narratives,   images   etc..» (ibid.:  
116).   Media,   according   to   the   German   scholars,   are   also   agents   of  
worldmaking   and   cannot   be   treated   as   mere   artifacts   or   products  
(ibid.).   The   starting-­‐‑point   for   Neumann   and   Zierold'ʹs   analysis   is   the  
distinction  between  two  perspectives  on  intermediality,  introduced  by  
German   media   theorist   Rainer   Leschke.   Any   investigation   of  
technological   differences   between   different   media   and   their  
consequences   has   been   defined   by   Leschke   as   “primary  
intermediality”.   “Secondary   intermediality”,   on   the   other   hand,   refers  
to  more  complex  phenomena  of  «interrelation  of  aesthetic  forms,  topics  



                                                                                                 
                   1
                         For  an  analysis  of  a  literary  work  that    successfully  applies  the  theo-­‐‑
retical  framework  as  developed  in  Nünning  –  Nünning  –  Neumann  2010  see  
Seligardi  2012.  


2  
                                               Between,  vol.  II,  n.  4  (Novembre/November   2012)



or   motives   between   different   media   offers2   and   different   media  
systems» (ibid.:  106).  
      Given   the   importance   attributed   to   specific   media   products   and  
their   ability   to   generate,   reiterate   and   diffuse   «forms   of   cultural  
knowledge,  norms,  and  values  by  constantly  re-­‐‑narrating,  re-­‐‑mediating  
and   re-­‐‑constructing   them»   (ibid.),   the   research   on   phenomena  
connected   to   secondary   intermediality   is   of   particular   interest   for  
Neumann   and   Zierold,   as   well   as   for   the   scope   of   the   present  
contribution.   The   German   scholars   pinpoint   the   fact   that   existing  
research   on   intermediality   that   investigates   the   role   of   media   in  
processes   of   worldmaking   has   so   far   focused   mainly   on   individual  
media  such  as  literary  texts  and  films.  The  most  valuable  contribution  
of  this  kind  of  research,  in  their  opinion,  is  represented  by  the  analysis  
of  the  role  of  genre-­‐‑  and  media-­‐‑specific  structures  in  the  construction  of  
cultural   knowledge.   This   analysis   sheds   light   on   the   impact   of   genre-­‐‑  
or   media-­‐‑specific   devices   in   creation   of   «powerful,   aesthetically  
condensed   worlds,   worlds   that   are   bound   up   with   cultural   norms,  
predispositions,  and  values»  (ibid.:  107).  The  impact  of  different    genre-­‐‑  
or   media-­‐‑specific   devices3   is   due   to   the   role   that   these   play   as  
constitutive   elements   of   worldmaking,   i.e.   as   highly   semanticized  
structures,   that   convey   values   reinforcing   or   reshaping   our  
constructions  of  the  world.  
      As  such,  this  line  of  inquiry  helps  establish  specific  practices  and  
trace   strategies   that   different   media   use   in   order   to   shape   and   diffuse  

                                                                                                 
                   2
                         Media   offers   (or,   alternatively,   media   products)   represent   the   fourth  
constitutive   element   in   the   model   of   modern   mass   media   as   elaborated   by  
Siegfried   J.   Schmidt.   In   his   distinction,   media   offers   are   the   actual   material  
products  of  media  systems  that  however  lack  any  instrinsic  social  or  cultural  
which  these  products  acquire  only  once  they  reach  and  are  used  by  potential  
recipients  (ibid.:  104-­‐‑105).  
                   3
                         The  example  given  by  the  authors  is  the  different  choice  of  aesthetic  
devices   to   represent   a   war   in   literary   texts   versus   documentary   films.   Ulti-­‐‑
mately,  as  the  authors  argue,  these  choices  «will  [..]  affect  the  interpretation  
of  the  war  in  question  itself»  (ibid.:  107).  


                                                                                                             3  
Polina  Shvanyukova,  From  Princesa  to  Princess  with  a  Prince:  1994  and  2001  Fernanda'ʹs  Stories  

  

cultural   knowledge.   While   the   validity   of   this   line   of   inquiry   is   not  
questioned  by  Neumann  and  Zierold  as  such,    the  scholars  nonetheless  
draw  attention  to  a  major  factor  that  is  often  neglected  in  the  analysis  
of   individual   media   products.   This   major   factor   is   constituted   by  
constant   and   continuous   circulation   of   the   contents   of      the   individual  
media  products,  in  the  form  of  their  inter-­‐‑  and  transmedial  adaptations  
which  leads  to  their  social  institutionalisation:  

           [C]onstant   processes   of   translation,   appropriation,   renarration,  
       and   remediation   turn   media   offers   into   culturally   potent   media,  
       i.e.   media   which   create   and   mould   cultural   knowledge.   The  
       production  and  dissemination  of  culturally  influential  knowledge,  
       hence,  in  a  broader  sense  'ʹworldmaking,'ʹ  is  an  ongoing  process  in  
       which   same   messages,   contents,   values,   or   concepts   are  
       represented  again  and  again,  often  over  decades  and  centuries,  in  
       diverse  genres  and  media.  (ibid.)4  

         What  this  passage  illustrates  is  that  only  a  more  complex  analysis,  
that  takes  into  account  the  cultural  dynamics  of  a  specific  historical  and  
social   context,   can   tackle   the   question   of   how   individual   media   offers  
acquire   their   cultural   significance,   seen   as   they   are   as   part   of   a   broad  
system  of  the  cultural  circulation  of  meanings,  values,  and  norms:  



                                                                                                 
                   4
                         On  a  similar  note,  Linda  Hutcheon  reminds  us  that  «[a]n  adaptation,  
like  the  work  it  adapts,  is  always  framed  in  a  context  –  a  time  and  a  place,  a  
society  and  a  culture;  it  does  not  exist  in  a  vacuum.  Fashions,  not  to  mention  
value  systems,  are  context-­‐‑dependent»  (2006:  142).  She  further  speaks  about  
modes   of   conveying   “cultural   information”(with   a   specific   reference   to   the  
work   of   Michael   Klein)   through   adaptations   and   on   ways   that   the   stories  
travel  (quoting  Edward  Said'ʹs  thinking  on  the  subject).  Hutcheon  specifically  
dwells  on  what  she  calls  the  “cultural  power”  of  Shakespeare'ʹs  works  (ibid.:  
148-­‐‑151)   and   it   is   my   conviction   that   it   is   here   that   a   connections   exists   be-­‐‑
tween  Hutcheon'ʹs  thinking  and  the  work  carried  out  by  Neumann  and  Zier-­‐‑
old.    


4  
                                           Between,  vol.  II,  n.  4  (Novembre/November   2012)



         [T]he  idea  that  the  process  which  Nelson  Goodman  refers  to  as  
      'ʹworldmaking'ʹ   is   part   of   the   cultural   circulation   of   meanings,  
      values,   and   norms,   and   the   idea   that   worldmaking   as   such   is  
      never   fixed   once   and   for   all   but   is   something   that   has   to   be  
      processed   and   circulated   time   and   again   in   differenc   media   and  
      concomitant   processes   of   inter-­‐‑   and   transmedial   translation:  
      Adaptation,  translation,  reception,  appropriation  and  remediation  
      «have   thus   become   key   words»   (Rigney   349),   with   the   cultural  
      power   of   a   specific   medium   «being   located   in   the   cultural  
      activities   it   gives   rise   to,   rather   than   in   what   it   is   in   itself.»  
      (Neumann-­‐‑Zeirold  2010:  107.)  

       By   sustaining   Linda   Hutcheon'ʹs   call   to   challenge   the   dominant  
view  of  adaptation  as  secondary  or  derivative  of  the  original  work  and  
by   drawing   on   Birgit   Neumann   and   Martin   Zierold'ʹs   convincing  
analysis  of  the  intemedial  dynamics  of  the  processes  of  worldmaking,    
the  scope  of  the  present  contribution  is  to  find  evidence  of  circulation  
of   determinate   cultural   values,   ascribable   to   a   specific   historical  
context,  reiterated  and  diffused  in  individual  media  products  by  means  
of   intermedial   procedures   of   adaptation,   appropriation   and  
remediation.  
       The  central  part  of  the  following  analysis  is  dedicated  to  the  2001  
film   Princesa,   directed   by   the   Brazilian   Henrique   Goldman.   It   will   be  
argued  that  the  presence  of  determinate  cultural  stereotypes  in  the  film  
can   be   traced,   on   the   one   hand,   to   the   eponymous   1994   book,   co-­‐‑
authored   by   Fernanda   Farías   de   Albuquerque   with   Maurizio   Jannelli,  
that  the  film  is  loosely  based  on,  and,  on  the  other  hand,  to  one  of  the  
most   successful   Hollywood   romantic   comedies   of   all   times,   Pretty  
Woman,   that   came   out   in   1990.   As   such,   the   film   Princesa   will   be  
interpreted   as   an   adaptation   of   both   the   novel   and   the   American  
blockbuster.   More   importantly,   however,   its   relationship   to   the   two  
sources   will   be   explored   in   terms   of   the   continuity   when   it   comes   to  
specific  cultural  contents  that  all  of  these  media  products  transmit.  




                                                                                                     5  
Polina  Shvanyukova,  From  Princesa  to  Princess  with  a  Prince:  1994  and  2001  Fernanda'ʹs  Stories  

  

         The   novel   Princesa   was   published   in   Italian   in   19945.   A  
fictionalised   (auto)biography   of   Fernanda   Farias   de   Albuquerque,   a  
transsexual   Brazilian   prostitute,   the   book   is   a   first-­‐‑person   narrative  
written  in  the  form  of  a  diary  in  which  the  narrator,  retrospectively  and  
in   a   highly   selective   manner,   recounts   the   key   events   of   her   life.   The  
nickname  Princesa,  that  lends  the  title  to  both  the  book  and  the  film,  is  
Fernanda'ʹs  street  name6.    
                                                                                                 
                   5
                         It  has  to  be  mentioned  that  Princesa  is  commonly  considered  to  be  one  
of  the  now  'ʹclassical'ʹ  works    in  the  corpus  of  a  very  recent  literary  field,  most  
frequently   referred   to   as   letteratura   italiana   della   migrazione   (Italian   Migrant  
Literature).  Italian  Migrant  Literature,  as  in  literary  production  of  immigrant  
authors,  non-­‐‑native  speakers  of  Itailan  who  write  directly  in  Italian,    emerged    
in  the  early  1990s.  The  discussion  of  Princesa'ʹs  position  in  the  corpus  of  Ital-­‐‑
ian  Migrant  Literature,  as  well  as  the  very  special  history  of  the  book'ʹs  gene-­‐‑
sis,  in  collaboration  with  the  ex-­‐‑Red  Brigades'ʹ  activist  Maurizio  Jannelli  and  a  
Sardinian  shepherd  called  Giovanni  Tamponi  (the  outcome  of  this  collabora-­‐‑
tion   is   traceable   in   very   original   linguistic   solutions   adopted   in   the   book),  
goes  beyond  the  scope  of  the  present  analysis.  Probably  the  best  book-­‐‑length  
study  of  the  phenomenon  of  Italian  Migrant  Literature  (together  with  Italian  
Migrant  Cinema  and  Immigration  Laws  in  Italy)  at  the  moment  is  still  Parati  
2005.    An  insightful  introduction  to  the  field,  with  specific  attention  dedicat-­‐‑
ed  to  the  corpus  from  the  perspective  of  Law  in  Literature,  is  also  found  in  
Mengozzi   2012.   This   article   also   contains   an   up-­‐‑to-­‐‑date   and   well-­‐‑compiled  
list  of  reference  texts  on  the  subject.  More  specifically  on  Farías  de  Albuquer-­‐‑
que-­‐‑Jannelli'ʹs  Princesa  see  Di  Maio  2001,  2009,  Portelli  1999  and  Wood  2006.  
                   6
                         Fernanda'ʹs  story  has  also  been  the  subject  of  a  1997  documentary  enti-­‐‑
tled  Le  strade  di  Princesa  -­‐‑  ritratto  di  un  trans  molto  speciale  (dir.  Stefano  Consig-­‐‑
lio).   In   this   documentary   Fernanda   is   interviewed   while   she   is   in   prison   on  
charges  of  attempted  murder.  An  extremely  interesting  fact  is  that  the  novel  
has   been   subject   to   yet   another   adaptation.   In   fact,   Fabrizio   De   Andrè'ʹs   last  
1996  album  Anime  salve  opens  with  a  song  entitled  “Princesa”.  The  lyrics  of  
the  song  are,  of  course,  a  largely  reduced  but  still  a  very  faithful  trasposition  
of  the  first  part  of  the  book  and  the  source  is  duly  acknowledged  by  the  au-­‐‑
thors  of  the  song.  This  adaptation  would  deserve  to  be  explored  more  in  de-­‐‑
tail   in   a   separate   article.   Sanna   (2009)   briefly   discusses   the   genesis   of   the  
song.  


6  
                                               Between,  vol.  II,  n.  4  (Novembre/November   2012)



       The          narration         starts     with        the        episodes         from  
Fernanda/Fernandinho'ʹs   early   childhood   when   the   little   boy   realizes  
how  much  he  would  like  to  be  treated  as  a  girl.  The  first  diary  entries  
recall  first  sexual  experiences  with  slightly  older  boys,  then  with  men,  
joys   of   cross-­‐‑dressing   during   the   Carnival.   The   narration   is  
chronological   and   follows   Fernanda/Fernandinho   journey   of   forced  
migration  and  quest  for  a  female  body  and  identity.  A  boy  who  leaves  
his   home   village   in   the   remote   Brazilian   region,   after   a   series   of  
intermediate   destinations,   ends   up   working   as   a   beautiful   transsexual  
prostitute   in   the   streets   of   São   Paulo   and   Rio   de   Janeiro.   In   order   to  
earn   the   money   needed   for   the   final   sex-­‐‑change   operation,  
Fernanda/Princesa   decides   to   go   to   Europe.   Italy   becomes   her   final  
destination   and   the   place   where   the   narration   ends   in   an   abrupt   and  
confused  way.  
       Illustrating   the   most   significant   differences   between   the   film   and  
the   book   might   seem   quite   an   easy   task   in   the   case   of   Henrique  
Godman'ʹs   cinematic   transposition   of   Princesa.   At   first   glance,  
Goldman'ʹs   choice   to   cut   out   approximately   three-­‐‑fourths   of   the   book  
that   take   place   in   Brazil   and   recount   the   earlier   stages   of   Fernanda'ʹs  
life,  may  lead  one  to  conclude  that  the  film  can  be  presented  as  a  major,  
if  not  complete,  rewriting  of  the  book.  It  would  be  likewise  reasonable  
to   immediately   recognize   strong   intertertextual   connections   of   this  
cinematic   adaptation   with   the   1990   romantic   comedy   Pretty   Woman7.  
The   romantic   plot,   almost   absent   in   the   novel,   has   become   the   major  
story-­‐‑line  in  the  2001  film.    
       Goldman'ʹs   narration   starts   with   Fernanda'ʹs   arrival   in   Milan   and  
the   main   part   of      the   film   is   dedicated   to   the   love   story   between  
Fernanda   and   an   Italian   customer   of   hers   (who,   in   his   turn,   is   given  
significant   space   in   the   film).   The   development   of   this   relationship  
follows  determinate  stages  (from  first  awkward  encounters  to  falling  in  


                                                                                                 
                   7
                        In  fact,  and  it  hardly  seems  to  be  a  coincidence,  even  the  covers  of  the  
DVD/videotape  recordings  of  the  two  films  bear  strong  resemblance.  
                     


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Polina  Shvanyukova,  From  Princesa  to  Princess  with  a  Prince:  1994  and  2001  Fernanda'ʹs  Stories  

  

love   with   each   other)   that   reaches   its   apex   when   Fernanda   leaves   the  
street  to  move  in  with  her  lover.  
       In   other   words,   a   superficial   reading   of   the   film   would   probably  
produce   a   reading   of   “Princesa”   in   its   quality   of   a   straightforward  
modern-­‐‑day   (queer)   adaptation   of   “Pretty   Woman”,   although,   of  
course,   it   has   to   be   mentioned   that      unlike   the   latter,   the   romantic  
relationship  in  Goldman'ʹs  film  does  not  have  a  happy  ending.    In  this  
light,   what   is   left   of   the   novel   itself   in   the   cinematic   adaptation8,   is  
arguably  just  the  figure  of  the  protagonist  herself.    
       However,  by  granting  complete  autonomy  to  these  three  works  in  
the  name  of  Hutcheon'ʹs  principle  of  “second,  but  not  secondary”  and,  
at   the   same   time,   by   attempting   to   judge   the   cultural   power   of   these  
three  media  products  in  reiterating,  diffusing  and  shaping  determinate  
cultural  values,  strong  underlying  affinities  of  cultural  contents  in  the  
films  and  the  novel  come  to  surface.  
       The   new   romance   plot,   introduced   by   Goldman   and   that   so  
faithfully  recalls  the  fairy-­‐‑tale  like  story  memorably  performed  by  Julia  
Roberts   and   Richard   Gere,   does   not   represent,   if   analysed   more  
thoroughly,  a  rupture  with  or  a  transfiguration  of  the  source  novel.  On  
the  contrary,  the  romantic  relationship  between  Fernanda  and  Alberto  
that  the  film  focuses  on,  is  a  collage  of  the  fragments  of  several  serious  
                                                                                                 
                   8
                         Many  would  probably  argue  that  Goldman'ʹs  film  can  hardly  be  con-­‐‑
sidered  an  adaptation  of  its  literary  source  at  all.  Taking  into  consideration,  
for   example,   Robert   Stam'ʹs   wide   range   of   other   solutions   when   it   comes   to  
the  definition  most  suitable  «to  account  for  the  mutation  of  forms  across  the  
media»,   such   as      «reading,   rewriting,   critique,   translation,   transmutation,  
metamorphosis,   recreation,   transvocalization,   resuscitation,   transfiguration,  
actualization,   transmodalization,   signifying,   performance,   dialogization,  
cannibalization,   reinvisioning,   incarnation,   or   reaccentuation»   (2005:   25),   a  
more  precise  definition  could  reflect  director'ʹs  choices  more  aptly.  However,  
the  focus  of  the  present  study  is  not  on  the  specific  relationship  between  two  
(or  three,  in  this  case)  individual  media  products,  but  rather  on  the  reciprocal    
relationship   between   the   media   products,   in   their   capacity   of   agents   of  
worldmaking   processes,   and   the   given   historical   and   cultural   dynamics.  
Hence,  such  terminological  questions  are  of  minor  importance  here.  


8  
                                              Between,  vol.  II,  n.  4  (Novembre/November   2012)



relationships   that   Fernanda-­‐‑protagonist-­‐‑of-­‐‑the-­‐‑novel   recounts   in   her  
diary.  And  yet,  it  is  not  quite  like  any  of  the  love  stories  that  Fernanda  
has   had   in   the   book.   The   relationship   with   Alberto   would   have   been  
the   Love   story   of   her   life,   full   realization   of   her   dreams   because   it  
depicts  exactly  the  kind  of  experience  that  the  book'ʹs  protagonist'ʹs  has  
never  had  but  has  always  dreamt  of.  According  to  Fernanda'ʹs  diaries,  
for   her   becoming   a   real   woman   has   the   ultimate   goal   of   having   a  
serious   romantic   relationship   with   a   man.   To   fall   in   love,   to   form   a  
couple,   to   start   a   family   is   on   top   of   Fernanda'ʹs   agenda   in   the   novel  
(and   there   are   several   episodes   in   which   Fernanda   reflects   on   her  
relationships)  and  what  the  film  does  is  to  represent  Fernanda  coming  
very  close  to  achieving  these  goals.  The  film  is  very  explicit  in  showing  
how   Fernanda   enjoys   simple   pleasures   (presumably)   associated   with  
being  a  woman.  She  is  most  happy  in  the  sequel  that  shows  her  life  as  a  
perfect  housewife:  doing  some  food  shopping,  together  with  other  real  
women,   cleaning   the   house,   cooking   dinner   for   her   partner,   etc..  
Unfortunately   for   her,   the   dream   of   a   quiet   family   life   is   shattered  
because   of   the   presence   of   another   woman,   Alberto'ʹs   ex-­‐‑wife,   who   is  
pregnant   with   his   child.   Fernanda   decides   to   let   Alberto   go   to   be   a  
father  by  re-­‐‑uniting  with  his  wife.  Seemingly  heartbroken,  yet  helpless,  
Alberto   does   not   stop   her   and   she   has   no   choice   but   to   return   to  
working  the  streets.  
       What   is   then   at   stake   here,   in   terms   of   the   circulation   of   cultural  
contents  in  between  these  individual  media  products?  As  the  examples  
above  show,  representation  of  women9  and  their  relationship  with  men  
bears   witness   to   the   very   visible   triumph   of   what   Sara   Ahmed   calls  
«the   invisibility   of   normative   heterosexuality»   that   «functions   as   a  
background,  as  that  which  is  behind  actions  that  are  repeated  over  time  
and   with   force,   and   that   insofar   as   it   is   behind   does   not   come   into  
view»   (2006:   88).   Ahmed'ʹs   reflections   on   heteronormativity   can   help  
provide  valuable  insights  on  the  cultural  dynamics  in  which  this  case-­‐‑
                                                                                                 
                   9
                         Even  if   neither  in  the  film   nor  the  novel  does  Fernanda   undergo  the  
final  sex-­‐‑change  operation,  she  is  constant  in  referring  to  herself  as  a  woman  
and  as  a  woman  only.  


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Polina  Shvanyukova,  From  Princesa  to  Princess  with  a  Prince:  1994  and  2001  Fernanda'ʹs  Stories  

  

study   positions   itself.   More   specifically,   in   Queer   Phenomenology  
(Ahmed   2006)   the   scholar   argues   that   bodies   within   a   given  
community  follow  shared  directions  that  have  been  formed  by  the  act  
of  repetition  of  certain  actions  that  shape  the  ways  in  which  we  come  
to   inhabit   spaces.   In   other   words,   bodies   tend   toward   certain   objects,  
which   are   placed   within   one'ʹs   reach      and   this   action   of   “tending  
toward”   shapes   the   contours   of   one'ʹs   bodily   and   social   space.   The  
mechanisms   of   “tending   toward”   certain   objects   is   often   hidden   from  
the   view   and   thus   even   collective   directions   may   seem   casual   rather  
than  organized.      
       In  order  to  illustrate  this  argument,  Ahmed  uses  the  example  of  a  
shop   selling   furniture.   Furniture,   as   she   observes,   seldom   attracts   our  
attention   because   its   purpose   is   to   make   us   feel   comfortable,   let   us  
“sink”  into  it  and  to  take  the  shape  of  our  bodies.  If  the  furniture  fulfils  
its   purposes,   we   often   do   not   even   notice   it   or   feel   the   need   to   make  
any  comments  on  its  presence.  Yet,  precisely  at  the  same  moment  that  
it  disappears  from  view,  furniture  functions  as  a  powerful  “orientation  
device”  in  that  it  directs  «life  by  deciding  what  we  do  with  what  and  
where,  in  the  very  gesture  toward  comfort,  the  promise  of  'ʹthat  sinking  
feeling'ʹ»  (ibid.:  168)  
       We   can   see   the   mechanism   of   “producing   arrangements”   if   we  
look  closer  at  the  way  furniture  shops  are  organized.  Rigid  conventions  
are   at   the   work   here.   Certain   objects   are   placed   within   our   reach   in  
certain  spaces  only  and  this  rigid  repetition  shapes  the  spaces  that  we  
are  invited  to  inhabit.    
       We  do  not  notice  the  compulsory  heterosexuality  that  functions  as  
the   invisible   background   of   such   arrangements.   We   get   oriented  
around   heterosexuality   even   if   it   disappears   from   view.   The   field   of  
heterosexual   objects   discretely   on   display   in   a   furniture   shop   aims   at  
reproducing   heterosexuality   as   “a   social   and   familial   inheritance”    
(ibid.:   86).   In   other   words,   when   we   walk   into   a   furniture   shop,   we  
hardly  ever  realise  that  rather  than  just  shopping  for  tables  or  beds,  we  
get  “invested”  by  a  certain  line  of  doing  things,  that  is  we  are  shopping  
for  a  lifestyle  rather  than  for  single  objects.    



10  
                                       Between,  vol.  II,  n.  4  (Novembre/November   2012)



       Ahmed   further   talks   about   the   naturalization   of   heterosexuality  
that   can   be   interpreted   as   a   «requirement   to   follow   a   straight   line,  
whereby   straightness   gets   attached   to   other   values   including   decent,  
conventional,  direct,  and  honest»  (ibid.:  70).  This  straight  line  would  be  
the  one  that  leads  one  sex  directly  to  the  other  while  the  discontinuity  
of  queer  desire  within  the  framework    of  compulsory  heterosexuality  is  
to  be  re-­‐‑described  as  “going  off  line”.    
       In   the   case-­‐‑study   presented   here,   the   strong   continuity   between  
the  two  source-­‐‑texts  (the  novel  and  the  romantic  comedy)  and  the  2001  
film   Princesa   is   evident   if   their   relationship   is   explored   in   terms   of  
(explicit)  reiteration  and  diffusion  of  certain  cultural  contents.  The  key  
term   here   is   (in)visible   normative   heterosexuality   which,   as   Sara  
Ahmed   argues,   «as   a   compulsory   orientation   reproduces   more   than  
“itself”:  it  is  a  mechanism  fro  the  reproduction  of  culture,  or  even  of  the  
“attributes”   that   are   assumed   to   pass   along   a   family   line,   such   as  
whiteness»  (ibid.:  162).      
       Thus   invisible   heteronormativity   becomes,   to   borrow   Neumann  
and   Zierold’s   terminology,   the   most   powerful   form   of   cultural  
knowledge,  disseminated  through  transposition  and  adaptation.  In  this  
light,   Hutcheon   defense   of   the   originality   of   any   adaptation,   to   be  
judged   as   a   stand-­‐‑alone   work   worthy   of   its   own   evaluation   and  
independent   of   the   source   text,   has   to   be   complemented   further   by   a  
more   detailed   analysis   of   the   underlying   cultural   dynamics   and  
different  strategies  employed  for  the  dissemination  of  specific  cultural  
norms   and   forms   of   cultural   knowledge.   In   the   specific   case-­‐‑study  
discussed   in   this   contribution,   the   theoretical   frameworks   developed  
by  Sara  Ahmed  in  the  fields  of  the  Gender  Studies,  Queer  Studies  and  
Critical   Race   Theory,   have   proved   exceptionally   fruitful   to   help   us  
illustrate   the   shaping   power   of   (still)   dominant   (white)  
heteronormative  ideologies.  
         




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Polina  Shvanyukova,  From  Princesa  to  Princess  with  a  Prince:  1994  and  2001  Fernanda'ʹs  Stories  

  




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                                      Filmography  
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      Screen-­‐‑Telepiù-­‐‑Filmstiftung   Nordrhein-­‐‑Westfalen   –   Road   Movies  
      Filmproduction   –   Westdeutscher   Rund   Funk   WDR,   Spain-­‐‑Italy-­‐‑
      France-­‐‑UK-­‐‑Germany,  2001.  
Pretty  Woman,  Dir.  Garry  Marshall,  Touchstone  Pictures,  USA,  1990.  
  



                                       The  author  
Polina  Shvanyukova  
        
      Polina   Shvanyukova   ha   studiato   presso   le   università   di  
Novgorod   e   Bergamo.   Attualmente   è   dottoranda   in   Letterature   Euro-­‐‑
americane   presso   l’Università   degli   Studi   di   Bergamo   e   partecipa   al  


                                                                                                13  
Polina  Shvanyukova,  From  Princesa  to  Princess  with  a  Prince:  1994  and  2001  Fernanda'ʹs  Stories  

  

programma   dottorale   internazionale   PhDnet   “Literary   and   Cultural  
Studies”  coordinato  dalla  Justus-­‐‑Liebig  Universität  Giessen.    
  

           



                                            The  article  
Submitted:  31/08/2012  
Accepted:  31/10/2012  
Published:  30/11/2012  
  




14  
