The Cross-cultural Adaptation of Western Literature----Setting Hamlet and the Banquet as an Example大学生毕业论文.docVIP

PAGE PAGE 31 西方经典文学在中国的跨文化改编： 以《哈姆雷特》与《夜宴》为例 摘要: 影视作品与大众媒体是文化习得的最大来源之一。研究由西方文学改编的东方影视作品可发现对原著的解构重组，揭示跨文化改编中文化的碰撞、渗透与交融。本文主要以西方经典《哈姆雷特》与由其改编的《夜宴》为例，从比较文学角度通过对两部作品的异同分析，以及从接受美学角度对不同文化背景观众读者对两者的评价分析，采用变异学中异质文明的沟通和对话的视角看待二者不同,挖掘跨民族文化交往中文学变异的事实。 关键词：哈姆雷特；夜宴；跨文化改编；比较文学；接受美学；文学变异 The Cross-cultural Adaptation of Western LiteratureSetting Hamlet and the Banquet as an Example Abstract: Culture is learned, and films and mass media are the most influential in learning culture. The study on the Eastern film adapted from Western classic literature reveals the deconstruction and reconstruction of the original work, so as to verify the interaction of different cultures. By setting the example of Hamlet and The Banquet, the article analyzes the similarities and differences of the two works and the reflection of the audience with different cultural backgrounds towards them. At the end of the essay, regarding the differences from the perspective of variation studies in comparative literature, it will dig out the fact of variation occurring during the communication of different cultures. Key words: Hamlet; The Banquet; intercultural adaptation; comparative literature; reception aesthetics; variation The Cross-cultural Adaptation of Western Literature Setting Hamlet and the Banquet as an Example 1. Introduction 1.1 The current situation of the study of cross-cultural adaptation Cross-cultural adaptation is the product of the interaction of different cultures and a cultural phenomenon of globalization. Complicated as the reason and diverse as the forms of the cross-cultural adaptation may be, the scholars around the world try to conclude the concepts and classify the theories. In the recent decade, the research on the cross-cultural adaptation has caused the worldwide repercussions among the theater theorists. (Zhu and Que, 2011) As the pioneer of cross-cultural adaptation theories, German theater theorist Erika Fischer-Lichte argues that the diverse development of the modern dramas