语图转换与图文共生——论董天野、李祖源对巴金小说《家》的连环画改编  

Intertextuality between Text and Picture:--On Dong Tianye and Li Zuyuan's Adaptation of Family by Ba Jin to the Comic Strip

作　　者：李洪华[1] 肖鹏 LI Hong-hua;XIAO Peng(College of Humanities,Nanchang University,Nanchang,330031,China)

机构地区：[1]南昌大学人文学院,江西南昌330031

出　　处：《井冈山大学学报（社会科学版）》2023年第2期105-112,共8页Journal of Jinggangshan University(Social Sciences)

基　　金：国家社科基金一般项目“20世纪中国文学名著的连环画改编研究”(项目编号:21BZW038);国家社科基金重大招标项目“中国现代文学图像文献整理与研究”(项目编号:16ZDA188)。

摘　　要：巴金小说《家》注重明暗色调的运用和空间场景的描写,为连环画改编提供了良好的视觉化基础。董天野版连环画《家》在充分尊重原著精神的基础上,对小说进行了从文到图的创造性转换,通过新旧冲突传达反封建的思想主题,将政治伦理融入爱情叙事,有意制造出强烈的戏剧性冲突,强化人物的身份特征与阶级属性,从而对原著进行了符合“时代需要”的改编,满足了一般大众读者的审美期待和文化心理。The novel Family by Ba Jin is characterized by the use of light and dark tones and description of space scenes,which provides a good visual basis for adapting novel into comic strip.On the basis of fully respecting the spirit of the original,Dong Tianye's comic book Family creatively turns text into picture,keeping the theme of anti-feudalism through the conflict between the old and the new,integrating political ethic into the love narrative,deliberately creating a strong dramatic conflict,strengthening the identity and class attributes of the characters.This kind of adaptation can meet the needs of the times as well as the aesthetic expectation and cultural psychology of common readers.

关 键 词：巴金 《家》 连环画改编 语图互文 

分 类 号：I207.42[文学—中国文学]