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主持人话语 :在媒介与文学的关系上 ,有一个问题不能被忽视 :媒介变化在多大程度上影响到文学 ?对此 ,京味文学的当前命运可以成为一个合适的个案。媒介通常是指传播信息的物质实体及与之相应的媒介组织 (如广播、电视、报纸、杂志和国际互联网等 ) ,而文学媒介是指文学的语言系统得以传播的外在物质形态及渠道 ,包括口语、文字、印刷、大众和网络等媒介类型。现代文学的主导媒介常常是机械印刷媒介如书籍、报纸、杂志。而文学的一些交叉形态如广播文学、电视文学、电影文学和网上文学等则以广播、电视、电影和网络等电子媒介传达。可以一般地说 ,没有媒介就不存在文学。问题在于 ,当 2 0世纪 80年代末以来的京味文学不仅由通常的机械印刷媒介去传输 ,而且同时也被电影和电视等电子媒介去传输或变异地传输时 ,原有的文学信息会产生怎样的变化呢 ?我的观点是 :媒介的改变 ,并不仅仅意味着传媒技术手段的简单改变 ,而且 ,在由多种因素所形成的特定文化语境条件的综合作用下 ,更意味着文学本身在地位、语言形态、审美方式、人物形象、文化类型等方面的全面变化。刘恒的小说《贫嘴张大民的幸福生活》被改编成电影和电视后 ,其由张大民形象集中承担的看似轻松而实沉重的生命体验就在改编过程中被淡化了 ,而这
Moderator: There is a problem that can not be ignored in the relationship between media and literature: to what extent does media change affect literature? The current fate of Beijing-style literature can be a suitable case. Media usually refers to the physical entities that disseminate information and corresponding media organizations (such as radio, television, newspapers, magazines and the Internet, etc.), while literary media refers to the external material forms and channels through which the linguistic system of literature is spread. Including speaking, writing, printing, the public and the Internet and other media types. The dominant medium of modern literature is often mechanical print media such as books, newspapers, magazines. Some of the cross-cultural forms of literature such as radio literature, television literature, cinema literature and online literature are conveyed through electronic media such as radio, television, movies and the Internet. Generally speaking, there is no literature without media. The problem is that what happened to the original literary message when the Beijing-based literature since the late 1980s was not only transmitted by the usual mechanical print media, but also transmitted or transmitted variably by electronic media such as film and television My point of view is that the change of media does not mean merely a simple change in the means of media technology, but also means that literature itself, under the combined effects of certain cultural and cultural contexts formed by many factors In the status, language morphology, aesthetic approach, the image of the characters, cultural types and other aspects of the overall change. Liu Heng’s novel “Happy life with disgruntled Zhang Da-min” was adapted into a movie and television, and the seemingly relaxed and heavy-looking life experience absorbed by Zhang Da-min’s image was diluted in the adaptation process,