超越“改编模式”：“扩散性文学”的当代特征

Beyond the“Adaptation Paradigm”: The“Spreadable Literature”and Its Contemporary Characteristics

面对日益多变的多媒体时代,文学性及其存在和传播方式的问题需要新的理论取径。在对中外实例的观察基础之上,本文提出"扩散性文学"的概念,以超越占主流地位的"改编模式"的理论视野,致力于讨论文学改编电影/电视剧的"改编模式"执着于线性传播逻辑,既忽视了古代民间文学强大的扩散性传统,又难以阐释在当下复杂的、本文新提出的"扩散性文学"的跨媒体叙事结构。从文学形式来看,"扩散性文学"力求建构一个另类世界,让人物和故事在其中得到不断创造和改写;在流通模式上,"扩散性文学"不再必然以小说为中心,越来越强大的游戏工业占据了新一轮文学扩散的龙头地位。"扩散性文学"不是也不应该是当下文学性存在和传播的唯一样式,但它提供的网状的、全局观的思维模式,可以超越案例而成为理论取径的范式可能。

In the era of fast changing multimedia environment,the problem of the literariness and its formats of existence and communication require new theoretical approaches. On the basis of empirical observations of some concrete cases in China's Mainland and abroad,this paper proposes the concept of'spreadable literature'to expand the theoretical vision of the mainstreamed'adaptation paradigm. 'The'adaptation paradigm'focuses on the studies of film and televisual screen adaptations of literary works and follows the linear communication logic,which not only eschews the strong tradition of the spreadability of ancient folk literature but also fails to help us understand the complex transmedia narrative structure termed as'spreadable literature'in this paper. In terms of literary forms,'spreadable literature'aims to construct an alternative world that may provide a space for multiple characters and stories to be developed and rewritten. In terms of circulation conditions,'spreadable literature'may displace the centered status of the fiction,giving way to the game industry for its increasingly pivotal role in the creative process of story development. While'spreadable literature'is not and could not be the only form of the existence and communication of literariness,the netted holistic mode of thinking it provides can be a new theoretical approach.