【作者】 饶道庆；

【导师】 张庆善；

【作者基本信息】 中国艺术研究院 ， 艺术学， 2009， 博士

【摘要】 《红楼梦》这部古典小说在现代一再被改编成新的艺术样式——电影、电视剧，并通过影视这种新媒介广泛传播，在大众当中普及，文学名著的影视改编成为现代文学界、影视界以及整个文化艺术领域的一个重要现象。在当今这个以视觉文化为中心的“图像时代”，文学作品的“图像化”成为艺术发展的一种趋势，读者(观众)也更喜欢通过“读图”或观看影像的方式接受文学作品。在这样的时代背景和文化语境中，《红楼梦》影视改编与传播成为一个值得我们深入研究的课题。本论文研究的内容主要分为三部分：《红楼梦》影视改编摄制史、《红楼梦》影视的艺术特征和《红楼梦》影视的文化意蕴。全文共分七章，内容概要如下：第一章是对以往《红楼梦》影视改编与传播研究的述评，总结前人的研究成果，为自己的研究提供参照和借鉴。第二章是对《红楼梦》影视改编摄制历史的简要梳理与论述，辑录《红楼梦》影视剧目，为后面的艺术分析和文化研究打下坚实的史料基础。第三章分析红学对《红楼梦》影视改编的影响，指出红学在版本选择、人物形象塑造和思想倾向等方面对《红楼梦》影视改编都有深远的影响。第四章探讨《红楼梦》影视与戏曲的关系，分析《红楼梦》影视与戏曲“联姻”的原因及其对影视和戏曲双方的意义，指出戏曲电影和电视剧对戏曲有记录、保护、传播等作用，而影视中的戏曲因素则丰富了影视的内涵和艺术表现手法。第五章探析《红楼梦》影视的“互文性”特征，指出《红楼梦》影视的互文手法主要有引用和抄袭、仿作与戏拟，互文内容主要有情节结构互文、语言音乐互文、人物形象互文和主题思想互文等。第六章阐述《红楼梦》影视构建的“古典中国”映像，指出《红楼梦》影视通过有形的、可见的物质和突出女性化特征等方式构建“古典中国”映像，而《红楼梦》影视重构的“古典中国”映像其实是虚构的历史幻象。第七章论述《红楼梦》影视改编过程中的阻碍和流失，指出语言和影像这两种媒介的“不可通约”使改编遭到阻碍，小说中的心理和情感、诗意和韵味因难以改编而流失，而在《红楼梦》影视中观众(读者)与作者的交流往往会失败。更多还原

【Abstract】 The classical novel A Dream of Red Mansions has been adapted again and again asnew art forms like movie and teleplay,that whereby the novel has been widespread andpopular.The adaptation of literary masterpieces for movie or television has become animportant phenomenon in the present literary world,movie and television world,andeven the entire realm of culture and arts.In the present“Picture Age”,“Picturization”ofliterary works has been a trend in art development,and readers (audience) prefer toaccept literary works through“Reading Pictures”or watching images.In the context ofthe times and culture as such,the adaptation and transmission of A Dream of RedMansions for movie or television has become a topic meriting our profound study.The dissertation mainly consists of three parts,namely,the history in which ADream of Red Mansions has been adapted and produced as movie or teleplay,the artisticfeatures of A Dream of Red Mansions as movie or teleplay,and the cultural implicationof A Dream of Red Mansions as movie or teleplay.The dissertation is divided into sevenchapters,which are summarized as follows:Chapter One reviews the previous studies on the adaptation and transmission of ADream of Red Mansions as movie or teleplay,aiming to provide reference for theauthor’s own study.Chapter Two briefly comb the history of adaptation and production of A Dream ofRed Mansions,and compile movies and teleplays of the novel,laying a solid historicalfoundation for the subsequent artistic analysis and cultural study.Chapter Three analyzes the influence of“Redology”on the adaptation of A Dreamof Red Mansions for movie or teleplay,pointing out that“Redology”has a far-reachinginfluence on the adaptation of A Dream of Red Mansions for movie or teleplay in respectof the choice of versions,the characterization and ideological tendency.Chapter Four probes into the relationship between A Dream of Red Mansions asmovie or teleplay and it as opera,and analyzes the reasons why movie or teleplay andopera become a union as well as the significance of the union to both movie or teleplayand to opera,pointing out that opera-movie and teleplay play a role in the recording,protection and transmission of opera.Chapter Five explores and analyzes the feature of intertextuality in A Dream of Red Mansions as movie or teleplay,pointing out that the intertextuality in it is mainlymanifested by quotations and copying as well as replication and parody,and that thecontent of intertextuality is mainly composed of intertextualities of plot and structure,language and music,characters,central ideas,and so on.Chapter Six elaborates on the image of“Classical China”A Dream of Red Mansionsas movie or teleplay constructs,pointing out that it constructs the image of“ClassicalChina”by means of tangible and visible substance,giving prominence to feminizedfeatures,and so on,whereas the image of“Classical China”it reconstructs is virtuallyimaginary historic image.Chapter Seven argues on the obstruction and loss in the course of the adaptation ofA Dream of Red Mansions for movie or teleplay,pointing out the“Incommensurability”of language and image obstructs the adaptation,and thereby lost are mentality andemotion,poetic sentiment and flavors in the novel,while the intercommunicationbetween audience (readers) and the author more often than not results in failure in ADream of Red Mansions as movie or teleplay.更多还原