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作 者:邱小轻[1] QIU Xiaoqing(Guangdong University of Foreign Studies,Guangzhou Guangdong 510420)
出 处:《山东农业工程学院学报》2018年第7期144-148,共5页The Journal of Shandong Agriculture and Engineering University
基 金:广东省哲学社会科学2015年度共建项目<认知叙事学视角下的现当代童话改写>(批准号:GD15XWW12)阶段性成果
摘 要:《鱼年》(2007年)这部"美国现代童话"英语电影无论从片名、片中人物、叙事视角、故事情节等方面均让熟悉中国文化的观众启动关于中国灰姑娘故事《叶限》和中国传统文化的认知框架。此外,偷渡美国的主人公叶限在纽约唐人街的遭遇,折射了她对唐人街采取自上而下的认知策略是一种认知偏差。认知叙事学强调文类认知规约,注重读者/观众对文本的认知过程,也关注不同文化背景、不同性别、不同阶层的读者/观众的认知过程,关注文本内人物的独特认知。假如我们熟悉中国文化,认可中国传统文化价值观,我们如何看待影片对经典童话叙事框架的改写?对故事发生地——二十一世纪初的唐人街——的认知是否与叶限一样经历了一个修正过程?又如何认识叶限这个现代灰姑娘以及童话这个文体在现当代的功能?本文将从三个方面一一回答这三个问题,试图找出《鱼年》对《叶限》的改写改编策略与意义。A "Modern American Fairy Tale", Year of the Fish (2007) makes audiences/readers who are familiar with Chinese culture activate cognitive framework of Ye Xian, a Chinese Cinderella tale, and of traditional Chinese culture, in terms of title, characters, narrative perspective and plot. The protagonist Ye Xian is an illegal migrant; her struggles in New York's Chinatown reveal that adopting top-down cognitive strategy of Chinatown is a mistake. Cognitive narratology stresses cognitive rules of genre as well as reader/ audience^s cognitive process of text. In addition, it shows concern about the cognitive process of the reader/ audience with different cultures, genders, and classes, as well as about characters' unique cognition. Suppose we are familiar with Chinese culture and identify with traditional Chinese values, how should we look at the film's change of the classical fairy tale]s narrative framework? Do we undergo the same cognitive correction of the 21st-century Chinatown, like Ye Xian? And how are we supposed to understand Ye Xian, a modern Cinderella, and fairy tale's function in 21st century? This paper will try to answer these questions one by one and discuss the strategy and significance of the film's adaptation of Ye Xian.
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