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摘要互文性是指在创造一个新文本时，两个文本或几个文本之间的联系、转换和吸收。互文性分为两种类型。广义互文性和狭义互文性。前者被用于解构和批判文学文本和社会历史文本的联系。后者用于让互文性的理论变得更加有实践意义和可操作性。所以狭义互文性用来研究改编的电影，因为它更注重文学的深层构建。用互文性来分析改编的电影，涉及到原著小说和各个改编版本之间的关系。电影改编中会涉及历史的、商业的和技术的因素。当我们用互文性的视角来比较《傲慢与偏见》的三个不同版本时，通过研究，本文得出的结论是它们各自独特的特征和闪光点，还有一些随着电影制造发展的改变。28925
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关键词：互文性；电影改编；商业的互文性；历史的互文性
毕 业 论 文 中 文 摘 要
毕业论文外文摘要
Title Interpreting Novel and Film Versions of Pride and Prejudice in Terms of Intertextuality
Abstract
intertextuality means the inner relationship between two or several texts and the transition and absorbing during the creation of a new text. It is pided into two types, generalized intertextuality and narrow intertextuality. The former is used to unscramble and criticize the relation between literary texts and social, historical texts. The latter devotes to making this theory more practical and operable. So the narrow intertextuality is used to study the adapted movies because it pays attention to the deep construction in literature. While analyzing the adapted film work in terms of intertextuality, it refers to the relationship between original novel and connect between every version of the adaptation. The adaptation of a film also contains historical, commercial and technical elements. When we compare the three versions of Pride and Prejudice in the view of intertextuality we can find out their unique features and bright spots, and some changes with the development of the film making.
Keywords：intertextuality; film adaptation; commercial intertextuality; historical intertextuality
Table of Contents
Abstract.Ⅰ
ContentsⅡ
1. Introduction 1
2. The development of intertextuality 1
3. The application of intertextuality in appreciating films 2
4 .Plots 4
5. Image of the characters 6
5.1 Elizabeth 6
5.2 Darcy 7
5.3 Supporting roles 8
6. Arrangements of stage property 9
7. Historical intertextuality 9
8. Commercial intertxuality 11
Conclusion 13
Acknowledgements14
Bibliography 16
1.Introduction
With the development of intertextuality，its theory becomes more comprehensive and it can be used in some new areas, such as interpreting the novel and the adapted films. This essay first introduces the basic concepts and principles in intertextuality, and then applies it to analyze the internal relationship between a novel and its film and TV adaptations. The essay takes several versions of Pride and Prejudice as a case in point to compare these adaptations and the original novel. It analyzes some major characters and minor characters in different film versions. In the end, the essay elaborates the historical and commercial factors reflected in different film versions from the perspective of intertextuality.
2. The development of intertextuality
intertextuality emerged from post-modern cultural context, and it extends the study to non-literary areas (Wu Luyan，2009). It is proposed by Julia Kristeva who is a French post structuralist critic in 1967(Zhu Ronghua，2011). It aims to reveal the principle that dispels authority in the post-structuralism. In this way, people will only pay attention to the work and will not be influenced by the author. According to her, intertextuality is the communication among the writer, readers and even the characters in the texts; interaction between one text and other texts (Qin Haiying，2004). After Julia Kristeva, the scholars in France have been improving the theory of intertextuality(Li Xiaocai, 2008). The theory develops towards two directions: deconstructive criticism and study of culture; poetic and rhetoric. Genette and Lifar Tell study structural intertextuality. The scholars in France mention a little deconstruction while studying intertextuality which is different from American scholars. When it comes into 1970s, the study is transferred to study poetic and rhetoric (Qin Haiying，2004). In the 1980s, intertextuality theory has become a way of studying literature. It becomes more practical. The theory is pided into two types by academic circle: generalized intertextuality and narrow intertextuality(Cao Wenhui, 2013). The generalized intertextuality is also called structuralist intertextuality. It explains the concept broadly, including all kinds of knowledge domains and practice. It regards society, history and culture as texts, too. It aims to break through the structuralist limitation in literature study. And it pides ideology and social history into the domain of literary study. Julia Kristeva’ theory falls within generalized intertextuality(Qin Haiying, 2004). The latter devotes to making this theory more practical and operable. Narrow intertextuality becomes a descriptive tool that studies poetics, rhetoric and semeiology, especially some relation involving quote, allusive, plagiarize and rescript. Genette’s study belongs to narrow intertextuality.