Résumé

The connections between the arts are so close that their boundaries sometimes seem to disappear, to the point where one appears as an extension of the other. Between literature and cinema, this relationship takes the form of a genuine interaction, even a kind of dialogue that gives rise to multiple interpretations and renewed meanings. However, this dynamic becomes particularly significant when it raises the question of the representation of the body between the literary text and its cinematic adaptation: how is the body— suggested, described, or symbolized through verbal language—transposed, materialized,and brought to life on screen?
Indeed, while the literary narrative follows narratological rules and structures in which language forms the main thread of meaning, cinematic adaptation relies on a different semiotic system based on image, sound, movement, and light. In this context, the representation of the body becomes a central issue: from a body imagined and interpreted by the reader, we move to a visible, embodied, and framed body that imposes a more immediate but also more guided interpretation.
Analyzing this transformation  therefore requires the use of visual semiotics in order to understand how meaning is reconfigured from one medium to another.
Moreover, the influence between literature and cinema proves to be both reversible and inevitable. Cinema draws from literature a rich narrative material, while also making literary texts more accessible through  its expressive means. However, the transition from one artistic form to another raises the question of semantic coherence, particularly in the way the body—bearing cultural, social, and symbolic meanings—is  reconstructed or transformed in the adaptation.
It is within this framework that we propose to analyze the novel Morceaux de choix by Mohamed Nedali and its cinematic adaptation Les ailes de  l’amour by Abdelhaï Laraki, in order to examine how the representation of the body is redefined between  literary writing and its filmic transposition.