Abstract
Nowadays stories increasingly take on pictorial and mixed-medial forms. Therefore the narrative modes and their aesthetic values come to draw more attention. So far classic novels have been adapted to films lots of times, which arouse some doubts. This paper, taking A Dream of Red Mansion as an example, tries to compare the narrative modes in different forms (text and drama) as well as their aesthetic value. After reviewing the adaptations of A Dream of Red Mansion chronologically, it makes a comparison between two different but the most influential film adaptations —the TV serial version produced in 1987, and another produced in 2007, and the literary work written by Cao Xueqin. It finds out: Zhen Shiyin is regarded as the one who tells the main story in the novel; no absolute narrator exists in the 87-version TV serial, and it combines omniscient and limited perspective styles, showing the advantages of multiple perspective styles, the same as the novel; however, the selection of narrative modes in 07-version TV serial is not as good as the others—the ubiquitous narratage is burdensome which somehow reduces the room for audiences to imagine. After comparing the narrative modes and their aesthetic values, it tells that a successful film and its aesthetic values is determined directly by the proper narrative modes.
Keywords:   Narrative Mode   Aesthetic Value   Form of Literature   A Dream of Red Mansion;

如今,以画报式、综合媒体的方式来演绎小说变得越来越普遍了,而对其叙事手段及美学效果的研究也随之引起更多关注。近年来,《红楼梦》经多次改编,也引起广泛的关注。作者以《红楼梦》为例,试分析其文学文本与影视文本中叙事手段的不同及其美学效果。在纵观了《红楼梦》的改编史,作者深入研究了两部影响最大的改编电视剧：87年中央电视台录制的电视剧和2007年由李少红导演的电视剧版《红楼梦》。作者将两者分别与原文本对应比较,发现：小说《红楼梦》由甄士隐引出了主题故事的叙述者,87版电视剧《红楼梦》并未设置一个统一的叙述者,而是在具体的叙事中将全知视角和限制视角结合起来,与小说一样充分发挥了多种视角的优势；而07版电视剧《红楼梦》在叙述视角的选择上就略显颓势——无所不在的旁白略显累赘并在一定程度上减少了观众的想象空间。将两部褒贬不一的影视红楼进行对比,分析其叙事手段及美学效果,我们更加坚信：叙事手段的成功与否直接决定着影片是否能够吸引观众,能否达到较好的美学效果。
关键词：叙事手段;   美学效果;   体裁;   《红楼梦》