| Jane Austen’s novels contain rich ideological connotations and multiple spatial dimensions.After the rise of film and television,works adapted from Austen’s novels have emerged,and the transformation and imagination of spatial dimensions have been presented more visually,providing new perspectives for the interpretation and understanding of film and television works adapted from the novels.Based on Austen’s six officially published novels Pride and Prejudice,Sense and Sensibility,Northanger Abbey,Mansfield Park,Emma,and Persuasion,as well as the film and television adaptations of these novels,this paper aims to provide a detailed interpretation and in-depth analysis of the geographic,social,and cultural spaces presented by Austen’s novels and adaptations from a spatial perspective.The overall idea of the essay is based on the literary background of the "spatial turn",and takes the closeness of space to human mental activity as a clue,i.e.,from the figurative geographical space to the social space to the abstract cultural space,to interpret Austen’s novels and their film adaptations.The main text is divided into five chapters.The first chapter briefly reviews the development of spatial theory,and focuses on clarifying the spatial theory after the "spatial turn" in the late 20 th century;at the same time,on the basis of analyzing the spatial criticism theory of novels,it is devoted to exploring the transformation of spatial dimensions involved in the process of novel adaptation;then,taking time as a clue,it takes a spatial perspective to The second chapter starts from the geospatial dimension,and the second chapter is devoted to the spatial dimension of Austen’s novels.The second chapter starts from the geospatial dimension,and analyzes the transformation of film and television space into the noisy and well-defined urban space and the quiet,orderly and class-defined rural space in Austen’s novels.The third chapter analyzes in detail the reversion of Austen’s life space,the daily country dances and rich sojourn in the novel space,and the creative imagination of diverse entertainment activities in the modern city from two social spaces,namely social and gender interactions.It also emphasizes the tendency of adapting from "alienation" to "idealization" of post-marital gender interactions in the author’s earlier works and the restoration of the harmonious and loving space of gender interactions in the author’s later works.Chapter 4 discusses the film and television adaptations in terms of gender culture,marriage culture and experience culture,exploring the heroine’s creation of private space and her concern for the public sphere;exploring the transformation of the heroine’s focus on economic conditions to her obsession with love in marriage;and highlighting the trend of the heroine’s spiritual and emotional experience being constantly strengthened.Chapter 5focuses on the value and reflection of spatial imagination in film and television adaptations of classic novels,focusing on the visualization value of historical,cultural and aesthetic ideas that spatial imagination has,and emphasizing that the participation of spatial imagination is a sufficient condition that cannot be ignored in the process of film and television adaptations.The construction of artistic space in the film and television adaptations of Austen’s novels not only continues the deeper meaning in the space of the novels,but also expands the expression of the space of film and television,which provides the experience for successful film and television adaptations of classic novels;at the same time,it also enables film and television art to play the same important value of spatial imagination as novels in exploring the aesthetic and spiritual life of human beings. |
