日本无赖派文学影视改编研究综述
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摘要
日本无赖派文学一经问世就以其特有的叙事艺术和叙事理念在日本民众之中产生共鸣,故其文学作品被大量改编成影视后得到了广泛的传播并影响深远。然而对于其文学作品影视改编的研究却一直止步不前,研究成果稀少,研究缺乏系统性、完整性和学理性。因此,在研究日本无赖派文学影视改编时,明确其研究指向、厘清其研究对象、突破其研究难点、确立其研究目的是其研究深度和研究广度得以确保的先决前提,是揭示其影视改编叙事内涵的重要途径。
Japanese Mulaiha Literature has resonated among Japanese people with its unique narrative art and narrative concept since it was published. Therefore, its literary works have been widely spread and far-reaching after being adapted into films and television. However, the research on film and television adaptation of its literary works has been stagnant, with few research results, systematic, integrity and academic rationality. Therefore, when studying the film and television adaptation of Japanese Mulaiha Literature, to make clear its research direction, clarify its research object, break through its research difficulty and establish its research purpose, is the prerequisite to ensure its research depth and research breadth, and also is the important way to reveal its narrative connotation of film and television adaptation.
Japanese Mulaiha Literature has resonated among Japanese people with its unique narrative art and narrative concept since it was published. Therefore, its literary works have been widely spread and far-reaching after being adapted into films and television. However, the research on film and television adaptation of its literary works has been stagnant, with few research results, systematic, integrity and academic rationality. Therefore, when studying the film and television adaptation of Japanese Mulaiha Literature, to make clear its research direction, clarify its research object, break through its research difficulty and establish its research purpose, is the prerequisite to ensure its research depth and research breadth, and also is the important way to reveal its narrative connotation of film and television adaptation.
引文
[1]任江辉.论日本无赖派作家太宰治的文学思想[J].西南科技大学学报:哲学社会科学版,2012(03):61-65.
[2]任江辉.融合与升华:《人间失格》的叙事空间[J].电影文学,2018(19):146-148.
[3]张玉霞.论文学作品的影视改编[J].山东理工大学学报:社会科学版,2009(04):67-70.
[4]电影制作委员会.“维荣之妻——樱桃与蒲公英”公开电影鉴赏读本[M].东京:扶桑社,2009:21-38.
[5]山口贵义.太宰治作品电影化的可能性[J].YULIIKA,1998(06):211-215.
[6]手塚真.无赖派的电影化——坂口安吾的电影等[J].国文学:解释与教材的研究,2006(12):55-59.
[7]曹文慧.浅析互文性理论与文学作品的影视改编[J].东岳论丛,2013(01):172-175.
[8]刘新业,孙辉.电影艺术中传统文化元素的影响化表达[J].沈阳工程学院学报:社会科学版,2017(03):372-377.
[9]任江辉.社会转型视域下的日本无赖派文学思潮研究[J].湖北社会科学,2015(12):117-122.
[10]任江辉.日本无赖派文学叙事艺术与批评话语的建构[J].沈阳农业大学学报:社会科学版,2018(05):624-629.
[11]张冲.改编学与改编研究:语境·理论·应用[J].外国文学评论,2009(03):207-218.
[2]任江辉.融合与升华:《人间失格》的叙事空间[J].电影文学,2018(19):146-148.
[3]张玉霞.论文学作品的影视改编[J].山东理工大学学报:社会科学版,2009(04):67-70.
[4]电影制作委员会.“维荣之妻——樱桃与蒲公英”公开电影鉴赏读本[M].东京:扶桑社,2009:21-38.
[5]山口贵义.太宰治作品电影化的可能性[J].YULIIKA,1998(06):211-215.
[6]手塚真.无赖派的电影化——坂口安吾的电影等[J].国文学:解释与教材的研究,2006(12):55-59.
[7]曹文慧.浅析互文性理论与文学作品的影视改编[J].东岳论丛,2013(01):172-175.
[8]刘新业,孙辉.电影艺术中传统文化元素的影响化表达[J].沈阳工程学院学报:社会科学版,2017(03):372-377.
[9]任江辉.社会转型视域下的日本无赖派文学思潮研究[J].湖北社会科学,2015(12):117-122.
[10]任江辉.日本无赖派文学叙事艺术与批评话语的建构[J].沈阳农业大学学报:社会科学版,2018(05):624-629.
[11]张冲.改编学与改编研究:语境·理论·应用[J].外国文学评论,2009(03):207-218.