聊斋志异的魅力 ：原著小说与《聊斋电视系列片》的比较 = Charm of strange tales from a Chinese studio : a comparison between original novel and 1986 TV series
Pau, Florence Wei Lin
包玮琳 Pau, Florence Wei Lin
Date of Issue2017
School of Humanities and Social Sciences
蒲松龄的《聊斋志异》是中国文学当中一部经久不衰的短篇文言小说作品，它融合了现实世界与幽冥世界，在反映和批判科举弊端时，也创造了无数人妖恋、人鬼恋的故事来赞颂“情”的伟大与威力。此外，作为一部清代小说，它继承了古代散文的优良传统，情节无论多奇诡曲折都能符合“人情物理”的发展。从 1960 年代起，《聊斋志异》不断被拍成影视作品，《聊斋电视系列片》不仅遵循了原著的创作精神，也细化了许多情节。两者是不同创作者呕心沥血之作，创作时间相隔近三百年。由此，本文会对原著小说与剧中的人物形象、故事情节和思想内涵进行比较，两部作品的迷人之处。笔者发现《聊斋电视系列片》在宏观上与原著较为相似，例如故事中的主要人物、情节和主题。在微观的角度上，二者的区别较为显著，却也正好展现改编者自身的创作精神。 Pu Songling’s “Strange Tales from a Chinese Studio” is one of the most time-honored short classical works of fiction in Chinese literature, containing elements from both the real and supernatural world. The story portrays and criticizes the imperial examinations in ancient China, with an underlying theme of the power and nobility of love, illustrated using romances between humans and supernatural beings like ghosts and demons. Furthermore, the novel inherited the fine traditions of ancient prose: an unexpected yet logical plot and typical characterization. Since the 1960s, “Strange Tales from a Chinese Studio” were often made into films. The television series released in 1986 further refined the plot creatively, channeling the inventiveness of the original stories. Both are works of different creators and were created 300 years apart. This paper will analyze “Strange Tales from a Chinese Studio” by comparison of the characters, plot and ideological content in the classic stories and the modern television series. From a macro view, I discovered that the TV series and the novel are largely similar in terms of the main characters, plot and ideological content. However, from a micro view, the differences between them are obvious and it shows the author’s own creative spirit.
Final Year Project (FYP)
Nanyang Technological University