本文選題：《洛麗塔》 + 改編　； 參考：《河南大學(xué)》2012年碩士論文

【摘要】：弗拉基米爾納博科夫被公認為二十世紀杰出的小說家，其作品以復(fù)雜的情節(jié)和巧妙的文字游戲著稱。納博科夫發(fā)表于1955年的小說《洛麗塔》采用了獨特的元小說敘事模式，常常被視為他最重要、最廣為人知的作品，一經(jīng)出版即成為暢銷書。 美國著名電影導(dǎo)演斯坦利庫布里克于1962年將小說《洛麗塔》搬上了銀幕。庫布里克是20世紀后半葉最具藝術(shù)氣質(zhì)也是最成功的電影人之一。他那令人難以置信的電影風(fēng)格為他贏得了如潮的好評。電影《洛麗塔》被提名為多個獎項，并贏得了奧斯卡最佳改編劇本獎。 現(xiàn)如今，小說《洛麗塔》和由庫布里克改編的同名電影都已成為經(jīng)典，國內(nèi)外許多文學(xué)評論家和學(xué)者都試著從多個不同角度去分析和解讀小說《洛麗塔》及其改編電影。然而，多數(shù)研究都是從小說主題、語言風(fēng)格、敘事技巧及小說與電影的比較等方面對其進行的研讀，也有一些學(xué)者關(guān)注到了《洛麗塔》的元小說特征，然而目前仍缺少將元小說特征與其改編電影綜合起來的研究。小說和電影密不可分，兩者互相借鑒、互相促進。對于小說中的一種特殊類型——元小說的電影改編，完全可看作是電影文本對元小說文本跨媒介的互文。 本文即是運用互文理論試析元小說《洛麗塔》到庫布里克版本的電影《洛麗塔》的改編。全文分為六個部分，由引言、四章正文及結(jié)論組成。 引言介紹了納博科夫的生平、成就和小說《洛麗塔》，，庫布里克及其電影《洛麗塔》。接著介紹了目前國內(nèi)外學(xué)者對《洛麗塔》小說和電影的研究現(xiàn)狀，最后點明本文的研究意義：以互文性這個更具開放性和包容性的理論分析元小說《洛麗塔》到電影改編，可為讀者欣賞和解讀這部元小說及電影提供一個新的視野。 第一章是本文的理論基礎(chǔ)，介紹了互文性理論的基本定義，提出從內(nèi)容、敘事和文學(xué)體裁三個方面試析小說到電影改編過程中的互文現(xiàn)象。小說與電影具有很強的互文性，小說和電影從內(nèi)容上相互交織，融為一體；小說通過文字敘事，電影借助鏡頭敘事，兩種敘事手段在小說到電影的改編過程中不斷融合，相互借鑒；小說具有電影的空間視覺性，電影也具有文學(xué)的時間流逝性，兩種不同的媒介形成互文，幫助讀者從不同藝術(shù)媒介作品間的相互聯(lián)系和比較中更好地理解文學(xué)作品。 第二章從“內(nèi)容”試析元小說《洛麗塔》和電影中的互文性。第一節(jié)分別對元小說的內(nèi)容和電影內(nèi)容進行了簡要介紹。第二節(jié)對比了元小說和電影內(nèi)容的不同之處，指出，改編后的電影中增加和刪減的部分充分展現(xiàn)了元小說的故事情節(jié)，使元小說中的人物性格更加鮮明，與元小說的內(nèi)容形成了互文。 第三章從“敘事”試析《洛麗塔》小說和電影中的互文性。元小說具有一種獨特的敘事結(jié)構(gòu)，采用的是一種斷裂的非線性敘述，常常不止有一個敘述層次。電影作為一種直觀的視覺藝術(shù)，主要是以從現(xiàn)實世界中采集的畫面為基本語言單位，電影《洛麗塔》中多次出現(xiàn)的閃切雖使電影表面看起來零散、雜亂，而庫布里克通過對畫面的不同排列組合，卻實現(xiàn)了敘事的目的，與元小說敘事形成了巧妙的互文。 第四章從“文學(xué)體裁”試析《洛麗塔》小說和電影中的互文性。第一節(jié)舉例分析了《洛麗塔》的元小說特征，并指出元小說是關(guān)于小說的小說，而元電影即是電影中的電影。第二節(jié)提出，電影類型是對小說類型在廣義文本性基礎(chǔ)上的互文，并指出元小說的元小說性如何在電影里體現(xiàn)，是元小說到電影改編過程中的一個巨大難題。而遺憾的是，庫布里克這部黑白電影并未充分注意到元小說向元電影的轉(zhuǎn)化，因而這部小說還具有更多可被改編的空間。 根據(jù)以上分析和討論，結(jié)論部分指出：元小說《洛麗塔》和電影《洛麗塔》這兩種不同的藝術(shù)形式存在著諸多差異，然而任何文本都并非孤立的存在，小說和電影之間的關(guān)系密不可分，兩者互相借鑒、互相促進，因而電影文本可以看作是對小說文本跨媒介的互文。與傳統(tǒng)電影改編所關(guān)注的“似”或“不似”的問題相比，以互文性理論觀照元小說《洛麗塔》由小說到電影的改編，拓寬了小說到電影改編的思路。
[Abstract]:Vladimir Nabokov has been recognized as an outstanding novelist in the twentieth century , and his works are known for complex plots and clever writing games . Nabokov , published in 1955 , employs a unique narrative model of meta - fiction , often seen as his most important and well - known work , and is published as a bestseller once it is published .

Stanley Kubrick , a famous American film director , moved the novel into the screen in 1962 . Kubuick is one of the most successful movies in the second half of the 20th century . His incredible film style has won a good reputation for him , and the film is nominated for a number of awards and won the Academy Award for Best screenplay .

However , most of the research is based on the novel theme , language style , narrative skills and the comparison of novels and movies . However , most of the research is based on the novel theme , language style , narrative skills and the comparison of novels and movies .

In this paper , the author tries to analyze the adaptation of the author ' s novels by the theory of intertextuality , which is composed of four chapters , preface , four chapters and conclusion .

This paper introduces the life and achievements of Nabokov ' s life , achievements and novels , Lolita novels , Kubuick and its film , Lolita Prefecture . Then it introduces the current research situation of the novel and the film of the scholar at home and abroad . Finally , it points out the research significance of this paper . The author analyzes the novel ' s novel ' s novels , which is based on the more open and inclusive theory , and provides a new field of view for readers to appreciate and interpret the novel and the film .

The first chapter is the theoretical foundation of this paper , introduces the basic definition of the intertextual theory , and puts forward the intertextual phenomena in the adaptation of the novel to the film from the three aspects of content , narrative and literary genre .
The novel uses the narration of words , the film takes the lens narration , the two kinds of narrative methods are continuously fused in the adaptation process of the novel to the film , and learn from each other ;
The novel has the spatial visual character of the film , the movie also has the time lapse of the literature , the two different media forms the intertext , helps the reader to better understand the literary works from the interconnectedness and comparison among the different art media works .

The second chapter provides a brief introduction to the content of meta - fiction and the intertextuality of the film . The first chapter compares the content of the novel and the content of the movie separately . The second section compares the differences between the meta - fiction and the film content , points out that the added and deleted part of the adapted movie fully demonstrates the story plot of the meta - fiction , so that the characters in the meta - fiction are more distinct , and the contents of the meta - fiction form intertextuality .

The third chapter analyzes the intertextuality in the novel and the film from " narrative " . The meta - fiction has a unique narrative structure , and it is often more than a narrative level . The film is a visual art , mainly based on the picture taken from the real world .

The fourth chapter analyzes the intertextuality of the novel and the film from the genre of literary genre . The first section gives an example of the novel features of the novel , and points out that the meta - fiction is a novel in the film . The second part suggests that the film type is a great problem in the film adaptation .

According to the above analysis and discussion , the conclusion part points out that there are many differences between the two different forms of art in the meta - fiction , Romeo and movies , however , any text is not isolated , and the relationship between the novel and the film is inseparable . Both of them are mutually beneficial to each other . Therefore , the film text can be regarded as the intermedia of the text of the novel .
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I712.074;J905

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相關(guān)期刊論文 前10條

1 張薇;《洛麗塔》的敘事奧秘[J];當(dāng)代外國文學(xué);2004年01期

2 羅桂保,梁延守;淺談《洛麗塔》中的巧合[J];甘肅高師學(xué)報;2005年01期

3 張t熁

本文編號：2097272