论武侠小说的视觉化

The Visuality in WuXia Novels

在金庸和古龙之后,武侠小说的发展一直没有瓶颈式的突破,虽然经过司马翎和温瑞安等人的拓展,武侠小说也有新的改变,但是没有媲美天才的金庸和鬼才的古龙作家出现,难于带起新一波的武侠浪潮。直到九十年代黄易——一个绘画科班出身,喜欢看电影、喜欢打游戏的武侠作家的出现,用自己独特的语言和借鉴电影的各种手法,写出了一系列视觉风格强烈的作品,给自八十年代末到九十年中沉寂的武侠小说文坛带来了新气象。究竟武侠小说视觉化的写作是在作家在一代代手中是怎么呈现的?由谁完成视觉化的初步转换的?这正是该文探讨的问题。

After Gulong and JinYong, the development of New School Wuxia novels seems to have suffered from bottleneck restrictions. The author who is ＂Searching for novelty, reform andbreakthough＂ （Gulong） no longer exist. However, HuangYi is a reformer of the contemporary Wuxia novels because his novels shows not only abundant knowledge of Astrophysics, Geography, Music, Painting and Architecture but also the western reasoning, psychology and philosophy etc. In order to adapt his novels to the graphic -reading era, he have made us of the film -making methodology, such as montage, tension ereated by ＂picture＂. This paper takes a foscal point in how the visuality is presented in different generations？. Who completes the primary trans.formation？