2024_07_29_92167bba65a932427f18g

Pride and Prejudice and the adaptation genre
《傲慢与偏见》和改编体裁

Abstract 摘要

Following from the work of Thomas Lcitch (2008) and Christine Geraghty (2009), adaptations that position themsclues as adaptations are considered in relation to an coolving definition of an adaptation genre. In particular; Pride and Prejudice is regarded as a template for such a genre, a genre signified by a period setting; period music; a focus on intertitles, words, books and authors; the foregrounding of 'new' nedia; the inclusion of artwork in the sets or in the mise-en-scène; implicit or explicit tributes to the author; and an appeal to a female audience through the inser: tion of female-friendly cpisodes. The films Pride and Prejudice (1940), Pride and Preiudice (2005) and Becoming Jane (2007) are examined in relation to this concept of the genre 'adaptation'.
根据托马斯-利奇（Thomas Lcitch）（2008 年）和克里斯蒂娜-杰拉蒂（Christine Geraghty）（2009 年）的研究成果，我们根据对改编类型的冷静定义，对将自己定位为改编作品的改编作品进行了研究。尤其是，《傲慢与偏见》被视为这种类型的模板，这种类型的标志是时代背景；时代音乐；对字幕、文字、书籍和作者的关注；对 "新 "媒体的重视；在布景或场景中加入艺术品；对作者的含蓄或明确的致敬；以及通过插入女性喜爱的情节来吸引女性观众。我们将根据 "改编 "这一概念，对电影《傲慢与偏见》（1940 年）、《傲慢与偏见》（2005 年）和《成为简》（2007 年）进行研究。

George Bluestone devoted a chapter to Pride and Prejudice in the first fulllength study on the relation of film and literature (Bluestone 1957: 117), noting that the novel provided a virtual template for a Hollywood romantic comedy.

This observation was continued by the author of the 1995 screenplay, Andrew Davies, who has commented in a published discussion that Austen was his favourite writer to adapt because she left no stone unturned, providing a gift to any screenwriter taking her work on (Davies 2007: 239-51)
乔治-布鲁斯通（George Bluestone）在第一部关于电影与文学关系的长篇研究著作《傲慢与偏见》（布鲁斯通，1957 年：117 页）中专门有一章论述奥斯汀，指出这部小说为好莱坞浪漫喜剧提供了一个虚拟模板。

1995年剧本的作者安德鲁-戴维斯（Andrew Davies）延续了这一观点，他在一次公开讨论中评论说，奥斯汀是他最喜欢改编的作家，因为她不遗余力，为任何接受她作品的编剧提供了一份礼物（Davies 2007: 239-51)

Indeed when vou think of the archetvval film adaptation, Austen, and invariably Pride and Preiudice, spring to mind. If there is such a thing as an adaptation genre, Pride and Prejudice is at the heart of it, and I suggest that it is the narrative itself that furnishes the genre with identifiable rhetorica devices or signifiers. While recent adaptation studies have moved awvay from
事实上，一提到改编电影，人们就会想到奥斯汀，而且总是会想到《傲慢与偏见》。我认为，正是叙事本身为这一流派提供了可识别的修辞手段或符号。虽然近期的改编研究已经摆脱了

KEYWORDS 关键词

adaptalion genre Jane Austen
改编体裁简-奥斯汀

Pride and Prejudice romantic comedy biopic
《傲慢与偏见》浪漫喜剧传记片

2 The later episodes of Dallas increasingly took hiterary titles. such as Paradise Lost A Tale of Two Cines Decine and Fall, Fathers and Sons, or variations on literary classics, such as Phanton of the Oil Rig. While it is difficult to draw narrative parallels to the texts referenced in the Litles, the overall story of Dallas is not unlike that of pride and Prejudice, ending with 'the second chance offered to .R. and Sue Elen. the so-called tyranny of literature in order to expand the field to popular forms such as video games and theme parks (Hutcheon 2006) or to champion nonliterary influences, such as costume, sound, space and setting (Geraghty 2008), adaptations that explicitly position themselves as adaptations, as described by Thomas Leitch (Leitch 2008), demand something akin to a return to a concept of the literary, the features of which can be found in what is arguably the most adaptable of all novels: Pride and Prejudice.
2 《失乐园》后期的剧集越来越多地采用了文学名著的标题，如《失乐园》、《双城记》、《父与子》，或文学经典的变体，如《钻井平台上的潘顿》。虽然很难在叙事上与《Litles》中提到的文本相提并论，但《达拉斯》的整体故事与《傲慢与偏见》并无二致，以 "提供给.R.和苏-艾伦的第二次机会 "结束。正如托马斯-雷奇（Thomas Leitch，2008 年）所描述的那样，改编作品如果明确将自己定位为改编作品，就需要某种类似于文学概念的回归，而文学概念的特征可以在《傲慢与偏见》这部可以说是所有小说中最容易改编的作品中找到：傲慢与偏见

There has been an overwhelming number of adaptations of Austen's novel since the advent of sound, fully endorsing Bluestone's observation in 1957. A select list throws open the overwhelming problem facing anyone in adaptation studies: where to stop. When does an adaptation cease to be an adaptation? Recently there have been adaptations, ranging from the allegedly respectful to the downright irreverent. Since the advent of sound, there has been at least one 'straight' Pride and Prejudice every decade:
自有声电影问世以来，奥斯汀小说的改编作品可谓铺天盖地，充分印证了布鲁斯通在 1957 年提出的观点。一份精选的清单揭示了改编研究中任何人都面临的一个棘手问题：改编到哪里才算停止？改编作品何时不再是改编作品？近来，改编作品层出不穷，从所谓的尊重改编到完全不尊重改编，不一而足。自有声电影问世以来，每十年至少有一部 "正版"《傲慢与偏见》问世：

1938 Pride and Prejudice (1938 TV)
1938 年《傲慢与偏见》（1938 年，电视）
1940 Pride and Prejudice (film)
1940 《傲慢与偏见》（电影）
1949 Pride and Prejudice (NBC)
1949 《傲慢与偏见》（NBC）
1952 Pride and Prejudice (BBC mini series)
1952 《傲慢与偏见》（BBC 迷你剧集）
1958 Pride and Prejudice (BBC mini series)
1958 《傲慢与偏见》（BBC 迷你剧集）
1967 Pride and Prejudice (BBC mini series)
1967 《傲慢与偏见》（BBC 迷你剧集）
1979 Pride and Prejudice (BBC mini series)
1979 《傲慢与偏见》（BBC 迷你剧集）
1995 Pride and Prejudice (BBC mini series)
1995 《傲慢与偏见》（BBC 迷你剧集）
2003 Pride and Prejudice: A Latter Day Comedy (film)
2003 年《傲慢与偏见后期喜剧（电影）
2004 Bride and Prejudice (film)
2004 《新娘与偏见》（电影）
2005 Pride and Prejudice (film).
2005 年《傲慢与偏见》（电影）。

Recently, there have been adaptations, ranging from explicit to implicit borrowings from the novel:
最近，又有一些改编作品，从明示到暗示地借用了小说的内容：

Lost in Austen, 2008
《迷失在奥斯汀》，2008 年
Miss Austen Regrets, 2008
奥斯汀小姐的遗憾，2008 年
Becoming Jane, 2007 成为简，2007 年
The Jane Austen Book Club, 2007 (book: 2004)
简-奥斯汀读书俱乐部，2007 年（书籍：2004 年）
Bridget Jones's Diary, 2001 (book: 1996)
《布里奇特-琼斯的日记》，2001 年（图书：1996 年）
You've Got Mail (1998)
《你有邮件》（1998）
Pretty Woman (1990) 《风月俏佳人》（1990 年）
When Haryy Met Sally (1989)
《当哈里遇见莎莉》（1989 年）
Episode of Dallas entitled Pride and Prejudice (July 7, 1989).2
达拉斯》中名为《傲慢与偏见》的剧集（1989 年 7 月 7 日）2。
Beauty and the Beast (1987)
《美女与野兽》（1987）

Pride and Prejudice, most readers' favourite Austen novel, also finds its way into other Austen adaptations, such as the recent Andrew Davies television adaptation of Sense and Sensibility (2008). While Pamela Church Gibson observes as many similarities to Emma Thompson's film adaptation as to Austen's novel (Gibson 2009), at a pivotal moment of Davies's adaptation, however, Marianne confesses to Elinor that she has agreed to marry Colonel Brandon, whereupon Elinor, echoing Elizabeth Bennet ('perhaps, if I have very good luck, I may meet with another Mr Collins in time' (359)) responds with the repost that perhaps, if she is extremely lucky, another Colonel would propose to her. The similarities do not end here. Marianne, post Willoughby, visits Colonel Brandon's house and is allowed to play on his shiny, state-of-the-art pianoforte.
傲慢与偏见》是大多数读者最喜爱的奥斯汀小说，也被改编成其他奥斯汀作品，如最近安德鲁-戴维斯（Andrew Davies）改编的《理智与情感》（2008 年）。虽然帕梅拉-丘奇-吉布森（Pamela Church Gibson）认为《理智与情感》与艾玛-汤普森（Emma Thompson）改编的电影和奥斯汀的小说有很多相似之处（吉布森，2009 年），但在戴维斯改编的一个关键时刻，玛丽安向埃莉诺坦白，她已经同意嫁给布兰登上校、埃莉诺回应伊丽莎白-班纳特（"也许，如果我运气好的话，我可能会及时遇到另一位柯林斯先生"（359））时，转口说，如果她运气好的话，也许会有另一位上校向她求婚。相似之处还不止于此。在威洛比之后，玛丽安拜访了布兰登上校的家，并被允许在他那闪亮的先进钢琴上弹奏。

Her silent admiration of the house and gardens and her softening looks to Brandon clearly echo Elizabeth's astonishment and transformation upon first viewing Pemberley. When I put this to Andrew Davies in a public conversation in Leicester, March 2009, his eyes lit up at his recollection of similarities between this sequence and his declared favourite scene in his own adaptation of Pride and Prejudice: Elizabeth's playing of the pianoforte to an enthralled Darcy at Rosings. Davies exclaimed 'oh yes', Marianne begins to change once she sees his home for the first time and is allowed to let her fingers rove all over Brandon's impressive and very large instrument.
她对房子和花园的默默赞叹，以及对布兰登柔和的眼神，显然与伊丽莎白第一次看到彭伯里时的惊讶和转变相呼应。2009 年 3 月，我在莱斯特的一次公开谈话中向安德鲁-戴维斯（Andrew Davies）提到这一点时，他眼睛一亮，因为他回忆起这段情节与他自己改编的《傲慢与偏见》中他最喜欢的场景之间的相似之处：伊丽莎白在罗新斯为陶醉其中的达西弹钢琴的场景。戴维斯惊呼 "哦，是的"，玛丽安第一次见到达西的家，并被允许让手指在布兰登那架令人印象深刻的大型钢琴上游弋时，她就开始改变了。

For me this is a quintessential adaptation moment, something we expect and look for in an adaptation that self-consciously positions itself as an adaptation. The pianoforte features in Austen's novels as a must-have object, an object of desire and a site of erotic attraction. (Witness, for instance, Frank Churchill's gift of the pianoforte to Jane Fairfax in Emma or Marianne's constant recourse to the pianoforte in Sense and Sensibility, to vent feelings she is unable to articulate in society.) In the novel and in the adaptations, the music speaks another, often forbidden, language, visually eroticized by the fingers caressing the instrument's keys.

对我来说，这是一个典型的改编时刻，是我们在有意识地将自己定位为改编作品的改编作品中所期待和寻找的。在奥斯汀的小说中，钢琴是必备之物、欲望之物和情欲之物。(例如，《爱玛》中弗兰克-丘吉尔将钢琴赠与简-费尔法克斯，《理智与情感》中玛丽安不断使用钢琴来宣泄她在社会中无法表达的情感）。在小说和改编作品中，音乐是另一种语言，往往是被禁止的语言，手指抚摸琴键的动作在视觉上使音乐充满情色意味。

Rather than range across the many forms that an adaptation of Pride and Prejudice can take, too many to mention here, I would like to think about adaptations of Pride and Prejudice that define themselves as adaptations, in particular three major film adaptations of Austen's novel: Robert Z. Leonard's 1940 adaptation, Joe Wright's 2005 adaptation and Julian Jarrold's biopic adaptation of Pride and Prejudice, Becoming Jane (2007). Among others, one of the features identifying these films as adaptations is that pianoforte moment. Against the tide of criticism that seeks to extend the idea of adaptations to forms that conceal, forget or transform their literary origins,

Thomas Leitch has noted generic features of an adaptation per se in an article, entitled Adaptation the Genre'. For Leitch (2008), an adaptation that conceives of itself as an adaptation interweaves the following features:
傲慢与偏见》的改编形式多种多样，这里就不一一列举了，我想说的是，《傲慢与偏见》的改编本身就是改编，尤其是奥斯汀小说的三部主要改编电影：罗伯特-Z-伦纳德（Robert Z. Leonard）1940 年改编的《傲慢与偏见》、乔-赖特（Joe Wright）2005 年改编的《傲慢与偏见》以及朱利安-贾罗德（Julian Jarrold）2007 年改编的《成为简》（Becoming Jane）传记片。其中，钢琴演奏时刻是这些改编电影的特色之一。有批评家试图将改编的概念扩展到那些掩盖、遗忘或改变其文学起源的形式，与之相反，

托马斯-莱奇在一篇题为 "改编流派 "的文章中指出了改编本身的一般特征。在莱奇（2008 年）看来，自认为是改编的改编作品融合了以下特征：

A period setting with a special emphasis on architecture.
时代背景，特别强调建筑风格。
Period music that serves to fetishize history.
迷恋历史的时代音乐。
An obsession with words, books and authors.
对文字、书籍和作家的痴迷。
A preponderance of intertitles (collapsed with item 3 above as a single feature in my list).
大量的插播字幕（在我的清单中与上述第 3 项合并为一项功能）。

Christine Geraghty, in an article responding to Leitch (Geraghty 2009), considers the quintessential essence of Joe Wright's film Atonement (2007) as an adaptation, and adds to the list of what constitutes the genre of adaptation, the foregrounding of media. Geraghty persuasively argues that media is made prominent via Atonement's intertextual references to other films, such as Brief Encounter (1945) and The Third Man (1949), and to the film's preoccupation with the typewriter which gives way to the television studio interview in the film's closing moments. In Austen adaptations, I argue, this foregrounding of media which serves to call attention to the film as an adaptation is most notable in references to other Austen adaptations as well as in the foregrounding of the new technologies of the late eighteenth and early nineteenth centuries, in particular, the pianoforte.
Christine Geraghty 在一篇回应 Leitch 的文章（Geraghty 2009）中认为乔-赖特的电影《赎罪》（2007 年）是一部改编电影，并在改编类型的构成要素中增加了 "媒体 "这一要素。Geraghty 有说服力地指出，《赎罪》对其他电影（如《邂逅》（Brief Encounter，1945 年）和《第三个人》（The Third Man，1949 年））的互文引用，以及影片对打字机的专注（在影片最后时刻，打字机让位于电视演播室采访），都突出了媒体的作用。我认为，在奥斯汀的改编作品中，这种将媒体放在首位以引起人们对影片改编的关注的做法，在参考其他奥斯汀改编作品以及将十八世纪末十九世纪初的新技术，尤其是钢琴放在首位的做法中最为显著。

To this list I would add a sixth feature of the adaptation par excellence or quality of the genre: the use of pictures and other art forms throughout the films, including paintings, sculpture and architecture, appealing to the
除此以外，我还想补充第六个卓越的改编特点或该类型电影的品质：在整部电影中使用图片和其他艺术形式，包括绘画、雕塑和建筑，吸引观众的注意力。
This image becomes the subject, of course, of Jane Campion's Piano, a film dependent upon the traditions of the nineteenth-century novel, beginning with Austen's repressed heromes.
简-坎皮恩（Jane Campion）的《钢琴》（Piano）当然就是以这种形象为主题，这部电影依赖于十九世纪小说的传统，从奥斯汀压抑的雌蕊开始。

4 Following Linda Hutcheon (2006) in this tradition is Leitch (2007).
4 Leitch (2007) 秉承了 Linda Hutcheon (2006) 的这一传统。

5 The setting, music intertitles, books, referencing to the author and use of pictures operate as quolations from 'approved authorities'
5 背景、音乐字幕、书籍、对作者的引用以及图片的使用，都是对 "经认可的权威 "的篡改

6 The appeal to the feminine, through female-friendly episodes, is a type of
6 通过女性喜爱的情节来吸引女性，是一种

'exuscitatio'. See Lanham (1969).
'exuscitatio'（唤醒）。见 Lanham (1969)。

7 The foregrounding of media operates as analogy to the adaptation itself. collective unconscious understanding that what we are watching is based on art. Adaptations have gone by a number of names in the popular press, one of the first being 'picturization', and pictures are undoubtedly a prominent feature in the adaptations of Austen's novels. This leads me to another prominent feature of the adaptation qua adaptation: the makeover of the author to screen. Austen, who is arguably the first to write the classic teenpic makeover in Emma which lent itself so beautifully to film in the teenpic, Clueless (1995), following from Bluestone's observation of her adaptability to film, provides us with an allegory for adaptation itself: the makeover, not just of the book, but of the author too, which needs to be re-represented on screen for a new audience. And in the case of Pride and Prejudice, it is increasingly the case that Jane Austen is made over as Elizabeth Bennet.
7 媒介的前置与改编本身的运作形成了类比。集体无意识的理解是，我们正在观看的是以艺术为基础的作品。在大众媒体中，改编有许多名称，其中一个名称是 "图像化"，而在奥斯汀小说的改编中，图片无疑是一个突出的特点。这让我想到改编之改编的另一个突出特点：将作者搬上银幕。奥斯汀可以说是第一个在《爱玛》（Emma）中写出经典青春片改编作品的人，这部作品在青春片《无厘头》（Clueless）（1995 年）中被完美地搬上了银幕，而布卢斯通（Bluestone）对其电影改编能力的观察为我们提供了一个改编本身的寓言：改编，不仅是对书的改编，也是对作者的改编，需要在银幕上为新的观众重新呈现。就《傲慢与偏见》而言，简-奥斯汀被改编成伊丽莎白-班纳特的情况越来越多。

My final ingredient to throw into the cauldron of adaptation the genre is the appeal to female audiences - a feature of the genre, like historical fiction and 'chic lit', which, until recently, may have been partially responsible for its banishment from serious academic critical scrutiny. Adaptation the genre, or the screen makeover of a literary text, self-consciously appeals primarily to women, signalled by female-friendly narrative additions, such as the insertion of a bathing or semi-dressed man, a trip to the shops or an additional episode in which the female upstages the male in a normally male-centred activity. Significantly, almost all these features can be traced back to Pride and Prejudice.
最后，我想说的是改编体裁对女性观众的吸引力--与历史小说和 "时髦文学 "一样，改编体裁也有这一特点，直到最近，这可能是导致其被严肃的学术批评审查所抛弃的部分原因。这种类型的改编，或者说文学文本的银幕改编，有意识地主要吸引女性观众，这体现在对女性友好的叙事添加上，比如插入一个沐浴或半着装的男子，去商店购物，或者在通常以男性为中心的活动中增加一个女性压倒男性的情节。值得注意的是，几乎所有这些特点都可以追溯到《傲慢与偏见》。

SIMILARITIES BETWEEN PRIDE AND PREJUDICE AND THE ADAPTATION GENRE
《傲慢与偏见》与改编体裁的相似之处

A period setting and obsession with grand architecture (reflected in the houses of Pride and Prejudice, culminating in Pemberley).
时代背景和对宏伟建筑的痴迷（反映在《傲慢与偏见》中的房屋，以彭伯里为顶点）。
The foregrounding of media (as instanced in the playing of the pianoforte in Pride and Prejudice).
媒体前置（如《傲慢与偏见》中的钢琴演奏）。
The use of pictures - paintings, sculpture and architecture - either in the background or recreated through mise-en-scène (in Pride and Prejudice this is evident in the gallery in Pemberley and the portraits of Darcy)
绘画、雕塑和建筑等图片的使用--或作为背景，或通过场景再现（在《傲慢与偏见》中，这一点在彭伯里的画廊和达西的肖像画中很明显）
Implicit or explicit tributes to the author (in Pride and Prejudice this takes the form of the omniscient narrator often sharing Elizabeth's perceptions).
含蓄或明确地向作者致敬（在《傲慢与偏见》中，这种形式表现为全知叙述者经常分享伊丽莎白的感悟）。
Appeal to a feminine audience (reflected in Austen's writing selfconsciously for 'ladies')
吸引女性读者（反映在奥斯汀自觉地为 "女士 "写作中）

These features operate like rhetorical devices, 'apomnemonysis' (quotations from approved authorities),' 'analogy' (offering parallel examples)' and 'exuscitatio' (emotional utterances that move the viewer to a like feeling).

It seems to me that these features become increasingly prominent in adaptations that explicitly position themselves as adaptations.
这些特点就像修辞手法、"apomnemonysis"（引用权威人士的话）、"analogy"（提供并列的例子）和 "euscitatio"（让观众产生同感的情感话语）。

在我看来，这些特点在明确将自己定位为改编作品的改编作品中变得越来越突出。

The pressbook for Robert Z. Leonard's Pride and Prejudice identifies the film as a 'picturization of Jane Austen's widely read novel' (pressbook 1940), and the 1940 film starring Greer Garson and Laurence Olivier (based on the theatrical adaptation by Helen Jerome) is at a far remove from the adaptations that followed. Nonetheless, the cover of the 1940 pressbook references all seven of these features, including:
罗伯特-Z.-伦纳德的《傲慢与偏见》的新闻手册将这部电影定位为 "简-奥斯汀广为流传的小说的图画化"（1940 年新闻手册），1940 年由格里尔-加森和劳伦斯-奥利弗主演的电影（根据海伦-杰罗姆的戏剧改编）与之后的改编电影相去甚远。尽管如此，1940 年新闻册的封面还是提到了所有这七部作品，其中包括：

Period music and the foregrounding of media are figured in the orchestra and conductor pictured at the bottom of the cover.
封面下方的管弦乐队和指挥家的照片体现了时代音乐和媒体的前景。
Jane Austen's book, Pride and Prejudice and the author's name are both prominently featured on the left-hand side of the central couple.
简-奥斯汀的著作《傲慢与偏见》和作者的名字都赫然印在这对中心夫妇的左侧。
The emphasis on pictures and 'period' detail in the elaborate nineteenthcentury costumes are encapsulated by the drawing of Elizabeth and Darcy in a dramatic dance embrace, an unmistakable intertextual reference to Gone with the Wind.
伊丽莎白和达西在戏剧性的舞蹈中相拥而舞，这幅画概括了精心制作的十九世纪服装中对图片和 "时代 "细节的强调，明确无误地与 "乱世佳人 "互文。
The guarantee that the film is female friendly is explicitly made in the slogan 'Five love hungry beauties in search of HUSBANDS!'.
影片的口号 "五个渴望爱情的美女在寻找丈夫！"明确保证了影片对女性的友好性。

It is tempting to read the adaptation as a nostalgic tribute to the Edenic England worth fighting for during the war years, as Ellen Belton argues in her contribution to Macdonald and Macdonald's collection, Jane Austen on Screen (Belton 2003). The changes made to the narrative in the film - in particular, Mr Collins's transfer of profession from clergyman to opportunistic librarian (to placate the film's censors), the excision of the visit to Pemberley and Lady Catherine's test of Elizabeth's worthiness, to ensure that Elizabeth is marrying Darcy for love not money - are worth unpacking. While the reason given for the transformation of Lady Catherine from a vulgar snob to a sweet old lady is that the actress playing her, Edna May Oliver, refused to play a villain, this rewriting of the story about the need to marry out of love not money may have been inserted to soften the perception of Britain for a US audience, in anticipation of an American alliance with Britain in World War II (Brosh 2008: 22). Significant for its omission is the visit to Pemberley. In 1940, the cost of the set is obviously a factor in its omission, but so is the need to paint a positive picture of the British for Americans on the verge of joining forces in the War. Censoring any mention of Elizabeth's potential materialism ('to be mistress of Pemberley might be something!') re-creates her unequivocally as an idealist rather than realist, bent on love rather than money. The film rewrites the novel to expose the hypocrisy of the British class system, democratizing Darcy in his gradual conversion by Elizabeth to accepting a more equal society. The film focuses on the breakdown of class barriers, and the consumerism and advancement of the middle classes. Significantly, it opens with the girls shopping, a possible clue to their upward mobility (Brosh 2008: 21). Typical of films of the 1930s and 1940s, during a period in which materials are scarce, the movie asks us to look at the costumes rather than through them (Bruzzi 1997). This blatant appeal to a feminine audience is further underlined in the interpolation of the archery contest at Netherfield in which Elizabeth upstages Darcy at archery, indicating that, of the two, she is the more capable one of achieving a 'bull's-eye'
正如埃伦-贝尔顿（Ellen Belton）在她为麦克唐纳和麦克唐纳的文集《银幕上的简-奥斯汀》（贝尔顿，2003 年）撰写的文章中所指出的那样，我们很容易将这一改编解读为对战争年代值得为之奋斗的伊甸园式英格兰的怀旧致敬。影片中对叙事所做的改动--尤其是柯林斯先生的职业从牧师转为投机取巧的图书管理员（以安抚电影审查员），删去了对彭伯里的访问以及凯瑟琳夫人对伊丽莎白是否值得嫁的测试，以确保伊丽莎白是为了爱情而非金钱才嫁给达西--值得细细品味。将凯瑟琳夫人从一个庸俗势利的人转变为一个可爱的老太太，给出的理由是扮演她的女演员埃德娜-梅-奥利弗（Edna May Oliver）拒绝出演一个反派角色，而这一改写故事中关于必须因爱而非金钱结婚的情节，可能是为了缓和美国观众对英国的看法，以期待美国在第二次世界大战中与英国结盟（Brosh 2008: 22）。彭伯里之行被省略是一个重要原因。1940 年，布景的成本显然是导致省略的一个因素，但同时也需要为即将参战的美国人描绘一幅英国人的正面形象。对伊丽莎白潜在的物质主义（"成为彭伯里的女主人可能是件了不起的事！"）的任何提及都被删掉，这使她被明确地塑造成一个理想主义者而非现实主义者，一心向往爱情而非金钱。影片对小说进行了改写，揭露了英国阶级制度的虚伪性，使达西在伊丽莎白的影响下逐渐转变，接受一个更加平等的社会，从而实现了达西的民主化。影片聚焦于阶级壁垒的打破，以及中产阶级的消费主义和进步。值得注意的是，影片以女孩们购物开场，这可能是她们向上流动的线索（Brosh 2008: 21）。与 20 世纪 30 年代和 40 年代的电影一样，在那个物资匮乏的年代，这部电影要求我们观察服装，而不是透过服装（Bruzzi 1997）。在尼德斐园的射箭比赛中，伊丽莎白在射箭方面胜过达西，这进一步突出了对女性观众的公然吸引，表明在两人中，她更有能力射中 "靶心"。

However, the film is marketed as a comedy at the expense of the women, with the famous opening line of the novel translated in the adverts as Bachelors Beware' and 'FIVE LOVE HUNGRY BEAUTIES IN SEARCH OF HUSBANDS' (Pressbook 1940). The women are visually ridiculous in their parodic Gone with the Wind style costumes, especially when the Bennet females fill a room to capacity, resembling a flock of squawking birds. At a time when the young male population was at risk, the women are seen to be threatening in their domination, appropriating the role of the male suitor in their outspoken quest for a partner. Peculiarly, the pressbook expresses considerable pride in the accuracy of the costumes; the Metro-Goldwyn-Mayer Research Department consulted Ackermann's Repository of Art and Fashion, 40 volumes outlining English fashion, furnishing and architecture from 1809 to 1829. Claims to accuracy are undermined by the sweeping statements about the novel in the pressbook, erroneously referring to Elizabeth as the eldest of the five sisters. Elizabeth is distinguished from the others in that she appears more knowing than her siblings, often seen gazing out of a window, a reflection of both her objectification by the camera (framing her as in a painting) and her transitional status
然而，这部电影却以牺牲女性形象为代价，将小说著名的开场白翻译成 "单身汉小心 "和 "五个饥渴的美女在寻找丈夫"（1940 年出版）。女人们穿着模仿《乱世佳人》风格的服装，尤其是当班纳特家的女人们挤满房间，像一群叽叽喳喳的小鸟时，视觉效果十分滑稽。在年轻男性人口岌岌可危的时代，女性的支配力被视为一种威胁，她们在直言不讳地寻找伴侣的过程中挪用了男性追求者的角色。奇怪的是，媒体手册对服装的准确性颇为自豪；麦特-戈德温-迈耶公司的研究部门参考了阿克曼的《艺术与时尚资料汇编》，该书共 40 卷，概述了 1809 年至 1829 年的英国时尚、家具和建筑。新闻手册中对小说一概而论，错误地将伊丽莎白称为五姐妹中的老大，这有损于小说的准确性。伊丽莎白与其他姐妹的不同之处在于，她比其他姐妹更加知书达理，她经常凝视着窗外，这既反映了镜头将她物化（将她框定在一幅画中），也反映了她的过渡地位

8 For a discussion of the use of the window in relation to the picturesque in Leonard's film see H. Elisabeth Elington (1998)
8 关于伦纳德电影中窗户的使用与风景如画的关系的讨论，见 H. Elisabeth Elington (1998)

Figure 1: Screengrab from Robert Z. Leonard, Pride and Prejudice, 1940.
图 1：罗伯特-Z-伦纳德《傲慢与偏见》截屏，1940 年。

between inside her parental home and outside in the marriage market, between being a daughter and being a wife.

在娘家和外面的婚姻市场之间，在做女儿和做妻子之间。

As the film commences with us looking at Elizabeth, as if she is a figure in a painting, by the end of the movie, she is pictured from behind looking out of the window, like Rapunzel waiting for her knight in shining armour to rescue her from her prison house. The film subtly moves from picturing the women as dominant and confident to solitary and vulnerable, as the film implies that these women - like the country they inhabit - are not really capable of coping on their own. Similarly, given the period in which it was produced, the
影片开始时，我们看着伊丽莎白，仿佛她是一幅画中的人物，而到了影片结尾，她却从后面看着窗外，就像长发公主等待着她的骑士将她从囚室中解救出来。影片巧妙地将女性的形象从霸道、自信转变为孤独、脆弱，暗示这些女性--就像她们所居住的国家一样--并不具备真正的独立应对能力。同样，考虑到影片制作的时代背景，该片也暗示了这一点。

Figure 2: Screengrab from Robert Z. Leonard, Pride and Prejudice, 1940.
图 2：罗伯特-Z-伦纳德《傲慢与偏见》截屏，1940 年。

9 I am grateful to Natalie Hayton for drawing my attention to the mise-en-scene in this sequence.
9 感谢娜塔莉-海顿（Natalie Hayton）提醒我注意这一系列的场景。

Figure 3: Screengrab from Robert Z. Leonard, Pride and Prejudice, 1940.
图 3：罗伯特-Z-伦纳德《傲慢与偏见》截屏，1940 年。

representation of the English landscape would touch a chord. Lady Catherine's Rosings, for instance, has all the hallmarks of a nineteenth-century painting, in particular, the famous Constable country houses, such as Admiral House

对英国风景的描绘会引起共鸣。例如，《凯瑟琳夫人的罗新斯》具有十九世纪绘画的所有特征，尤其是著名的康斯特布尔乡村别墅，如海军上将宅邸

Importantly, we gaze at the house through the eyes of Elizabeth. The miseen-scène draws our eye on a diagonal axis, from the poultry at the bottom of the frame to the servant, to the carriage of the aristocracy, climaxing in the great house on the top of the hill. The past is painted for us, like a nineteenth-century painting with a visual layering of classes working together in perfect harmony The screenplay was co-written by novelist Aldous Huxley, best known for the novel Brave New World (1932), and his name signifies quality in line with the marketing of the film as 'authentic' Austen. The focus in this adaptation is on the women who dominate virtually every frame and indeed are 'pictured' by the camera as objects to look at.
重要的是，我们通过伊丽莎白的眼睛来凝视这座房子。从画面底部的家禽到仆人，再到贵族的马车，最后是山顶上的大房子。剧本由小说家奥尔德斯-赫胥黎（Aldous Huxley）共同创作，他因小说《美丽新世界》（Brave New World，1932 年）而闻名。这部改编影片的重点是女性，她们几乎占据了每一个画面，实际上被摄影机 "描绘 "为观看对象。

Surprisingly another 'straight' mainstream film does not come along for 65 years, perhaps due to the dominance and popularity of television adaptations. Rather than positioning the women to be looked at, this time, we look through them, or more particularly through the point of view of Elizabeth Bennet. Joe Wright's recent film, typical of postmodern adaptations, is as much dependent upon previous television versions of Pride and Prejudice as it is on Austen's novel. Darcy, played by Matthew MacFadyen, takes a secondary position to Keira Knightley whose star status arguably reduces the character of Elizabeth to a star vehicle.
令人惊讶的是，也许是由于电视改编电影的主导和流行，另一部 "直白 "的主流电影已经 65 年没有出现过了。这一次，我们不再将女性定位为被审视的对象，而是通过她们，尤其是通过伊丽莎白-贝内特的视角来审视。乔-赖特（Joe Wright）最近的这部电影是典型的后现代改编作品，它既依赖于奥斯汀小说，也依赖于以前的电视版《傲慢与偏见》。由马修-麦克法迪恩（Matthew MacFadyen）饰演的达西处于凯拉-奈特莉（Keira Knightley）的次要地位，而凯拉-奈特莉的明星身份可以说让伊丽莎白这个角色沦为了明星的工具。

Screenwriter Deborah Moggach has admitted that her screenplay was doomed to be overshadowed by Andrew Davies's 1995 version and responded to this pressure by setting the film in the earlier period, the late eighteenth century, at the time in which the novel was first drafted (opposed to the time of its publication in the early nineteenth century). Referring to her screenplay as 'the muddy hem version', Moggach wanted to emphasize the Bennets' poverty and the real sense of destitution and dependence haunting all the sisters (Moggach 2008). The film is written entirely from Elizabeth's point of view, made apparent
编剧 Deborah Moggach 承认，她的剧本注定会被安德鲁-戴维斯 1995 年的版本所掩盖，为了应对这种压力，她将电影的背景设定在了更早的时期，即小说最初起草的 18 世纪晚期（而不是小说出版的 19 世纪早期）。莫格奇将她的剧本称为 "泥巴下摆版"，她希望强调班纳特一家的贫困以及困扰所有姐妹的真正的穷困和依赖感（莫格奇，2008 年）。影片完全从伊丽莎白的视角出发，这一点非常明显
in the opening sequence in which a steadicam shot literally follows Elizabeth into and through Longboum. In contrast to Leonard's Elizabeth who is frequently pictured looking out of a window, this Elizabeth is initially seen looking in from the outside, culminating in her, towards the end, looking disdainfully at the newly married Wickham and Lydia from inside, gazing out.
在开头的情节中，一个固定镜头跟随伊丽莎白进入龙布姆并穿过龙布姆。与伦纳德笔下经常从窗户向外看的伊丽莎白不同，这位伊丽莎白一开始是从外面向内看，最后在结尾时，她从里面向外看，不屑地看着新婚的威卡和莉迪亚。

Even when she's not present, we see from her point of view, as in the scene in which Netherfield is being closed down through the sequence in which
即使她不在场，我们也能从她的视角看到，比如在尼德斐园被关闭的场景中，以及在以下情节中

Figure 4: Screengrab from Joe Wright, Pride and Prejudice, 2005.
图 4：乔-赖特《傲慢与偏见》截屏，2005 年。

Figure 5: Screengrab from Joe Wright, Pride and Prejudice, 2005.
图 5：乔-赖特《傲慢与偏见》截屏，2005 年。
the wigged servants drape white sheets over all the fumiture, symbolizing the shrouding of the place and the death knell to the hopes of the young girls, so dependent upon the life of that great house for their happiness. Particularly striking in this adaptation is Mr Collins's proposal. As Moggach has noted, Elizabeth is deserted, one by one by her family, like a lamb to its slaughter. Her father is the last to, knowingly, turn his back on Elizabeth, and the sense of abandonment is keenly expressed in the horror on Elizabeth's face. After the refusal is announced to mother and sisters, the camera fleetingly pauses on Mary's wistful expression, to suggest that she, unhesitatingly, would have issued a 'yes' in Elizabeth's place. On hearing the news of Elizabeth's refusal, Donald Sutherland's Mr. Bennet soberly delivers the line 'I will never see you again if you do' [marry Collins]. The close-up on Sutherland, with his back to the women, shows a face momentarily full of despair, as if the final opportunity of saving his family has been sacrificed for the love of his daughter. In this way, Wright, almost imperceptibly, inserts back stories for the other characters in the film, so that we avoid accepting them at face value alone.
戴假发的仆人在所有的熏香上铺上白布，象征着这个地方的阴暗和年轻姑娘们希望的破灭，她们的幸福如此依赖于这座大宅的生活。在这一改编中，柯林斯先生的求婚尤其引人注目。正如莫格奇所言，伊丽莎白被家人一个个抛弃，就像一只待宰的羔羊。她的父亲是最后一个明知故犯地背弃伊丽莎白的人，伊丽莎白脸上的惊恐敏锐地表达了被遗弃的感觉。在向母亲和姐妹们宣布被拒绝后，镜头在玛丽俏皮的表情上稍作停顿，暗示她会毫不犹豫地代替伊丽莎白发出 "同意 "的声音。听到伊丽莎白拒绝的消息后，唐纳德-萨瑟兰扮演的班纳特先生冷静地说出了那句 "如果你嫁给柯林斯，我就再也见不到你了"。萨瑟兰背对着女人们的特写镜头，让人看到一张瞬间充满绝望的脸，仿佛为了女儿的爱情牺牲了拯救家庭的最后机会。通过这种方式，赖特几乎在不知不觉中为影片中的其他人物插入了背景故事，从而避免了我们仅从表面价值上接受他们。

The emotion of the characters is clearly more apparent than in the 1940 adaptation and the costumes, unlike in the 1940 film, function to be looked through rather than to be looked at. In addition to the lovers' reunion at dawn, with Darcy in an open shirt reminiscent of Colin Firth's 1995 dripping Darcy, Elizabeth's costumes function to reveal rather than conceal the shape of the actress, most obviously in the first proposal sequence, set in a folly outside Rosings in the pouring rain.
与 1940 年的改编版相比，剧中人物的情感显然更加明显，而服装也与 1940 年的电影不同，其功能是让人看穿而非看透。除了情侣们在黎明时分重逢，达西穿着敞开的衬衫，让人想起科林-费斯（Colin Firth）1995 年饰演的滴水的达西，伊丽莎白的服装也起到了揭示而非掩盖女主角外形的作用，这一点在第一个求婚片段中最为明显，该片段的背景是大雨中罗新斯郊外的一座小屋。

Elizabeth's unacknowledged attraction to Darcy is clear when he first helps her into the carriage outside Netherfield; he holds onto her hand for slightly longer than absolutely necessary, and this first touch clearly registers on Elizabeth's face. During their dance at Netherfield, the shot of the crowded dance floor glides into a shot of Darcy and Elizabeth, all of a sudden dancing alone in the room. Similarly, during the visit to Pemberley, Elizabeth's aunt and uncle seem to vanish, leaving Elizabeth alone to confront Darcy and to make her own way back to Lambton. Wright pours on the romantic with both lower and upper case 'r's. Prior to the trip to Derbyshire, Mary utters the romantic aphorism, What are men compared to rocks and mountains', echoed by Mr Gardiner just before the tourists arrive at Pemberley. The external shots
当达西第一次在尼德斐园外扶伊丽莎白上马车时，伊丽莎白对达西不为人知的吸引力就显而易见了；达西握住她的手的时间比绝对必要的时间稍长，而这第一次接触就清晰地印在了伊丽莎白的脸上。他们在尼德斐园跳舞时，从拥挤的舞池镜头转入达西和伊丽莎白的镜头，两人突然在房间里单独跳舞。同样，在拜访彭伯里时，伊丽莎白的舅舅和舅妈似乎消失了，只留下伊丽莎白独自面对达西，并独自返回兰顿。赖特用大写字母 "r "和小写字母 "r "营造出浪漫的氛围。在前往德比郡之前，玛丽说了一句浪漫的箴言："与山石相比，人算得了什么"，就在游客们到达彭伯里之前，加德纳先生也说了这句话。外部镜头

Figure 6: Screengrab from Joe Wright, Pride and Prejudice, 2005
图 6：乔-赖特《傲慢与偏见》截屏，2005 年
of Derbyshire, in particular Elizabeth positioned precariously on a craggy rock, wind blowing her garments, invite comparison with a score of Romantic paintings
在《德比郡》中，尤其是伊丽莎白岌岌可危地站在峭壁上，风吹起她的衣衫，让人不禁将其与许多浪漫主义绘画作品进行比较

The film oscillates between these Romantic exteriors, Hogarthian interiors, especially the Bennets', complete with dog, hunched over their heaped breakfast table, to increasingly mouth-watering country houses: Basildon Park, Berkshire (Netherfield), Burghley House, Stamford (Rosings) and Chatsworth House (Pemberley), the latter often thought to be the inspiration for Darcy's estate. In this version, instead of looking at a portrait of Darcy, Elizabeth finds Darcy's bust in the midst of a sculpture gallery, which simultaneously evokes erotic awakening, through the sexual posturing of the figures, and mourning; the place, as Deborah Moggach has observed, resembles a mausoleum. Elizabeth is caught by Darcy unintentionally eavesdropping on Georgiana, and their awkward meeting is kept brief, possibly so as not to enter into competition with the famous 1995 rendition of this chapter. The inevitable intertextual reference to the 1995 meeting of Darcy in a wet diaphanous shirt, as mentioned previously, is postponed until the climax of the 2005 version, with Darcy and Elizabeth meeting at dawn, both restless after the visitation of Lady Catherine, and with Darcy in an open shirt and flowing overcoat as mentioned above, a clear nod to Firth's Darcy's famous state of undress.
影片在浪漫主义的外景、霍加斯式的内景（尤其是班纳特家，他们带着狗，蜷缩在堆积如山的早餐桌上）和越来越令人垂涎欲滴的乡间别墅之间摇摆不定：伯克郡的巴斯顿公园（尼瑟菲尔德）、斯坦福德的伯格利宅邸（罗辛斯）和查兹沃斯宅邸（彭伯利），后者通常被认为是达西庄园的灵感来源。在这个版本中，伊丽莎白不是在看达西的肖像，而是在一个雕塑长廊中发现了达西的半身像，雕塑长廊中人物的性姿态和哀悼同时唤起了情欲的觉醒；正如德博拉-莫格奇（Deborah Moggach）所言，这个地方就像一座陵墓。伊丽莎白无意中偷听乔治亚娜的谈话，被达西发现，两人尴尬的会面时间很短，可能是为了避免与 1995 年著名的本章演绎竞争。如前所述，1995 年达西穿着湿透的透视衬衣与伊丽莎白会面时不可避免的互文参照被推迟到 2005 年版本的高潮部分，达西和伊丽莎白在黎明时分会面，两人在凯瑟琳夫人来访后都坐立不安，达西穿着敞开的衬衣和飘逸的大衣，如上所述，这显然是在向费斯饰演的达西著名的脱衣状态致意。

Like the 1940 film, this production claims authenticity while breaking the illusion at the same time; while the fabrics and the interiors seem very much 'true' to the late eighteenth century, it is unlikely that a woman of this period could wander around so freely without a hat, or meet a suitor at dawn wearing a dressing gown. It is also unlikely that Mr Bennet would have Donald Sutherland's perfect teeth. Although we can forgive these inevitable anachronisms, the film's final impression is marred by the 'alternative ending' in which a post-coital Elizabeth and Darcy discuss what Darcy should call Elizabeth, now that they are married: 'You may only call me Mrs Darcy when you are completely, perfectly, and incandescently happy'. While American audiences would be reaching for the sick bow, British viewers, undoubtedly, found this a very satisfying film adaptation, with Keira Knightley, with her unusual features and believable youthfulness, a very convincing Elizabeth. In keeping with the attributes of the genre, pictures play a key role in anchoring the film within the genre, in addition to referencing the 1940 film.
与 1940 年的电影一样，这部作品在宣称真实性的同时也打破了假象；虽然布料和内饰看起来非常 "真实 "地反映了 18 世纪晚期的情况，但这个时期的女性不可能不戴帽子就随意走动，也不可能在黎明时分穿着睡袍去见求婚者。贝内特先生也不可能拥有唐纳德-萨瑟兰那样完美的牙齿。虽然我们可以原谅这些不可避免的不合时宜之处，但影片的 "另类结局 "却给人留下了深刻的印象，在这个结局中，婚后的伊丽莎白和达西讨论了达西应该如何称呼伊丽莎白，因为他们已经结婚了："只有当你完全、完美、幸福得无法用言语形容时，你才可以叫我达西夫人。凯拉-奈特莉（Keira Knightley）有着与众不同的五官和令人信服的青春活力，她饰演的伊丽莎白令人信服。除了参考 1940 年的电影外，影片中的图片也在类型片中起到了关键作用。

Jane Austen's own 'picturization' (to borrow the term for adaptation used so prominently in the 1940 pressbook) of her art is famously 'the little bit (two inches wide) of ivory and intriguingly within Pride and Prejudice is the miniature of Darcy that captures Elizabeth's attention at Pemberley; Elizabeth never replies to Mrs Gardiner's question But, Lizzy, you can tell us whether it is like or not' (269) which we could rephrase in adaptation terms to be: 'how faithful is the adaptation to the original?' A qualitative assessment of the miniature is tantalizingly withheld from the reader, and this picture is replaced in the narrative for a larger version which Elizabeth initially glances at, then returns to with an intensified regard. In the novel, the return to the picture mirrors Elizabeth's own change of mind about Darcy, and reflects the significance attached to second impressions in the novel as a whole. The novel, initially entitled First Impressions, is essentially concemed with second impressions, a revision, or even, adaptation, of an original impression. Austen literally asks us to look at the larger picture, a complicated, perhaps impossible task for the reader of a declared miniaturist. Both film adaptations reflect upon themselves as pictures, both self-consciously framing their subject through the device of the window and offering the viewer pictures inspired by famous paintings of the nineteenth
简-奥斯汀自己对其艺术的 "画像化"（借用 1940 年出版的新闻手册中突出使用的改编术语）是著名的 "象牙小点（两英寸宽），在《傲慢与偏见》中引人入胜的是达西的缩影，它在彭伯里吸引了伊丽莎白的注意力；伊丽莎白从未回答加德纳夫人的问题，但是，丽西，你可以告诉我们它像不像"（269），我们可以用改编术语将其改写为 "改编对原著的忠实程度如何？改编对原著的忠实程度如何？'对微型画的定性评估是诱人的，但读者却不得而知，在叙事中，这幅画被一个更大的版本所取代，伊丽莎白起初只是瞥了一眼，然后又回过头来仔细端详。在小说中，回到这幅画反映了伊丽莎白自己对达西想法的改变，也反映了小说整体中对第二印象的重视。这部小说最初的标题是《第一印象》，其主要内容是第二印象，是对最初印象的修正，甚至是改编。奥斯汀从字面上要求我们从大处着眼，这对于一个宣称是微型小说家的读者来说，是一项复杂的、也许是不可能完成的任务。两部改编电影都将自己视为一幅画，都有意识地通过橱窗这一装置来构思主题，并向观众展示了受十九世纪著名绘画启发而创作的画作。
century and, possibly, inspired by the pictures in the novel itself. Famously, Davies's adaptation literally exchanges the scene in which Elizabeth gazes at the picture to the picture of Darcy himself, replacing the copy with the real and superior figure, fresh from his dip in the pond.
戴维斯对《达西与伊丽莎白》的改编，可能是受到小说中图片的启发。著名的是，在戴维斯的改编中，伊丽莎白凝视照片的场景被换成了达西本人的照片，取而代之的是刚从池塘中游过泳的真实而优越的形象。

Both the 1940 and the 2005 films contain the seven signifiers of what I have identified as an 'adaptation par excellence': a period setting; 'historical' music; an obsession with books and words; the foregrounding of new media, through the pianoforte and quotations to other adaptations; the use of pictures; implicit references to the author; and finally, the unashamed appeal to a female audience. The final two can be made manifest through a comparison with the most recent mainstream adaptation of Pride and Prejudice: the Austen biopic Becoming Jane (2007).
1940 年和 2005 年的电影都包含了我所认为的 "卓越改编 "的七个标志：时代背景；"历史 "音乐；对书籍和文字的痴迷；通过钢琴和对其他改编作品的引用，突出了新媒体的作用；图片的使用；对作者的暗指；以及最后，对女性观众毫无顾忌的吸引。通过与《傲慢与偏见》最近的主流改编作品--奥斯汀传记片《成为简》（2007 年）--的比较，可以看出最后两点。

Like Shakespeare, given the very little we know about Austen, it is revealing how so many readers and screenwriters have attempted to join the numbers and fill in the colours of Austen's life. Since the very first adaptation, there has been a desire to read her novels as a means of finding out something about the author, a taboo up until recently in English studies, but a practice which is undeniably present in adaptations of Austen's work.
与莎士比亚一样，鉴于我们对奥斯汀知之甚少，许多读者和编剧都试图为奥斯汀的生活添砖加瓦、增添色彩。从第一部改编作品开始，人们就希望通过阅读她的小说来了解作者，直到最近这还是英语研究中的一个禁忌，但不可否认的是，这种做法在奥斯汀作品的改编中一直存在。

As mentioned previously, at the beginning of Leonard's 1940 adaptation, Elizabeth is positioned looking out of the window framed by a wreath of lush flowers. The mise-en-scene serves to objectify her, framing her as a piece of art, positioning her for us to look at. In the latter half of the film, Elizabeth is frequently positioned looking out of the window, metaphorically being inside wishing to be out, with the spectator now looking with her rather than at her. Almost imperceptibly, the focus has changed, and the viewer is now looking through Elizabeth's eyes, as if she has undertaken the position of omniscient narrator. Joe Wright's 2005 film begins, in contrast, with Elizabeth looking inside the window, set apart from her family, in the position of an outsider looking in. However, by the end of the film, she is on the inside looking out. The film begins with a steadicam shot following Elizabeth up the garden path to Longboum, enabling Elizabeth to lead us into her life, as if it is our own. She introduces the film by reading a novel, closing the book as she draws near her home, with a sigh of satisfaction, having just reached its conclusion. Close inspection reveals the book to be Pride and Prejudice, a witty acknowledgement of the film's source and status as an adaptation by subtly employing the
如前所述，在伦纳德于 1940 年改编的《伊丽莎白》中，伊丽莎白一开始就被定格在窗外的郁郁葱葱的花环中。这一场景将伊丽莎白物化，将她定格为一件艺术品，供我们观赏。在影片的后半部分，伊丽莎白经常被置于望向窗外的位置，隐喻着身处其中却希望置身事外，观众现在是在与她对视，而不是看着她。几乎在不知不觉中，焦点发生了变化，观众现在是通过伊丽莎白的眼睛在看，就好像她承担了全知全能的叙述者的角色。相比之下，乔-赖特 2005 年的影片一开始，伊丽莎白就从窗户里看了进去，与家人隔开，处于局外人的位置。然而，在影片结尾，她却站在里面向外看。影片一开始，稳定镜头跟随伊丽莎白沿着花园小径来到龙布姆，伊丽莎白带领我们走进她的生活，就像我们自己的生活一样。影片开始时，伊丽莎白正在阅读一本小说，当她快到家门口时，她满意地合上了书。仔细一看，原来这本书就是《傲慢与偏见》，她巧妙地运用了 "傲慢 "一词，承认了影片的来源和改编身份。

Figure 7: Screengrab from Joe Wright, Pride and Prejudice, 2005.
图 7：乔-赖特《傲慢与偏见》截屏，2005 年。
As a postsctipt lo the analysis of the portrait, the painting used as a prop in the 1995 adaptation sold for an
作为对这幅肖像画的分析结果，1995 年改编电影中用作道具的画作售价高达 2,000 美元。

unanticipated E12,000 at Bonham's years after the series vas released. (Darcy Portrait 2009).
该系列发行数年后，在 Bonham's 拍卖会上获得了意料之外的 12,000 英镑（《达西肖像》，2009 年）。(Darcy Portrait 2009）。

Figure 8: Screengrab from Joe Wright, Pride and Prejudice, 2005.
图 8：乔-赖特《傲慢与偏见》截屏，2005 年。

device of the book opening into the film and a sly intimation that Elizabeth, like Austen, is in command of her own story.
这是将书中的开场白融入到电影中的一种手段，也是一种狡猾的暗示，即伊丽莎白和奥斯汀一样，可以掌控自己的故事。

Both film adaptations invite connections to be drawn between Jane Austen and her central character, implicitly 'reading' the novel autobiographically. While the famous first line is absent from Joe Wright's 2005 film, we are told on the special feature of the DVD that Elizabeth and Jane's relationship clearly echoes that of Jane and her sister Cassandra. Whether this be true, the film does encourage us to replace Jane Austen's narrative voice, with Elizabeth's eyes, and the film is dominated by half face shots of Keira Knightley's eyes, referencing Darcy's attraction to Elizabeth's 'fine eyes' while allowing the viewer to see things through these same eyes.
两部改编电影都将简-奥斯汀和她的中心人物联系在一起，隐含着对小说的自传式 "解读"。虽然乔-赖特 2005 年的电影没有出现那句著名的第一句台词，但 DVD 特辑告诉我们，伊丽莎白和简的关系显然与简和她妹妹卡桑德拉的关系相呼应。不管这是否属实，影片确实鼓励我们用伊丽莎白的眼睛来代替简-奥斯汀的叙述声音，影片中凯拉-奈特莉的眼睛占据了半张脸的镜头，提到达西被伊丽莎白 "漂亮的眼睛 "所吸引，同时让观众通过这双眼睛来观察事物。

Figure 9: Screengrab from Joe Wright, Pride and Prejudice, 2005.
图 9：乔-赖特《傲慢与偏见》截屏，2005 年。

The TV adaptations, likewise, invite such a comparison with both the 1980 and 1995 adaptations, with both giving versions of Jane Austen's famous opening line to Elizabeth. In 1980, the line is divided between Charlotte Lucas and Elizabeth, while in 1995 Elizabeth speaks it in response to her mother's premature scheming to marry Mr Bingley to one of her daughters. Elizabeth speaks the line, a line that could be attributed to Mrs Bennet, sharing the ironic perception of Austen's narrator in mockery of Mrs Bennet's ambitions.
同样，1980 年和 1995 年的电视改编版也让人不禁将两者进行比较，这两部改编版都对简-奥斯汀著名的伊丽莎白开场白进行了改编。1980 年，这句台词在夏洛特-卢卡斯和伊丽莎白之间流传，而 1995 年，伊丽莎白在回应她母亲过早地将宾莱先生嫁给她的一个女儿的阴谋时说了这句台词。伊丽莎白说出了这句可能是贝纳特夫人说的台词，她与奥斯汀的叙述者一样，对贝纳特夫人的野心感到讽刺。

The collapse of the author with the heroine reaches its ultimate cinematic representation in Becoming Jane (interestingly followed by a less flattering portrait of the author in the television adaptation Miss Austen Regrets (2008)). Becoming Jane is every inch an adaptation, and almost provides a cinematic textbook for the genre as identified here. Following from the success of Shakespeare in Love (1995), Jane Austen, like Shakespeare, has now received the movie star makeover.

Hollywood's need for an 'author' will be viewed in relation to the previous adaptations of the novel which often collapse the voice of the omniscient narrator into the character of Elizabeth Bennet.
在《成为简》（Becoming Jane）中，作者与女主人公的结合达到了电影化的极致（有趣的是，在改编成电视剧的《奥斯汀小姐的遗憾》（2008 年）中，作者的形象并不那么讨喜）。成为简》是一部不折不扣的改编作品，几乎为本文所确定的这一类型提供了一本电影教科书。继《莎翁情史》（1995 年）大获成功之后，简-奥斯汀和莎士比亚一样，如今也获得了电影明星的青睐。

好莱坞对 "作者 "的需求将与以往的小说改编作品联系起来，以往的小说改编作品往往将全知叙述者的声音融入伊丽莎白-班纳特的角色中。

The film 'rewrites' Jane as both Lizzie (in her initial repugnance to the man she eventually loves) and Lydia (in her decision to run away with Tom). Typical of an adaptation qua adaptation, the film pays tribute to its own genre: the men stripping off and jumping into the lake references both A Room with a View (1985) and, of course, the 1995 BBC Pride and Prejudice. Jane's triumph at cricket echoes Greer Garson's Elizabeth's and Gwyneth Paltrow's Emma's victories at archery (Emma, 2006), providing the obligatory female-friendly interpolation The farm animals recall the 'rustic' scenes in the Joe Wright adaptation of Pride and Prejudice (2005), while there is a striking resemblance between Jane's cousin Eliza De Feuillide, played by Lucy Cohu, and Jennifer Ehle's Elizabeth of 1995 in fact Cohu looks like Ehle 10 years on. As well as an adaptation of Austen's novel, the film is also an adaptation of Jon Spence's biography of the author, Becoming Jane Austen, in which Spence contends that Pride and Prejudice was inspired by the novelist's relationship with Tom Lefroy, the Irish nephew of Jane Austen's friend and neighbour. But while Jane is the reserved and proud Darcy figure, Lefroy, we are told, is more like Lizzie: he had five sisters to look after (and therefore could not afford an unconnected wife), his mother's maiden name was Gardiner and, rather tenuously, the name 'Bennet' comes from Tom's favourite novel, Tom Jones (Spence 2003). For Spence, Pride and Prejudice is on one level a type of lovers' game, playfully littered with references to Tom and his family. According to Spence Tom Lefroy did not dwindle into insignificance: he found his natural place in her imagination, and remained there for the rest of her life' (Spence 2003: 116).
影片将简 "改写 "为丽兹（最初对她最终爱上的男人的厌恶）和丽迪亚（决定与汤姆私奔）。典型的改编之改编，影片向自己的类型致敬：男子脱衣跳湖的情节参考了《看得见风景的房间》（1985 年），当然也参考了 1995 年 BBC 版的《傲慢与偏见》。简在板球比赛中的胜利与格里尔-加森（Greer Garson）饰演的伊丽莎白和格温妮丝-帕特洛（Gwyneth Paltrow）饰演的艾玛在射箭比赛中的胜利（《艾玛》，2006 年）遥相呼应，为影片提供了对女性友好的插叙。农场里的动物让人想起乔-赖特（Joe Wright）改编的《傲慢与偏见》（2005 年）中的 "乡村 "场景、由露西-科胡（Lucy Cohu）饰演的简的表妹伊丽莎-德-福伊利德（Eliza De Feuillide）与詹妮弗-艾尔（Jennifer Ehle）饰演的 1995 年的伊丽莎白（Elizabeth）十分相似。这部电影除了改编自奥斯汀的小说外，还改编自乔恩-斯彭斯（Jon Spence）的作家传记《成为简-奥斯汀》（Becoming Jane Austen），斯彭斯在传记中认为，《傲慢与偏见》的灵感来源于小说家与汤姆-勒弗罗伊（Tom Lefroy）的关系，汤姆-勒弗罗伊是简-奥斯汀的朋友兼邻居的爱尔兰侄子。我们得知，简是一个矜持而骄傲的达西形象，而勒弗罗伊则更像丽兹：他有五个姐妹要照顾（因此娶不起没有血缘关系的妻子），他母亲的娘家姓是加德纳，而 "贝内特 "这个名字则来自汤姆最喜欢的小说《汤姆-琼斯》（斯彭斯，2003 年）。对于斯本斯来说，《傲慢与偏见》从某种程度上说是一种情人游戏，其中充满了对汤姆及其家人的戏谑。斯本斯认为，汤姆-勒弗罗伊并没有变得无足轻重：他在她的想象中找到了自己的天然位置，并在她的余生中一直如此"（斯本斯，2003 年：116 页）。

Biopics of authors are generally structured like a Bildungsroman, a portrait of the artist as a young person, concentrating on the events leading up to success and ending with the price that success brings. The emphasis is on the dawning of authorship, the 'becoming' the person we know as the author. The Romantic notion that art is inspired by love is also central to films depicting the life of an author. As Steve Neale explains, other common features include a conflict with a given community and prevalence of montage and flashback sequences, trial scenes and/or a performance in public (Neale 2000: 60). Becoming Jane fits neatly into this template. The adaptation
作家传记片的结构通常类似于 "童话"（Bildungsroman），描绘的是艺术家年轻时的形象，集中表现的是走向成功的过程，最后以成功带来的代价告终。重点在于作者身份的曙光，即 "成为 "我们所熟知的作者。艺术源于爱情的浪漫主义观念也是描述作家生活的电影的核心。正如史蒂夫-尼尔（Steve Neale）所解释的，其他共同特征包括与特定社区的冲突、蒙太奇和闪回情节的盛行、审判场景和/或公开表演（Neale 2000: 60）。成为简》正好符合这一模板。改编
11 The parallels between Beconing lane and Shakespeare in Lone extend to the DVD covers: both feature the lovers
11 《Beconing lane》与《莎翁情史》之间的相似之处还体现在 DVD 的封面上：两部影片的主角都是一对恋人。

dominating the top of the picture with the tiny figures of the authors positioned at the bottom.
在画面的顶部，作者的小人像占据了画面的主要位置，位于画面的底部。

12 For a discussion of the intertitles, see Burt (2008).
12 有关字幕的讨论，见 Burt (2008)。

Figure 10: Screengrab from Julian Jarrold, Becoming Jane, 2007.
图 10：Julian Jarrold 的截屏，《成为简》，2007 年。

Figure 11: Screengrab from Julian Jerrold, Becoming Jane, 2007.
图 11：朱利安-杰罗尔德《成为简》的截屏，2007 年。

formula is even more prevalent in this film: the emphasis on the period setting and music; an obsession with words, and intertitles (from the outset with Jane's own writing introducing the film)

the foregrounding of other adaptations and the pianoforte (the opening shot with Jane's banging on the piano keys enacting both sexual and artistic frustration); the reading of the novel as autobiographical; the ultimate appeal to the feminine; and the references to pictures.
在这部影片中，"公式化 "甚至更加普遍：对时代背景和音乐的强调；对文字和字幕的痴迷（从一开始就用简自己的文字来介绍这部影片）

对其他改编作品和钢琴的强调（开头简敲击钢琴键的镜头既表达了性方面的挫折，也表达了艺术方面的挫折）；将小说解读为自传；对女性的最终诉求；以及对图片的引用。

Notable is the way that the mise-en-scène frames Jane and her family members in the corroding mirror in her bedroom, reminiscent of ageing portraits
值得注意的是，在简卧室的腐蚀镜子中，场景将简和她的家人定格，让人联想到衰老的肖像画
of female writers, such as the famously cracked pictures of the Brontës. Tom LeFroy (James McAvoy) is also framed in the style of Romantic portraiture and as an object of the female gaze. The last we see of him as Jane's lover is a forlorn figure, framed by the carriage window, becoming smaller and increasingly insignificant as the carriage draws away.
在影片中，汤姆-勒弗罗伊（詹姆斯-麦卡沃伊）也被定格为浪漫主义肖像画风格的女性凝视对象，如著名的勃朗特夫妇的裂痕画。汤姆-勒弗罗伊（詹姆斯-麦卡沃伊）也被定格在浪漫主义肖像画的风格中，成为女性凝视的对象。作为简的情人，我们最后看到的是他被马车窗框框住的惆怅身影，随着马车驶离，他的身影变得越来越小，越来越微不足道。

George Bluestone in his analysis of the 1940 film of Pride and Prejudice dwells on the cinematic techniques of the novel (rather than the film), commenting,
乔治-布鲁斯通在分析 1940 年《傲慢与偏见》的电影时，详细论述了小说（而非电影）的电影技巧，他评论道

Figure 12: Screengrab from Julian Jerrold, Becoming Jane, 2007.
图 12：朱利安-杰罗尔德《成为简》的截屏，2007 年。

Figure 13: Screengrab from Julian Jerrold, Becoming Jane, 2007.
图 13：朱利安-杰罗尔德《成为简》的截屏，2007 年。

The world of Pride and Prejudice meets the requirements of Hollywood's stock conventions and, at the same time, allows a troubling grain of reality to enter by the side door. It depicts a love story which essentially follows the shopwom formula of boy meets girl; boy loses girl; boy gets girl. It presents rich people in elegant surroundings. It seems to allow for social mobility. Instead of the shop girl marrying the boss's son, a daughter of the gentry marries an aristocrat. It offers an individual solution to general problems. Good looks and luck are the touchstones which make it possible for Elizabeth and Jane both to marry for love and improve their station. If wickedness is not punished, virtue at least is rewarded. Neither the upper-class nor the middle-class worlds are all white or all black. Darcy is just as ashamed of Lady Catherine as Lizzy is of her mother. Above all, the story has a happy ending.
傲慢与偏见》的世界符合好莱坞的传统要求，同时也让现实中令人不安的因素从侧门进入。它描写的爱情故事基本上遵循了 "男孩遇见女孩；男孩失去女孩；男孩得到女孩 "的商店模式。它展现了富人在优雅环境中的生活。它似乎允许社会流动。与其说女店员嫁给了老板的儿子，不如说是贵族的女儿嫁给了贵族。它为普遍问题提供了个性化的解决方案。美貌和运气是伊丽莎白和简都能为爱结婚并提高地位的试金石。如果邪恶得不到惩罚，美德至少会得到奖赏。无论是上流社会还是中产阶级，都不可能全是白人或黑人。达西为凯瑟琳夫人感到羞耻，就像丽兹为母亲感到羞耻一样。最重要的是，故事的结局是圆满的。

(Bluestone 1957: 114) (蓝石 1957：114）

Bluestone's chapter on the film of Pride and Prejudice calls attention to the adaptability of Austen's novel in much the same way as I have tried to uncover key signifiers of the adaptation genre: for Bluestone, the features include the general observation of events through Elizabeth's eyes (Bluestone 1957: 122), the invitation by the author to 'paint' what is not there (124) and the overall structure, which Bluestone observes 'resembles a shooting-script' (121). If there is such a genre as 'adaptation', then it seems to me that Austen's novel is a foundation from which it springs, providing the genre with what have become instantly identifiable signifiers, signifiers that constantly point to the artistic and/or literary origins of the work. If we are to think of adaptations that selfconsciously signal themselves as adaptations, then Pride and Prejudice provides a textbook for that genre, ultimately bringing back something akin to a return to the literary in this area of adaptation studies.
布鲁斯通在关于《傲慢与偏见》电影的章节中呼吁人们关注奥斯汀小说的改编性，其方式与我试图揭示改编体裁关键标志的方式大致相同：在布鲁斯通看来，改编体裁的特点包括通过伊丽莎白的眼睛对事件进行总体观察（布鲁斯通 1957: 122）、作者邀请人们 "描绘 "不存在的东西（124）以及整体结构，布鲁斯通认为这种结构 "类似于拍摄脚本"（121）。如果真有 "改编 "这一流派，那么在我看来，奥斯汀的小说就是改编的基础，它为这一流派提供了可立即识别的标志，这些标志不断指向作品的艺术和/或文学起源。如果我们认为改编作品自觉地表明自己是改编作品，那么《傲慢与偏见》就为这一流派提供了一本教科书，最终在改编研究领域带来了某种类似于文学回归的东西。

ACKNOWLEDGEMENTS 致谢

I wish to acknowledge the kind support of both the British Academy and the Leverhulme Trust for their support of research in this area.
感谢英国科学院和 Leverhulme 信托基金会对本领域研究的大力支持。

REFERENCES 参考文献

Austen, J. (1813), Pride and Prejudice, Tony Tanner (ed.) (1981), Harmondworth: Penguin.
奥斯汀，J.（1813 年），《傲慢与偏见》，托尼-坦纳（编辑）（1981 年），哈蒙沃思：企鹅出版社。

Belton, E. (2003), 'Reimagining Jane Austen: the 1940 and 1995 film versions of Pride and Prejudice, in G. Macdonald and A. F. Macdonald (eds), Jane Austen on Screen, Cambridge: Cambridge University Press, pp. 175-96.
Belton, E. (2003), 'Reimagining Jane Austen: the 1940 and 1995 film versions of Pride and Prejudice, in G. Macdonald and A. F. Macdonald (eds), Jane Austen on Screen, Cambridge：剑桥大学出版社，第 175-96 页。

Bluestone, G. (1957), Novels into Film, Berkeley: University of Califomia Press.
Bluestone, G. (1957), Novels into Film, Berkeley：加州大学出版社。

Brosh, L. (2008), Screening Novel Women from British Domestic Fiction to Film, London: Palgrave.
Brosh, L. (2008), Screening Novel Women from British Domestic Fiction to Film, London：Palgrave.

Bruzzi, S. (1997), Undressing Cinema: Clothing and Identity in the Movies, London: Routledge.
Bruzzi, S. (1997)，《脱衣电影》：Clothing and Identity in the Movies, London：Routledge.

Burt, R. (2008), 'Becoming literary, becoming historical: The scale of female authorship in Becoming Jane', Adaptation, 1:1, pp. 58-62.
Burt, R. (2008), "Becoming literary, becoming historical: The scale of female authorship in Becoming Jane", Adaptation, 1:1, pp.

'Darcy Portrait Sells for

BBC News online http://news.bbc.co.uk/1/hi/ entertainment/7844319 stm Accessed 20 July 2009.
达西肖像卖出

BBC 新闻在线 http://news.bbc.co.uk/1/hi/ entertainment/7844319 stm 2009 年 7 月 20 日访问。

Davies, A. (2007), 'A practical understanding of literature on screen: Two con versations with Andrew Davies', in D. Cartmell and I. Whelehan (eds),
Davies, A. (2007), "A practical understanding of literature on screen：Two con versations with Andrew Davies', in D. Cartmell and I. Whelehan (eds)、

The Cambridge Companion to Literature on Screen, Cambridge: Cambridge University Press, pp. 239-51.
The Cambridge Companion to Literature on Screen, Cambridge：剑桥大学出版社，第 239-51 页。

Ellington, H. E. (1998), 'A correct taste in landscape', in Linda Troost and Sayre Greenfield (eds), Jane Austen in Hollywood 2nd ed., Lexington: University of Kentucky Press, pp.

.
Ellington, H. E. (1998), 'A correct taste in landscape', in Linda Troost and Sayre Greenfield (eds), Jane Austen in Hollywood 2nd ed., Lexington：

。

Geraghty, C. (2008), Now a Major Motion Picture: Film Adaptations of Literature and Drama, London: Rowman & Littlefield.
Geraghty, C. (2008)，《现在是一部大电影》：Film Adaptations of Literature and Drama, London：Rowman & Littlefield.

(2009), 'Foregrounding the media: Atonement (2007) as an adaptation', Adaptation, 2:2, pp. 91-109.
(2009), "Foregrounding the media：Atonement (2007) as an adaptation", Adaptation, 2:2, pp.

Gibson, P. C. (2009), 'Jane Austen on screen - overlapping dialogues, different takes', Adaptation, 2:2, pp. 180-190.
Gibson, P. C. (2009), "Jane Austen on screen - overlapping dialogues, different takes", Adaptation, 2:2, pp.

Hutcheon, L. (2006), A Theory of Adaptation, London: Routledge.
Hutcheon, L. (2006)，《适应理论》，伦敦：Routledge.

Jarrold, Julian (2007), Becoming Jane, UK: Miramax Films, HanWay, UK Film Council.
Jarrold, Julian (2007)，《Becoming Jane》，英国：Miramax Films、HanWay、英国电影委员会。

Langton, Simon (1995), Pride and Prejudice, UK: BBC.
Langton, Simon (1995)，《傲慢与偏见》，英国：BBC。

Lanham, R. A. (1969), A Handlist of Rhetorical Terms, Berkeley: University of California Press.
Lanham, R. A. (1969), A Handlist of Rhetorical Terms, Berkeley：加州大学出版社。

Leitch, T. (2007), Film Adaptation and Its Discontents, Baltimore: John Hopkins University Press.
Leitch, T. (2007), Film Adaptation and Its Discontents, Baltimore：约翰-霍普金斯大学出版社。

(2008), 'Adaptation, the genre', Adaptation, 1:1, pp. 106-20.
(2008), 'Adaptation, the genre', Adaptation, 1:1, pp.

Leonard, Robert Z. (1940), Pride and Prejudice, US: Warner Brothers.
Leonard, Robert Z. (1940)，《傲慢与偏见》，美国：华纳兄弟。

Lovering, Jeremy (2008), Miss Austen Regrets, UK: BBC.
Lovering, Jeremy (2008)，《奥斯汀小姐的遗憾》，英国：BBC。

Moggach, D. (2008), Talk at the 3rd Annual Association of Adaptation Studies Conference, Amsterdam, 27 September, 2008.
Moggach, D. (2008)，第三届适应研究协会年会演讲，阿姆斯特丹，2008 年 9 月 27 日。

Neale, S. (2000), Genre and Hollywood, London and New York: Routledge.
Neale, S. (2000), Genre and Hollywood, London and New York：Routledge.

'Pride and Prejudice pressbook', 1940.
《傲慢与偏见》新闻册，1940 年。

Spence, J. (2003), Becoming Jane Austen, Hambledon: London and New York, 2003.
Spence, J. (2003)，《成为简-奥斯汀》，Hambledon：伦敦和纽约，2003 年。

Wright, Joe (2005), Pride and Prejudice, UK: Universal.
Wright, Joe (2005)，《傲慢与偏见》，英国：环球公司。

SUGGESTED CITATION 建议引文

Cartmell, D. (2010), 'Pride and Prejudice and the adaptation genre', Journal of Adaptation in Film & Performance 3:3, pp. 227-243, doi: 10.1386/jafp.3.3.227_1.
Cartmell, D. (2010), "Pride and Prejudice and the adaptation genre", Journal of Adaptation in Film & Performance 3:3, pp.

CONTRIBUTOR DETAILS 捐款人详细信息

Dr Deborah Cartmell is a reader in English, the director of the Centre for Adaptations and the head of Taught Postgraduate Programmes at De Montfort University. She is co-editor of Shakespeare (Routledge) and Adaptation (Oxford University Press) and the Founder and trustee of the Association of Adaptation Studies. Her most recent publication is Screen Adaptation: Impure Cinema (Palgrave, 2010) with Imelda Whelehan, and she is currently editing a volume

Companion to Literature, Film and Adaptation (Blackwell).
Deborah Cartmell 博士是德蒙福特大学的英语讲师、改编中心主任和研究生教学课程负责人。她是《莎士比亚》（Routledge）和《改编》（牛津大学出版社）的联合编辑，也是改编研究协会的创始人和理事。她的最新著作是《银幕改编》：她目前正在编辑《

文学、电影和改编指南》（Blackwell）一书。

Contact: Clephan Building, De Montfort University, The Gateway, Leicester LE19BH.
联系方式Clephan Building, De Montfort University, The Gateway, Leicester LE19BH.

E-mail:djc@dmu.ac.uk

Pride and Prejudice and the adaptation genre 《傲慢与偏见》和改编体裁