论小说《牡丹灯记》在日本的跨媒介转换——以“落语”为例  

作　　者：周瑛 肖妍 

机构地区：[1]杭州师范大学 [2]杭州电子科技大学

出　　处：《复旦外国语言文学论丛》2024年第2期68-75,共8页Fudan Forum on Foreign Languages and Literature

基　　金：浙江省哲学社会科学重点研究基地“文艺批评研究院”;杭州市社科重点研究基地“杭州文化国际传播与话语策略研究中心”的资助。

摘　　要：中国明代小说《牡丹灯记》在日本传播的过程中,除了被翻译、改写成日本文学作品以外,还打破文学界限对日本其他艺术产生了深远影响。从落语、电影到电视,从江户时代到现代,日本以多种艺术形式对《牡丹灯记》进行了改编与艺术重构,提供了一个文本跨艺术形式、跨中日两国文化、跨时代旅行的典型案例。落语《怪谈牡丹灯笼》从内容与呈现两个方面对原著进行重构与跨媒介转换,使之成为落语作品中的经典,也为小说《牡丹灯记》在日本舞台艺术与综合艺术领域的深入传播发挥了连结作用。从跨艺术诗学视角对《怪谈牡丹灯笼》的艺术重构进行解析,既是对中国古典作品在日本深远影响力研究进行的补充,又是对日本艺术审美特性的探索,还揭示了日本艺术领域的再创作精神对中国典籍与日本大众文化交融所产生的深远影响。The Peony Lantern,a Chinese novel born in the Ming dynasty,has reached well beyond the boundaries of literature in Japan to create a profound impact on other Japanese arts than simply being translated,rewritten or imitated as a Japanese literary reproduction.From the Edo period to modern times,the Chinese original of The Peony Lantern has been adapted and artistically reconstructed to make its presence felt in various Japanese art forms from rakugo,movies to television programs,providing a typical example where text travels across eras and art forms from Chinese culture to Japanese culture.The classic rakugo Tales of The Peony Lantern(Kaidan Botan Doro)is a kind of cross-media transformation and reconstruction of The Peony Lantern both from content and presentation,which has played a connecting role in the in-depth spreading of The Peony Lantern in terms of Japanese stage performance art and comprehensive art.This paper analyzes the artistic reconstruction of Tales of The Peony Lantern from the perspective of interart poetics.It not only supplements the research on the far-reaching influence of Chinese classical works in Japan,but also explores the aesthetic uniqueness of Japanese art.It also reveals the profound influence of the spirit of re-creation in the field of Japanese art on the development of the fusion of Chinese classics and Japanese popular culture.

关 键 词：《牡丹灯记》 落语 跨艺术诗学 跨媒介 艺术重构 

分 类 号：I207.41[文学—中国文学] K248[历史地理—历史学] H36[历史地理—中国史] I046[语言文字—日语] I313.06