研究貢獻與未來發展

總的來說， 1995《傲》由文字符號改編為影視符號的過程中，改編者並非 以文字忠實為主要依歸，而是遵照自身理念和時代主流觀點詮釋原著，再運用多 媒體素材和媒材優勢，打造一全新作品，自過去《傲慢與偏見》的影視改編中脫 穎而出，一方面成功引起原作讀者的廣大迴響，另一方面也迷倒眾多不熟悉原文 本的閱聽人，甚至反過來帶領後者認識原作，正因如此，1995《傲》迄今地位屹 立不搖，即便過了二十年仍被視為經典改編。

第二節、研究貢獻與未來發展

講述形式至展示形式的符際翻譯已廣為學者討論，但這個改編方向學術研究 仍多局限於電影改編，影集改編的專門研究相對較少，電影和影集雖然同為多媒 體形式，但兩者在片長限制、投入資金、發展規模以及所得效果都有差異，因此 難以將電影改編的相關論述完全套用至影集改編。本研究即試圖從媒材限制和優 勢、改編者理念、時代背景等因素出發，檢視 20 世紀的影集如何詮釋 19 世紀 末的小說，也就是剖析小說至影集的改編過程和成果。

本研究的結論或研究模式或可套用至三個新的研究主題。第一，可並置 20 世紀以來《傲慢與偏見》的所有影視改編，檢視不同時空下，電影或影集對於同

一文本、同為書信元素，有何不同的翻譯/詮釋原則，背後的成因又如何。第二，

可擴大檢視奧斯汀其他小說作品，雖然後期的六部小說皆非書信體，但都強調利 用書信建構角色或推進情節，因此，不同改編者 (或甚至同一改編者) 對於奧斯 汀筆下的書信元素，有什麼樣的詮釋和表現，與改編者本身的經歷或大時代背景 有何關係，也會是值得論述的主題。第三，講述形式改編至展示形式，且改編後 仍結合部分講述表現，這一類符際轉換其實不限於書信元素，若跳脫書信改編，

其餘如日記體或第一人稱旁白的小說，亦可套用本論文的研究模式，探討書頁躍 上大/小銀幕的過程，採用哪些翻譯/改編策略，同時檢視改編者決策和時代背景 對改編成果的影響。

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