摘 要

西方文学中的反乌托邦主题由来已久，而作为一种独立成熟的文体，反乌托邦文学则是在二十世纪三十年代正式登上世界文坛。自此，凭借其对后现代性及其异化的另类诠释，反乌托邦科幻文学及其电影改编绽放异彩、倍受关注。然而，近三十余年以来，主流反乌托邦科幻文学对后现代性所衍生的新问题显得无所适从，而且其电影改编对异化与集权主义进行高倍凸显的呈现方式日趋单调，逐渐导致受众的审美疲劳，失去吸引力、滑出学术焦点。与此同时，青春文学以其探索内心、发现自我的特色，对后现代语境中的个体与他者之相关性和认同感提出了一种内省式诠释，从而异军突起，成为新的焦点。

基于这两种母文体的优点与特色，反乌托邦青春文学应运而生。这一新文体将主流反乌托邦科幻的灭世假设前提与青春文学的自我认同探索相融合，将主人公设置在绝境中展开发现自我的心路历程，尝试解析认同危机和异化问题。自2001年起，此类文学的电影改编一直颇受追捧，大获赞赏，赢得了文学批评界和主流受众的肯定与接纳。此论文旨在通过对比主流反乌托邦科幻与反乌托邦青春文学及其电影改编的特点之异同，分析后者的创作意图和目标受众期待的流变，从而阐释反乌托邦青春文学崛起的社会、文化、环境、心理因素以及对青少年受众的建设性影响

关键词：反乌托邦；青春文学；人性异化；女英雄；爱情

Abstract

The theme of dystopia has been utilized in western literature for many decades. Dystopian literature as an independent and mature genre, emerged in 1930s, mainly as a response to political and socio-economic shifts. Thence, by its unconventional interpretation to postmodernity, dystopian literature and its film adaptation have attracted increasing attention and enjoyed an extensive influence. The past three decades, however, witnessed a decline of the popularity of dystopian literature, mostly due to its confinement in modernity from which new problems evolved as well as the aesthetic fatigue caused by the overstatement of alienation and totalitarianism. Accordingly, the mainstream dystopian literature has gradually slipped out of academic focus since the new millennium. Meanwhile, Young Adult (YA) literature, became popular in the Post-modern era with an emphasis on self-discovery and self-identity. Owing to its introspective exploration of Self versus Otherness and the identity, this genre has gained a strong backing from academics, authors, and YA readers.

This striking rise of YA Dystopian literature has gained much praise via a metabolic incorporation of these two parent genres, Dystopian and YA literature. This new subgenre integrated the Post-Apocalyptic predisposition of a mainstream dystopia into the YA literature featuring self-discovery. By setting the protagonist on an apocalyptic road to probe the self, YA literature attempts to analyze the identity crisis and alienation in a different fashion. Ever since 2001, YA Dystopian literature, especially with the related adapted film versions, has reinvented itself as a popular trend and, surprisingly, accomplished receptive aesthetic value both from critics and audiences as well.

By a comparative analysis of the mainstream and YA Dystopian literature and their film adaptation, this thesis aims to investigate the underlying purpose and messages of authors, clarify the expectation on readers, and expound the social, cultural, environmental and psychological factors of its rise and the constructive implications for young readers and audiences.

Key Words: dystopia; YA literature; human nature alienation; female heroic, romance

Contents

1 Introduction 1

1.1 Defining Dystopia 1

1.2 The Development of Adapted Dystopian Science Fiction 1

1.3 The Outline 2