迷你影集《傲慢與偏見》的書信呈現：從《改編理論》看符號翻譯
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2018
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影視改編品和譯文皆難以脫離「忠於原著」的標準，五零年代開始有學者摒棄電影改編「忠實說」的論述，至六、七零年代符號學家將「文本」(text) 的定義拓展至文學作品以外的符號系統，加上「互文性」(intertextuality) 概念興起，動搖原作的地位，進而打破原作優於電影/譯文等既有觀念，有鑑於改編研究和翻譯研究的性質相似，多重共通點因此開啟了往後並置兩研究領域、或改編研究借鏡翻譯領域的論述。
1995 年《傲慢與偏見》迷你影集 (Pride and Prejudice) 被譽為 20 世紀以來最成功的奧斯汀影視改編，加上該作品承襲原著側重書信元素的特性，因此本研究以該影集為對象，以跳脫舊理論框架且較具突破性的《改編理論》(A Theory of Adaptation) 為依據，採用文本分析的方式深究影集中書信場景如何由文字符號轉化為多媒體符號，如音效、音樂、影像等，轉化的過程和效果經歷哪些得與失。全劇書信分為三種呈現方式，關注焦點也相異，第一種為逐字呈現，主要以寫信人旁白和視覺化影像表現全信，這類信件完全打破舊有的改編迷思；第二種為概述呈現，聚焦於讀信場景，創造多重接收層次，簡化信件內容，但深刻描繪讀信人角色；第三種為無呈現信件，聚焦於呈現形式改變的來信，包括完全轉為對話形式，或部分轉為與書信場景分離的視覺化影像，媒材特異性使無呈現信件傳達原著本無設計的效果，但也因形式轉變幅度大，不免流失部分原信精神。深入分析三種書信場景後，本研究歸納出影集必會濃縮原信內容，但反而會運用媒材優勢盡力補足省略處，或以更加簡短有力的文字增補達到與原著同等或更強烈的效果。
Like translation, television or movie adaptations of a literary work have long been trapped in the dilemma of fidelity and are often regarded as “copy” of the original work. During the 1950s, scholars started to abandon the benchmark of fidelity for film adaptations. Later in the 1960s and 70s, researchers in the field of structuralist semiotics introduced the concept of “texts,” and argued that it should share equal status with the literary text. Meanwhile, a newly emerged notion of “intertextuality” dismantled the hierarchy of the “original” and the “copy”. The two ideas allowed both translations and adaptations to no longer be conformed to the stereotype of being inferior to their literary origins. Due to their similarity in essence and dilemma, adaptation studies often juxtaposed with translation studies, and adaptation is regarded as translation “in a very specific sense.” The acclaimed mini-series Pride and Prejudice, broadcasted in 1995, has been regarded as the most successful Austen adaptation since the 20th century. Due to its focus on “letter correspondence,” this thesis intends to study the transformation of this focus from novel to small screen. A text-analysis approach will be adopted to closely analyze the gains and losses during the transformative process, and identify whether the transformation from words to multitrack medium corresponds to the ideas proposed in A Theory of Adaptation (2006). In the mini-series, letter correspondence is divided into three parts, each based on the different ways of showing. Firstly, letters in complete form involve voice-over and visual image, whose advantages enable these letters to debunk all the myths listed in A Theory of Adaptation. Secondly, letters in summary form focus on reader’s role. By creating multi-layer of letter recipients, these letters portray more vivid characters than that in the novel. Lastly, several letters are greatly altered in form, including entirely converting into dialogue or partly turning into visual image that does not appear along with letter scene. Such alterations might enable letters to be more effectively conveyed than the original ones, or might lead to the loss of the original tone. In short, all letters are inevitably condensed and concentrated in the adaptive process, but the mini-series endeavors to create equivalence by exerting medium advantages.
Like translation, television or movie adaptations of a literary work have long been trapped in the dilemma of fidelity and are often regarded as “copy” of the original work. During the 1950s, scholars started to abandon the benchmark of fidelity for film adaptations. Later in the 1960s and 70s, researchers in the field of structuralist semiotics introduced the concept of “texts,” and argued that it should share equal status with the literary text. Meanwhile, a newly emerged notion of “intertextuality” dismantled the hierarchy of the “original” and the “copy”. The two ideas allowed both translations and adaptations to no longer be conformed to the stereotype of being inferior to their literary origins. Due to their similarity in essence and dilemma, adaptation studies often juxtaposed with translation studies, and adaptation is regarded as translation “in a very specific sense.” The acclaimed mini-series Pride and Prejudice, broadcasted in 1995, has been regarded as the most successful Austen adaptation since the 20th century. Due to its focus on “letter correspondence,” this thesis intends to study the transformation of this focus from novel to small screen. A text-analysis approach will be adopted to closely analyze the gains and losses during the transformative process, and identify whether the transformation from words to multitrack medium corresponds to the ideas proposed in A Theory of Adaptation (2006). In the mini-series, letter correspondence is divided into three parts, each based on the different ways of showing. Firstly, letters in complete form involve voice-over and visual image, whose advantages enable these letters to debunk all the myths listed in A Theory of Adaptation. Secondly, letters in summary form focus on reader’s role. By creating multi-layer of letter recipients, these letters portray more vivid characters than that in the novel. Lastly, several letters are greatly altered in form, including entirely converting into dialogue or partly turning into visual image that does not appear along with letter scene. Such alterations might enable letters to be more effectively conveyed than the original ones, or might lead to the loss of the original tone. In short, all letters are inevitably condensed and concentrated in the adaptive process, but the mini-series endeavors to create equivalence by exerting medium advantages.
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書信, 《傲慢與偏見》, 符際翻譯, 改編, 媒材特異性, 赫全, letters, Pride and Prejudice, intersemiotic translation, adaptation, medium specificity, Linda Hutcheon