敘事學的跨媒介探索──契訶夫作品及其改編

Abstract

論文以敘事學理論為進路，探討契訶夫作品在短篇小說、戲劇與電影三種藝術形式之間的跨媒介轉換比較。藉此，開展五項核心議題：人物與細節、空間、敘事的距離、敘事者與聚焦、敘事層次。 當（同樣的）故事內涵，跨越不同藝術形式時，其敘述形式、內容呈現與美學意涵會產生何種變化？形式與內容之間如何相互影響與再造？這些問題的探討，標誌了敘事學研究的必要拓展方向，也為契訶夫的文學評議提供新詮。故事內涵轉換的過程中，必然伴隨形式要素、表義策略的重組。相異的媒介，各自不同的敘事技藝、美學成規，在本質上形塑了特定內容樣態。作品的豐美與生動，常溢乎理論。本文期望在作品與理論之間尋求一個適當平衡點，以前者檢核、推證後者，令後者充實、深化前者，琢磨二者之間的往復互動關係，而敘事學理論的跨媒介適用性與延展性，將同獲驗證。 敘事的形式並非總是附屬於內容，它與內容相互影響，有時成為內容本身（生成的條件）。本文藉由考察契訶夫作品，展示敘事學作為一種開放的詮釋框架，在不同藝術形式之間尋求的對話與共鳴。研究發現，不同藝術形式各自有其擅長的敘事話語：質地敏銳、表義繁複。它們催生新的作品肌理與況味，無可取代。此與故事之跨媒介可轉換性並無扞格，當架構另起，素材與內涵各有翻新。契訶夫之文學（精神）遺產，乃於歷史進程中之各式改編作品衍生，獲得詳緻的參照系譜，更形確立自身的內核與探勘潛質。

This dissertation employs narratology as its theoretical framework to examine how Anton Chekhov’s works transform across three distinct artistic forms: short stories, drama, and film. Through comparative analysis, it investigates five core narrative dimensions: character and detail, space, narrative distance, narrator and focalization, and narrative levels. When identical narrative content crosses different artistic forms, how do its narrative modes, forms of presentation, and aesthetic dimensions shift? How do form and content mutually influence and transform each other? These questions mark an essential direction for narratological inquiry and offer fresh interpretive perspectives on Chekhov’s literary discourse. The transposition of narrative content necessarily entails a reconfiguration of formal elements and signifying strategies. Each medium, governed by its own narrative techniques and aesthetic conventions, fundamentally shapes how specific content manifests, and acquires distinctive texture. The richness and vitality of literary works often exceed what theory alone can capture. This study seeks an appropriate balance between textual evidence and theoretical framework—using works to test and substantiate theory, while allowing theory to enrich and deepen textual interpretation. Through this reciprocal engagement, the intermedial applicability and extensibility of narratological theory are simultaneously demonstrated and validated. Narrative form is not merely subordinate to content; it reciprocally shapes content and sometimes becomes constitutive of content itself. By examining Chekhov’s works, this study demonstrates how narratology functions as an open interpretive framework that enables dialogue among different artistic forms. The research shows that each artistic medium possesses its own narrative strengths—refined texture and layered signification—producing distinctive textual configurations and aesthetic effects that remain irreplaceable. This does not contradict the adaptability of narrative across media; rather, each adaptation reconfigures structure while reimagining specific materials and meanings. Chekhov’s literary heritage, as manifested through varied adaptations across history, thus acquires a more precise genealogical framework that further consolidates its essential core and exploratory potential.