Overview

Based on the theory of Intersemiotic Translation developed by Julio Plaza (2003) and grounded in Peircean semiotics, the overall objective of this work is to analyze how the literary work Like Water for Chocolate was recreated for the cinema. In addition to contextualizing the aesthetic proposal of magical realism, the Boom and the Post-boom as relevant elements to the literary production of Like Water for Chocolate and its theme (the female universe) inserted in the Hispanic-American universe. We also highlight the translation processes involved in transposing the works without losing the original work's proposal to problematize the strangeness of the pejorative rejection of women of the second sex confined to household tasks, which in the figure of Tita, the protagonist of the diegesis, demands recognition by converting the writing of recipes into a rich diary of her memories.

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