| 本文旨在经由过程比拟剖析法国中尉的女人这部元小说及据其改编的同名片子之间的叙事差别,商量片子文学改编中艺术后果的流变,和两种序言之间完成元叙事转换的艺术技能。论文以叙事学实际为框架,第一章侧重从故工作节更改、人物塑造的根本方面论述两种艺术情势在叙事内容上的差别,第二章则从叙事编排和叙事角度两方面剖析二者在叙事战略的组织差别,第三章从终究的艺术后果上商量两种艺术情势的深层差别。在这三章的基本上,第四章联合作者、导演及编剧对原著改编的摸索和理念,评论辩论元小说与片子改编的双向互动,商量两种论述序言完成元叙事转换的奥妙。论文在实际运用上以叙事学实际、片子文学改编、后古代实际等为依托,对小说法国中尉的女人及同名片子停止比拟剖析,行文中商量“元小说”作为后古代主义小说的重要类型,经由过程戏仿、反讽、开放式开头、自我指涉等论述技能推翻传统小说的叙事形式,而这些“元”特色在片子改编中经由过程“戏中戏”的套层构造、并列叙事及交叉比较等措施表现出来,而且片子运用了奇妙精简的叙事构造和战略,到达了片子所须要的贸易后果。在此基本上,论文进一步诘问元小说经片子改编后艺术后果的流变,并商量元小说到片子的转换技能。本文重视剖析从小说到片子两种艺术情势若何完成叙事转换的成绩。元小说的后古代叙事特色及发生的艺术后果,若何经由过程片子这类分歧的叙事载体得以出现；片子改编又若何在服从原著宗旨的基本上,在叙事技能和主题阐释上做出立异,这些是本文存眷的重点。先前的研究年夜多集中于对小说文本的研究,也有对戏剧或片子的研究,然则对小说与片子的比拟研究尚属多数,是以本文试图从片子改编角度的研究,特别是对元小说与片子改编的研究具有必定的学术意义。 Abstract: This paper aims to analyze the differences between the new element and the film of the same name, and discuss the evolution of the art of the film adaptation, and the artistic skills of the completion of the meta narrative conversion between two kinds of preface. The narrative framework, Chapter 1 focus changes from the storyline and characters of the fundamental aspects discusses two kinds of art forms in the narrative content difference, in the second chapter, from the aspects of narrative perspective and narrative arrangement analysis of the two tissue differences in the narrative strategy, the third chapter from eventually artistic effect to discuss two kinds of artistic forms of deep differences. In the three chapter, the fourth chapter, the author, the director and the writers of the original adaptation of the exploration and ideas, review the debate and the film adaptation of the two-way interaction, discuss the two kinds of the preface to complete the transformation of the narrative. "At the beginning of the adaptation of literature in the practical application to narrative theory, film, after the ancient practice is based on the novel the French Lieutenant's Woman" and the eponymous film comparative analysis, this paper discuss the "meta fiction" as ancient novels important types, through the process of parody, irony, open, self referential, and so on skills to overthrow the traditional novel narrative form, the "Yuan" features in the film adaptation, through the process of play in the play "the layer structure, parallel narrative and cross comparison and other methods, and use of film to the wonderful streamlined narrative structure and strategy, arrived at the film needed trade consequences. This basically, paper further questioning meta fiction film adaptation after art consequences of rheological, and discuss meta fiction to film transfer skills. This paper analyzes the results of the two kinds of art forms, from the novel to the film, to complete the narrative conversion. Meta fiction of ancient narrative characteristics and the occurrence of artistic effect, how to through process film the differences of narrative carrier can appear; the film adaptation and how in obedience to the original purpose of basically, in the narrative skills and interpretation of the theme to make innovation. These are focus of the concern. Previous research has focused on the study of the text of the novel, but also the research on drama or film, but the comparison between the novel and the film is still a majority, it is the research on the adaptation of the film from the perspective of the research, especially the research on the adaptation of the novel and film. 目录: 附表 5-6 摘要 6-7 Abstract 7 导论 叙事视野下的小说与电影改编 9-15 第一节 法国中尉的女人：从文本到荧幕的历程 9-11 第二节 小说及同名电影的探讨近况 11-15 第一章 叙事的基本形态 15-29 第一节 情节变动 15-20 (一) “戏仿”与“戏中戏” 16-18 (二) 开放性的多重结局 18-20 第二节 人物塑造 20-29 (一) 女主人公 21-24 (二) 男主人公 24-26 (三) 角色的错换 26-29 第二章 叙事的深层结构 29-39 第一节 叙事编排 29-36 (一) 排序整合 29-31 (二) 省略停顿 31-34 (三) 重复迭代 34-36 第二节 叙事角度 36-39 第三章 叙事的主题内涵 39-53 第一节 追寻自由 39-44 第二节 个人解放 44-47 第三节 对于爱情 47-50 第四节 生活与艺术 50-53 第四章 小说与电影的文本转换 53-64 第一节 约翰·福尔斯的电影情结 53-57 第二节 卡洛尔·赖茨与哈罗德·品特的剧本 57-59 (一) 80年代初英国电影的状况 57 (二) 赖茨与品特的合作 57-59 第三节 元小说与电影改编的双向交流 59-64 结语 64-65 参考文献 65-70 后记 70 |
