本計畫試圖研究法國十七世紀小說《克萊維王妃》（La Princesse de Clèves）在二十一世紀的圖像改編。歷來對該書的封面設計與插圖傳統總是以虛空畫派（Vanitas）的作品為主，呼應小說蘊含的冉森教派（jansénisme）意識形態。2018年服裝設計師克里斯強．拉克瓦（Christian Lacroix）為該書製作一系列插畫，提供了「流浪體小說」（picaresque）的風格；2019年漫畫家卡帖爾與布伊雅克（Catel&Bouilhac）聯手完成的漫畫版的圖像敘述，帶領讀者重返女作家的創作現場。透過此專題計畫，筆者試圖研究改編對原典詮釋隱含的顛覆性與創新性，並陸續探討：1.改編的動機有何時代背景的意義？2.圖像版運用哪些手法呈現「鏡像回映」（mise en abyme）的效果，形成對不同媒材藝術的致敬，如電影、戲劇、文學或繪畫？3.圖像作為一種敘述藝術與文字的鋪陳有何特殊性？正如德布雷（Régis Debray）所說：「每一種藝術都應該要能做出其他藝術無法辦到的事情，它能夠存在的理由就在這個特殊之處。」我們將以此思索圖像改編如何以其獨特的召喚力敘述人類處境，並回應文學在當代所遭遇的問題。 ;This project focus on the graphic adaptation of the 17th-century French novel “La Princesse de Clèves”. Since the Vanitas style graphics have always been employed in the cover design and the illustrations of the classic work, which reflected the ideology of Jansenism tradition, however, a French couturier Christian Lacroix has designed a series of picaresque illustrations for this novel in 2018. Next year, the cartoonists Catel Muller and Claire Bouilhac have made the graphic-novel adaption from the original 17th-century text. In this research project, we will focus on exploring the creativity in the acts of adaptation, the motivation, the background characteristics of times related to the social-politics trends, as well as the strategies of graphics, the effects of the mise en abyme, and the question of multimodal narration. According to Régis Debray, “Any art shall do what the other art can’t do, that is where the originality of art lies.”, our main axe of research aims to reconsider how does the graphic adaptation with its singularity in visual meaning represent human condition and reflect the problems of nowadays.
