摘要
从20世纪80年代到90年代初期,包括《莫瑞斯》在内的五部福斯特小说被相继改编成电影,福斯特电影改编也相应成为福斯特研究中的一个重要组成部分。鉴于先前文学研究和改编批评对克莱夫身份问题认识的不足,本文将从互文对话的角度对小说和电影《莫瑞斯》进行比较研究,通过考察影片在塑造克莱夫这一人物形象上对小说文本所做的修改、增删来讨论二者在同性恋身份建构方面所涉及的社会历史根源、个人创作意图和相应叙事模式。借助影片对恐同社会情绪的强调及对克莱夫作为受害者身份的重塑,本文将反观小说在克莱夫身份建构问题上所存在的表面矛盾性和深层统一性,进而揭示小说对柏拉图式同性恋观进行嘲讽和批判的实质。
From the 1980s to the early 1990s,five novels by E.M.Forster including Maurice were adapted into films;and the Forsterian adaptations have become an important field in the study of E.M.Forster.Since the previous criticism has left the homosexual identity of Clive as an unsolved problem,this paper intends to do a comparative study on fiction and film from the perspective of intertextual dialogism,discussing the filmic modification,addition,and deletion in relation to the construction of Clive's homosexual identity,and exploring the corresponding socio-historical backgrounds,personal intentions and narrative modes behind different textual arrangements.Comparing the filmic emphasis on homophobia in explaining Clive's change of sexual orientation with the novel's treatment on the same issue,this paper will further examine the fiction's superficial incongruity and innate integrity in constructing Clive's homosexual identity,unveiling Forster's ironic and critical attitudes towards the Platonic homosexual conception.
出处
《外国文学》
CSSCI
北大核心
2010年第1期139-148,共10页
Foreign Literature
