摘要
新时期以来社会话语生成的多元性趋向和权威性理念走向对话的文化语境使得反讽修辞受到充分重视,电影编导们对原作中的言语反讽和情景反讽进行借鉴创新,进一步扩充反讽修辞的展现视阈和表达深度,但同时也因文本样式的差异而出现无奈割舍和流于表层的错位现象,因此正确认识和积极发挥反讽以解构和超越权威的价值立场游走在现代主义和后现代主义审美场域之间的表达优势,仍是文学和电影创作的重要艺术生长点。
In the new era, irony rhetoric receives much attention as a result of the diversity of social discourse utterance and the context shift from authority to dialogue. Chinese film play writers and directors absorb the verbal irony and situational irony contained in original written works, then recreate new styles which further expands the depth and horizon of the irony rhetoric. However, due to the text genre differences the adaptations encounter such disorders as reluctant omissions and superficial representation. Irony is an approach which wanders between the modernist and the postmodernist aesthetic fields through deconstruction and transcending of authoritative values. Proper understanding and use of the expression advantage of irony remains a key artistic source for literature and film creation.
出处
《井冈山大学学报（社会科学版）》
2012年第4期119-123,共5页
Journal of Jinggangshan University(Social Sciences)
关键词
反讽
新时期
改编
电影
文学
irony
new era
adaptation
film
literature
