小说《洛丽塔》的电影改编

发布时间：2018-07-04 20:11

本文选题：《洛丽塔》 + 改编　；参考：《河南大学》2012年硕士论文

【摘要】：弗拉基米尔纳博科夫被公认为二十世纪杰出的小说家，其作品以复杂的情节和巧妙的文字游戏著称。纳博科夫发表于1955年的小说《洛丽塔》采用了独特的元小说叙事模式，常常被视为他最重要、最广为人知的作品，一经出版即成为畅销书。美国著名电影导演斯坦利库布里克于1962年将小说《洛丽塔》搬上了银幕。库布里克是20世纪后半叶最具艺术气质也是最成功的电影人之一。他那令人难以置信的电影风格为他赢得了如潮的好评。电影《洛丽塔》被提名为多个奖项，并赢得了奥斯卡最佳改编剧本奖。现如今，小说《洛丽塔》和由库布里克改编的同名电影都已成为经典，国内外许多文学评论家和学者都试着从多个不同角度去分析和解读小说《洛丽塔》及其改编电影。然而，多数研究都是从小说主题、语言风格、叙事技巧及小说与电影的比较等方面对其进行的研读，也有一些学者关注到了《洛丽塔》的元小说特征，然而目前仍缺少将元小说特征与其改编电影综合起来的研究。小说和电影密不可分，两者互相借鉴、互相促进。对于小说中的一种特殊类型——元小说的电影改编，完全可看作是电影文本对元小说文本跨媒介的互文。本文即是运用互文理论试析元小说《洛丽塔》到库布里克版本的电影《洛丽塔》的改编。全文分为六个部分，由引言、四章正文及结论组成。引言介绍了纳博科夫的生平、成就和小说《洛丽塔》，，库布里克及其电影《洛丽塔》。接着介绍了目前国内外学者对《洛丽塔》小说和电影的研究现状，最后点明本文的研究意义：以互文性这个更具开放性和包容性的理论分析元小说《洛丽塔》到电影改编，可为读者欣赏和解读这部元小说及电影提供一个新的视野。第一章是本文的理论基础，介绍了互文性理论的基本定义，提出从内容、叙事和文学体裁三个方面试析小说到电影改编过程中的互文现象。小说与电影具有很强的互文性，小说和电影从内容上相互交织，融为一体；小说通过文字叙事，电影借助镜头叙事，两种叙事手段在小说到电影的改编过程中不断融合，相互借鉴；小说具有电影的空间视觉性，电影也具有文学的时间流逝性，两种不同的媒介形成互文，帮助读者从不同艺术媒介作品间的相互联系和比较中更好地理解文学作品。第二章从“内容”试析元小说《洛丽塔》和电影中的互文性。第一节分别对元小说的内容和电影内容进行了简要介绍。第二节对比了元小说和电影内容的不同之处，指出，改编后的电影中增加和删减的部分充分展现了元小说的故事情节，使元小说中的人物性格更加鲜明，与元小说的内容形成了互文。第三章从“叙事”试析《洛丽塔》小说和电影中的互文性。元小说具有一种独特的叙事结构，采用的是一种断裂的非线性叙述，常常不止有一个叙述层次。电影作为一种直观的视觉艺术，主要是以从现实世界中采集的画面为基本语言单位，电影《洛丽塔》中多次出现的闪切虽使电影表面看起来零散、杂乱，而库布里克通过对画面的不同排列组合，却实现了叙事的目的，与元小说叙事形成了巧妙的互文。第四章从“文学体裁”试析《洛丽塔》小说和电影中的互文性。第一节举例分析了《洛丽塔》的元小说特征，并指出元小说是关于小说的小说，而元电影即是电影中的电影。第二节提出，电影类型是对小说类型在广义文本性基础上的互文，并指出元小说的元小说性如何在电影里体现，是元小说到电影改编过程中的一个巨大难题。而遗憾的是，库布里克这部黑白电影并未充分注意到元小说向元电影的转化，因而这部小说还具有更多可被改编的空间。根据以上分析和讨论，结论部分指出：元小说《洛丽塔》和电影《洛丽塔》这两种不同的艺术形式存在着诸多差异，然而任何文本都并非孤立的存在，小说和电影之间的关系密不可分，两者互相借鉴、互相促进，因而电影文本可以看作是对小说文本跨媒介的互文。与传统电影改编所关注的“似”或“不似”的问题相比，以互文性理论观照元小说《洛丽塔》由小说到电影的改编，拓宽了小说到电影改编的思路。
[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 .
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I712.074;J905

【参考文献】