藝術形式轉換與符號之過渡－談《一千零一夜》框架敘事手法之再現

Transference of Interarts and signs: The Representation of Frame Narrative in The Arabian Nights

許玉燕(U-Yien Xhu)

《兒童文學學刊》 8期 (2002/11) Pp. 231-261

https://doi.org/10.6739/ttchl.200211_(8).0011

摘要

我們在各種藝術創作形式中均可發現框架手法的展現，然而，盱衡目下所見以兒童與青少年文學為讀者對象的《一千零一夜》中譯改編本，卻多數摒棄這項藝術特色，不僅未能忠實傳達原著精神，同時亦失卻表達更深一層文學文化意涵的機會，實殊為可惜。我們將文學各個層面的討論（不論其對象為成人或兒童）範疇擴大，藉由多層次與跨領域語彙的對照思辨，讓我們看到跨藝術形式再現所體現的多元詮釋空間。本篇論文中筆者從以上的思起點出發，以巴索里尼（Per-Paolo Pasolini）改編自《一千零一夜》的影片為對照，藉此凸顯框架敘事手法在跨藝術文本之應用情形。並說明結合視覺符號的再現過程中。藝術家如何處理異質符號的轉換與內在指涉的議題。此間將闡述巴索里尼如何藉由文字文本的擷取，經過何種思考前提與過程，進而凝鍊為跨越藝術媒介的成功之作，並且嘗試說明創作者如何讓藝術形式本身扮演說話者的角色。以拉開讀者閱讀的距離，思索文本創作引發讀者自主思考的可能性。面對後現代風潮衝擊下的各階層讀者，透過一種深具反省與思辨特質的閱讀模式，在感受現實與虛構的爭戰中，去體嚐深藏於底層的生命真實，相信這也是藝術家經由再現的過程所能想像得到的最豐美果實。

關鍵字

框架敘事 ； 一千零一夜 ； 巴索里尼 ； 跨藝術 ； 再現 ； 敘事學 ； 兒童文學

並列摘要

The frame narrative, including the concept of stories within stories is widely used in post-modern literature, but seldom seen in the field of children's literature. In spite of being an important narrative technique in the original text of The Arabian Nights, those who translated it into Chinese for young people disregarding this significant characteristic, also rejecting the essence of this text. We may broaden our exploration to the interarts' and multi-linguistic representation in order to study the artists thinking process, what they want to communicate and how the readers receive and respond. In present article, I'll mention the concept of representation in the transition period between Realism and Post the transference of interarts and signs in Pier-Paolo Pasolini's film ＂Il fore delle mille e una notte＂. And I will compare with the original text through this self-reflexive writing and reading, to learn what and how the artists communicate and the readers may receive.

並列關鍵字

frame narrative ； The Arabian nights ； Pasolini ； interarts ； representation ； narratology ； children's literature