| dc.contributor | 斯語系 | |
| dc.creator (作者) | 張翰豪 | zh_TW |
| dc.creator (作者) | Jhang, Han-Hao | |
| dc.date (日期) | 2013-07 | |
| dc.date.accessioned | 5-Jan-2015 16:48:49 (UTC+8) | - |
| dc.date.available | 5-Jan-2015 16:48:49 (UTC+8) | - |
| dc.date.issued (上傳時間) | 5-Jan-2015 16:48:49 (UTC+8) | - |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/72631 | - |
| dc.description.abstract (摘要) | 1962年，導演庫柏力克（Stanley Kubrick, 1928-1999）將納博科夫的英文長篇代表作《蘿莉塔》（Lolita, 1955）搬上大螢幕，引起轟動，也讓作家成為美國家喻戶曉的作家。之後納博科夫的作品遂成為電影工作者爭相翻拍的對象。研究者歸納出納氏受到電影工業關注的原因有三個：首先，《蘿莉塔》電影版帶來高票房收益，電影工作者因此注意到納博科夫的寫作功力；其次，納氏的寫作題材不脫兩個大眾化元素：「愛情」與「死亡」；最後，作家的寫作風格帶有「電影特質」（cinematic qualities），使讀者在閱讀過程中產生有如看電影般的視覺意象。蘊含電影特質的書寫風格是一種寫作手法的展現，同時也是「看」電影與「讀」小說兩種不同「觀看」方式的轉換。因此本文擬以「鏡頭運動」、「剪接」與「聲音」三種電影語言分析納氏早期短篇小說〈喬布的歸來〉（Возвращение Чорба, 1925），討論作者如何運用電影語言活化文字，創造有聲有色的電影意象。更重要的是，歸納出該寫作手法代表的創作意涵。 | |
| dc.description.abstract (摘要) | In 1962, the director Stanley Kubrick made Nabokov’s novel Lolita to the big screen. The adaption caused sensation, and it made the author of the novel a household name in the United States. Afterwards, tons of movie producers started to adapt Nabokov’s other works, which contributed the author to be one of the most screened writers in the 20th century. Polish researcher E. Mazierska indicated that there are three factors that put Nabokov’s works in the spotlight among the movie industry. Firstly, the sucess of Lolita proved Nabokov a profitable writer. Therefore, Nakokov’s name became the center of attention, especially in 1960s and 1970s. Secondly, Nabokov’s books include two key elements which are attractive for moviegoers: romance and death. Thirdly, his books contain “cinematic qualities” that result in readers` film imagery when reading the books.Cinematic quality in writing is one of the writing characteristics that distinguish Nabokov from others. Meanwhile, it shows the diversity of the way of looking, emphasizing the “transition” between “watching” a movie and “reading” a book. Hence, this paper is going to analyze Nabokov’s early short story The Return of Chorb, investigating the cinematic qualities of the story from three cinematic languages – camera movement, editing, and sound. Furthermore, we would like to conclude the meaning behind these stylistic writing skills. | |
| dc.format.extent | 594298 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 俄語學報, 22, 185-202 | |
| dc.subject (關鍵詞) | 納博科夫 ; 喬布的歸來 ; 觀看的方式 | |
| dc.subject (關鍵詞) | Nabokov ; The Return of Chorb ; Ways of seeing | |
| dc.title (題名) | 論納博科夫短篇小說〈喬布的歸來〉之電影意象 | zh_TW |
| dc.title.alternative (其他題名) | On Cinematic Images in Nabokov’s short story The Return of Chorb | |
| dc.type (資料類型) | article | en |
