从《雷雨》到《满城尽带黄金甲》——兼析话剧与电影的文体特质
文体被看成是为某种特别的审美目的服务的完整符号体系或者符号结构。改编自曹禺话剧《雷雨》的张艺谋电影《满城尽带黄金甲》为世人所瞩目，从文体学的角度比较分析《雷雨》和《满城尽带黄金甲》在表达结构、人物性格、主题蕴意等文体特点，更能直观地解读电影改编中借鉴与创新的辩证关系。...
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| Veröffentlicht in: | Neijiang shifan xueyuan xuebao 2010, Vol.25 (1), p.75-78 |
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| container_title | Neijiang shifan xueyuan xuebao |
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| creator | 高卫红 |
| description | 文体被看成是为某种特别的审美目的服务的完整符号体系或者符号结构。改编自曹禺话剧《雷雨》的张艺谋电影《满城尽带黄金甲》为世人所瞩目，从文体学的角度比较分析《雷雨》和《满城尽带黄金甲》在表达结构、人物性格、主题蕴意等文体特点，更能直观地解读电影改编中借鉴与创新的辩证关系。 |
| doi_str_mv | 10.3969/j.issn.1671-1785.2010.01.019 |
| format | Article |
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| fulltext | fulltext |
| identifier | ISSN: 1671-1785 |
| ispartof | Neijiang shifan xueyuan xuebao, 2010, Vol.25 (1), p.75-78 |
| issn | 1671-1785 |
| language | chi |
| recordid | cdi_wanfang_journals_njsfxyxb201001019 |
| source | 国家哲学社会科学学术期刊数据库 (National Social Sciences Database) |
| subjects | 文体学 满城尽带黄金甲 电影 话剧 雷雨 |
| title | 从《雷雨》到《满城尽带黄金甲》——兼析话剧与电影的文体特质 |
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