超越“改編模式”：“擴散性文學”的當代特徵

面對日益多變的多媒體時代，文學性及其存在和傳播方式的問題需要新的理論取徑。在對中外實例的觀察基礎之上，本文提出“擴散性文學”的概念,以超越占主流地位的“改編模式”的理論視野，致力于討論文學改編電影/電視劇的“改編模式”執著于線性傳播邏輯，既忽視了古代民間文學強大的擴散性傳統,又難以闡釋在當下復雜的、本文新提出的"擴散性文學"的跨媒體敘事結構。從文學形式來看，“擴散性文學”力求建構一個另類世界，讓人物和故事在其中得到不斷創造和改寫；在流通模式上，“擴散性文學”不再必然以小說為中心，越來越強大的游戲工業占據了新一輪文學擴散的龍頭地位。“擴散性文學”不是也不應該是當下文學性存在和傳播的唯一樣式,但它提供的網狀的、全局觀的思維模式，可以超越案例而成為理論取徑的范式可能。
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 mainland China 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. Copyright © 2014中國文藝理論學會;華東師范大學.