本文選題：跨文化視野 + 文學(xué)　； 參考：《蘇州大學(xué)》2013年博士論文

【摘要】：本文的主要目的是從跨文化的視野來探討文學(xué)與電影在視覺文化與后現(xiàn)代文化相互裹挾的今天，所呈現(xiàn)出的與以往不同的復(fù)雜關(guān)系；通過新材料和新方法的運(yùn)用來推進(jìn)對(duì)改編、文學(xué)敘事與電影敘事的差異、電影的文學(xué)批評(píng)功能、經(jīng)典傳承、歷史反思和跨文化對(duì)話等問題的重新思考。 全文共分四章。第一章梳理考辨文學(xué)與電影的多重關(guān)系，首先討論如何正確地理解電影改編，并通過具體案例來論述此問題的復(fù)雜性；繼而討論電影對(duì)文學(xué)作品的呈現(xiàn)與解讀；接下來討論文學(xué)作品，，尤其是小說與電影這兩種不同藝術(shù)類型之間的結(jié)合與背離問題。 第二章至第三章通過結(jié)合具體的改編實(shí)例來探討電影的敘事功能、電影與文學(xué)批評(píng)的內(nèi)在關(guān)聯(lián)等問題。第二章首先論述為何電影會(huì)成為視覺時(shí)代的一種新的敘事藝術(shù)，并闡述其具體的詩學(xué)問題，最后從互文性的角度來論述文字與圖像在電影敘事過程中的相互置換。第三章將電影改編看作是一種新的文學(xué)批評(píng)方式。首先從批評(píng)家弗萊的《世俗的經(jīng)典：傳奇故事結(jié)構(gòu)》一書的核心觀點(diǎn)出發(fā)，以電影《改編劇本》為案例討論電影作為一種新的傳奇想象對(duì)現(xiàn)實(shí)世界的介入和影響；接下來通過分析伍爾芙的《奧蘭多》這一小說文本的同名電影的拍攝與制作，討論性別批評(píng)在當(dāng)代電影改編中的表現(xiàn)樣態(tài)。 第四章從多個(gè)角度來討論文學(xué)與電影改編在不同的文化層面上所展開的對(duì)話。首先，通過分析傳統(tǒng)名著重拍的同名電影，討論當(dāng)代電影制作人為克服傳統(tǒng)和權(quán)威的影響焦慮所做的創(chuàng)新甚至革命；接下來以反映納粹暴行的電影為例，討論電影與文學(xué)如何合力紀(jì)錄、重現(xiàn)歷史并且喚醒人們對(duì)往昔歷史的追憶與反思；最后，通過分析黑澤明的名作《生之欲》與歌德的詩劇《浮士德》的對(duì)應(yīng)關(guān)系，來討論東西方文化對(duì)人之存在這一本質(zhì)問題在理解上的相似與差異之處，從而打開跨文化對(duì)話之門。
[Abstract]:The main purpose of this paper is to explore the complex relationship between literature and film in the visual culture and postmodern culture, which is different from the past, through the application of new materials and methods to promote the adaptation. The differences between literary narration and film narrative, the function of literary criticism, classical inheritance, historical reflection and cross-cultural dialogue. The full text is divided into four chapters. The first chapter combs the multiple relations between textual research literature and film, first discusses how to correctly understand film adaptation, and then discusses the complexity of this problem through specific cases, and then discusses the presentation and interpretation of literary works. Then it discusses the combination and deviation between literary works, especially novels and movies. The second to third chapters discuss the narrative function of the film and the internal relation between the film and literary criticism by combining the concrete adaptation examples. The second chapter first discusses why the film has become a new narrative art in the visual era, and expounds its specific poetics. Finally, from the perspective of intertextuality, it discusses the interchangeability of characters and images in the process of film narration. The third chapter regards film adaptation as a new way of literary criticism. Firstly, starting from the core point of view of the critic Frey's "secular Classics: the structure of Legend stories", this paper discusses the influence of film as a new legendary imagination on the real world by taking the film "adapted script" as a case study. By analyzing the shooting and production of Woolf's Orlando the film of the same name this paper discusses the performance of gender criticism in contemporary film adaptation. Chapter four discusses the dialogue between literature and film adaptation at different cultural levels. First of all, by analyzing films of the same name that traditional names focus on, we discuss the innovations and even revolutions made by contemporary filmmakers to overcome the influence and anxiety of tradition and authority. Then, take films that reflect Nazi atrocities as an example. This paper discusses how movies and literature work together to record, reproduce history and awaken people to recall and reflect on the past history. Finally, by analyzing the corresponding relationship between Kurosawa's famous work "desire of living" and Goethe's poem play "Faustus", To discuss the similarities and differences in understanding the essence of the existence of human beings in the eastern and western cultures, thus opening the door of cross-cultural dialogue.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：I106.4;J905

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本文編號(hào)：1903924