【作者】 徐金龙；

【导师】 黄永林；

【作者基本信息】 华中师范大学 ， 中国民间文学， 2011， 博士

【摘要】 动漫艺术跨越国界、种族、民族、职业、性别和年龄,是一门世界通行的视听艺术,是大众喜闻乐见的一种大众娱乐文化,具有强大的影响力和号召力。动漫产业是21世纪的朝阳产业。早期国产动漫因鲜明的民族风格而在世界动漫艺术之林独树一帜,被誉为“中国学派”,成绩斐然、活力四射,而如今的国产动漫辉煌不再。全球化语境下,在甚嚣尘上的美、日等外来动漫的冲击下,国产动漫内外交困,背弃了立身之本和生存之基——民间文学传统,患上了严重的“失忆症”和“失语症”,丧失话语权力,陷入发展困境。更有甚者,中华民族的传统文化资源反而成了他者的嫁衣裳,《木兰》、《功夫熊猫》及其续集等洋动漫出口转内销,赚取中国巨额的经济利益、掠夺中国文化资源造成不可挽回的损失不说,在意识形态方面,对我们的青少年代的审美情趣、价值理想、思想观念等造成了潜移默化的影响。国产动漫沦落到如此尴尬、颜面无存的境地,究其原因,根本在于它舍本逐末,背弃了民间文学传统,对现成的丰饶的民间文学资源整合创新不够,没有正确处理好本土化、国际化、审美化、现代化、人文化、产业化之间的关系。考察中外动漫艺术发展史可以清楚看到,民间文学与动漫艺术有着不解之缘。民间文学资源是各国动漫艺术创作的源头活水,美国和日本等动漫强国开掘创新民间文学资源(本土的和域外的),呈现出鲜明的民族特色,早期国产动漫注重民族文化资源的运用与创新,因此被誉为“中国学派”。然而,当下的国产动漫迷失了民间文学传统,导致民族化的失忆、国际化的失语。振兴国产动漫,实现困境中的突围,应以内容为王,重塑民间文学传统。民间文学资源召唤着国产动漫艺术,它具有多重价值和功能：作为政治资源坚守动漫艺术民间立场、作为经济资源创造动漫艺术商业价值、作为文化资源彰显动漫艺术本土身份、作为教育资源传扬动漫艺术民族精神、作为艺术资源激发动漫艺术文化创意、作为娱乐资源提升动漫艺术喜剧品格。当下,国产动漫艺术整合创新民间文学资源是历史的选择,时代的必然,有着可能性、必要性、重要性和紧迫性。国产动漫在民间文学资源的表层形式方面,除了借鉴吸收民间文学资源多元化、多样性的民间艺术和民间叙事两方面的艺术形式之外,更重要的也是更能出彩的,是对民间文学资源的深层次内涵即幻想性的诗性思维、民族性的民俗传统、普适性的道德情操、大众化的民间立场、模式化的叙事范型、娱乐化的喜剧精神的整合创新。国产动漫在对民间文学形与神全方位的整合创新过程中,应以现代化的本土化为根基,以审美化的人文化为旨归,以国际化的产业化为方向,将民族特色与国际视野兼顾并重、情感艺术与技术理性交融、社会效益与经济效益并重。惟其如此,才能打造文艺精品,弘扬民族精神,复兴中华民族传统文化；彰显民族身份,捍卫文化安全,抗击西方文化霸权主义；创造经济效益,产生社会效应,推动创意文化产业经济；开启儿童智慧,重视寓教于乐,培育国民创造想象能力。这样,造福于人类社会,自立于世界动漫艺术之林。将民间文学与动漫艺术这两门综合性艺术结合起来进行应用性研究,是个新的探索和开掘。本文主要以民间文学为出发点和观照点,审视民间文学与动漫艺术共有的特质和契合点,研究在全球化语境下民间文学与动漫艺术的互动关系,以期借用动漫艺术这一高新技术、表现方式、艺术手段和大众传播媒介,实现民间文学资源从文化资源到文化资本的创造性转换,在实践层面为非物质文化遗产保护工程提供借鉴经验；另一方面,为动漫艺术的现代发展和整合创新指明前进方向和根本出路,提供理论指导。在微观操作层面,国产动漫艺术走民族化发展道路的口号,虽然已经提了很多年,但是究竟怎么整合创新中华民族传统文化资源,只有笼而统之的宏观叙述,不见具体化操作指南。本文着力解决动漫艺术如何对民间文学这种民族优秀传统文化资源进行借鉴融合、开掘创新的问题,这对动漫文化创意产业实践具有可操作性的指导意义,对非物质文化遗产的保护和开发也是一种实践探索。同时,在民间文学本体研究层面,重中了民间文学的文学性、艺术性、审美性,这对学界过分倚重民俗学、人类学、社会学等的田野调查研究方法而漠视了民间文学作为文学的本质属性,起到一定的反拨和启示作用。更多还原

【Abstract】 The art of animation has surpassed the national boundaries, races,ethnicity,occupation,sex and age. It is a widely-accepted audiovisual art and a popular entertainment culture form; it is influential and appealing. The animation industry is sunrise industry in the 21st century. In the early years, the domestic animation was so unique in the world’s animation field for its distinctive national style that it was called "Chinese School". It used to be very attractive and high-spirited and vigorous. However, the domestic animation industry today has reduced to a lower level, which is no longer brilliant and causes people to feel regretful for its obvious miserable situation. With the strike of external animation forces that make a great clamor just like the USA and Japan, the domestic animation industry is beset with troubles internally and externally in the context of globalization. It abandons folk literature tradition which is its essence of independence and foundation of existence. The domestic animation industry has developed some diseases called"amnesia"and"aphasia". It has completely lost the right to speak and its development is in a dilemma. Worse still, the traditional Chinese culture resources are being used by others. Mulan, Kongfu panda and its sequel and some other foreign animations export to domestic sales. Apart from making a great profit in Chinese market, the foreign animations also lead the domestic animation industry to suffer from an irretrievable loss by plundering Chinese cultural resources. In the aspect of ideology, the foreign animations exert a subtle influence on our youth generation in appreciation of the beauty, values and ideals, thoughts and so on. The essential reasons that the domestic animation industry falls into such an embarrassing and humiliating situation are the domestic animation industry itself attends to trifles and neglects the essentials, abandons traditional folk culture, fails to integrate and innovate the existing abundant folk literature resources fully and fails to deal with the relationship, which are localization, internationalization, aestheticization, modernization, humanization and industrialization.After studying the animation art history at home and abroad, we can easily find that folk literature has a close bond with animation art. The various resources of folk literature are the fountainheads of the creation of all countries’ Animation art. Animation powers like America and Japan develop and innovate folk literature resources both nationally and internationally, showing distinctive national characteristics, and the early domestic animation focusing on application and innovation of national culture resources is renowned as "Chinese School". However, domestic current animation loses our folk literature tradition, leading to the lose of both nationalization and internationalization. To promote Chinese animation and break out of the encirclement in plight, we should emphasize animation’s contents and restructure the tradition of folk literature. The resources of folk literature are summoning animation made in China, having multiple values and functions:as political resources, we should insist on the standpoints of folk animation. As economic resources, we should create commercial values of animation. As cultural resources, we should manifest the local identity of animation. As educational resources, we should spread the national spirit of animation. As art resources, we should use the cultural originality of animation. As creational resources, we should promote the comedy characteristics of animation. Currently, the integration and creation of folk literature resources are the choice of history and necessity of our times. It’s probable, evitable, important and urgent. Concerning the surface form of folk literature resources, except for learning and absorbing diverse and various art forms of folk literature and folk narrative in folk literature art resources, what’s more important and amazing is to integrate and innovate the folk literature’s deeper meaning, that is, imaginative poetic thinking, national folk traditions, universal moral sentiments, popular folk standpoint, modeling narrative features, recreational comedy spirits. In the process of the comprehensive integration and innovation of folk literature both in shape and content, for Chinese animation we should treat the modernization of localization as its root, the esthetical humanism as its principle, the international industrialization as its direction, and look after both national features and international visions, merge the emotional art and technical rationality, pay equal attention to social and economic profits. Only by doing all these can we develop competitive art products, promote national spirits, revive the traditions of Chinese people, manifest national identities, protect cultural safety, resist the hegemonism of western cultures, create economic profits, produce social effects, push the profits of innovative cultural industries, develop children’s wisdom, stress teaching through entertaining, cultivate people’s innovative and imaginative abilities, benefit the human society, finally can we stand on our own in the forests of worldwide animation.It’s a new point of exploration to do the applied research by combining the two comprehensive arts-----the folk literature and the animation. Mainly the folklore being the starting point and reference point, this paper does research on the common characters and conjunction points of the folklore and animation. On the one hand, it deals with the interactive relation of the two arts in the global language situation to achieve the creative transference of the folk literature resources from literature resources to capital through animation-----the hi-tech, manifestation mode, art technique and mass media, which can practically provide experience for the intangible cultural heritage protection engineering. On the other hand, this paper provides the theoretical direction for the direction of forward motion and rational solution of the modern development and integrated innovation of animation. On the level of micro operation, the slogan that domestic animation should develop in a national way has been advocated for years. However, there is only general macro description but no specific operation guide for how to integrate and innovate Chinese traditional culture resources. As a result, this paper concentrates on how animation can introduce, mix and interpret new perspectives from folk literature that is the traditional culture resources, which is an operative guide for the practice of the animation creative industry and a practical exploration for the protection and development of intangible cultural heritage. What’s more, it stresses the literariness, artistry and aesthetic again on the level of folk literature noumenon research, which can correct and enlighten the researchers when they depend excessively on the field survey research methods of folklore, anthropology and sociology discounting the folk literature’s essential attribute of being a literature.更多还原