本文關(guān)鍵詞： 《與狼共舞》 自然生態(tài) 社會(huì)生態(tài) 精神生態(tài)　出處：《曲阜師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：《與狼共舞》改編自邁克爾·布萊克的同名小說(shuō)，由凱文·科斯特納在1990年主演并搬上熒幕。影片以美國(guó)白人士兵約翰·鄧巴與印第部落中的蘇族人相處的過(guò)程為故事主線，并以全新的角度將以往西部片中被忽略和丑化的印第安人作為主要角色，重現(xiàn)了他們鮮為人知的真實(shí)面貌和悲慘遭遇。該片上映后獲得了極大的成功，橫掃第68屆奧斯卡最佳影片等七項(xiàng)大獎(jiǎng)，將處于低谷的西部電影推向一個(gè)新的高點(diǎn)。因此，這部電影被認(rèn)為是好萊塢西部電影發(fā)展史上一個(gè)至關(guān)重要的轉(zhuǎn)折點(diǎn)。電影從主人公約翰·鄧巴的視角描述了“西進(jìn)運(yùn)動(dòng)“中白人對(duì)美國(guó)西部草原自然資源的掠奪和破壞、白人社會(huì)的異化和精神世界的迷失及蘇族人和諧快樂(lè)的生活。 生態(tài)批評(píng)家呼吁人類要尊重、保護(hù)自然并與自然界的其他生物和諧相處，生態(tài)理論研究的是文學(xué)與自然的關(guān)系。生態(tài)理論家魯樞元在其作品《生態(tài)文藝學(xué)》中將生態(tài)理論按照三分法分成自然生態(tài)、社會(huì)生態(tài)和精神生態(tài)。 本文運(yùn)用以上三個(gè)生態(tài)理論，論述了美國(guó)好萊塢導(dǎo)演凱文·科斯特納的電影《與狼共舞》中反映的生態(tài)現(xiàn)象，對(duì)比分析了現(xiàn)代美國(guó)人和古老的印第安人對(duì)自然的掠奪與保護(hù)、社會(huì)生態(tài)的失衡與和諧及精神世界的迷失與自我的回歸。 由于其獨(dú)特的視角和深遠(yuǎn)的影響，《與狼共舞》上映后引起了國(guó)內(nèi)外學(xué)者的極大興趣。多數(shù)學(xué)者主要就本影片中印第安人地位的提高、影片背景的歷史性、隱喻和象征的使用、影片主題較以往美國(guó)西部片的變化、“文明”與“野蠻”的沖突和融合及中文譯本的比較等方面進(jìn)行研究，也有幾位學(xué)者從生態(tài)學(xué)的角度進(jìn)行了分析，但深度不夠。本文將在此基礎(chǔ)上從自然生態(tài)、社會(huì)生態(tài)和精神生態(tài)三方面做進(jìn)一步的探討。目前由于人們對(duì)自然資源的長(zhǎng)期掠奪和破壞，人類賴以生存的地球已千瘡百孔，，同時(shí)現(xiàn)代文明給人類帶來(lái)豐富的物質(zhì)生活同時(shí)也帶來(lái)了困惑和苦悶，導(dǎo)致了自我的缺失。本影片揭露了白人對(duì)美國(guó)西部自然資源的開(kāi)采和破壞，呼吁現(xiàn)代人要像印第安人那樣尊重自然、愛(ài)護(hù)自然，并且倡導(dǎo)人類要回歸自然和認(rèn)同自然對(duì)人類精神世界的治愈力量。此外，凱文·科斯特納將攝像機(jī)的鏡頭深入到了古老的印第安部落中，完整地重現(xiàn)了印第安人和諧的原始生活。通過(guò)對(duì)印第安人生活細(xì)節(jié)的展示，導(dǎo)演旨在告訴現(xiàn)代人只有拋棄貪婪的欲望，與自然和諧共處，并且回歸大自然，人類才能真正找到自我，實(shí)現(xiàn)個(gè)體精神世界的和諧和建立和諧的社會(huì)環(huán)境。 本研究從生態(tài)批評(píng)角度出發(fā)，結(jié)合以上三個(gè)生態(tài)觀點(diǎn)對(duì)《與狼共舞》進(jìn)行解讀，通過(guò)不同的角度反映導(dǎo)演對(duì)尊重自然、與自然和諧相處的呼吁及對(duì)回歸自然的倡導(dǎo)和對(duì)自然治愈力量的認(rèn)同。本文共分成六章： 第一章首先介紹了該研究的背景，然后概述了電影的主要內(nèi)容和影片的拍攝過(guò)程。其次概述了本文的研究意義。最后簡(jiǎn)介全文的框架。 第二章是文獻(xiàn)綜述和理論基礎(chǔ)。本章首先歸納總結(jié)了國(guó)內(nèi)外學(xué)者對(duì)影片的的相關(guān)研究。大多數(shù)學(xué)者從該影片的主題和印第安人形象與其他西部片的不同、文明與野蠻的沖突、隱喻和象征的使用等方面對(duì)該影片進(jìn)行研究。雖然有少數(shù)幾位學(xué)者的研究涉及了生態(tài)理論，但不夠系統(tǒng)和深刻，并且?guī)缀鯖](méi)有學(xué)者從自然生態(tài)、社會(huì)生態(tài)和精神生態(tài)這三個(gè)方面進(jìn)行解讀。本研究為彌補(bǔ)這一空缺，將從以上三個(gè)方面解讀本影片。本章其次是綜述生態(tài)批評(píng)理論的發(fā)展及自然生態(tài)、社會(huì)生態(tài)和精神生態(tài)的基本觀點(diǎn)。 第三章從自然生態(tài)的角度分析了影片中人和自然的關(guān)系。古老的印第安人尊重自然、敬畏自然并且與自然和諧共存，而白人對(duì)美國(guó)西部草原自然資源卻任意地掠奪和踐踏，這種強(qiáng)烈的對(duì)比暗示現(xiàn)代人要像印第安人那樣和自然共存，體現(xiàn)了導(dǎo)演呼吁人類尊重自然和自然和諧共處的思想。 第四章從社會(huì)生態(tài)學(xué)的角度闡述影片中失衡的白人社會(huì)生態(tài)和和諧的印第安部落。社會(huì)等級(jí)的存在和無(wú)休止的欲望是白人社會(huì)生態(tài)失衡的關(guān)鍵。在生態(tài)失衡的社會(huì)中，人們之間關(guān)系冷淡，缺乏真誠(chéng)的交流和關(guān)愛(ài)。印第安部落的情況卻恰恰與之相反。電影對(duì)蘇族人和諧生活的描寫(xiě)體現(xiàn)了尊重自然，與自然和諧共處的價(jià)值。 第五章從精神生態(tài)的角度分析了影片中白人自我的迷失和自然的治愈力量。欲望的驅(qū)使和戰(zhàn)爭(zhēng)的摧殘使影片中的白人完全迷失自我，但有生態(tài)意識(shí)的約翰·鄧巴通過(guò)回歸自然重新找到了自我，因此自然對(duì)人類的精神有治愈力量，體現(xiàn)了自然的強(qiáng)大治愈力量和回歸自然的重要性。 第六章是結(jié)論部分。本章總結(jié)了全文的研究過(guò)程及觀點(diǎn)，探討了本研究的理論及現(xiàn)實(shí)意義，指出了本研究的不足之處并且展望了本課題今后的發(fā)展方向。
[Abstract]:"Dances with wolves > adapted from Michael Black's novel of the same name, by Kevin Costner in 1990 starring and onto the screen. The process of film to the Sioux white American soldier John Dunbar and the Indian tribes along the story line, and a new perspective will be ignored by the west film and defacing the Indians as the main characters they reproduce the little-known truth and tragedy. The film was a great success after the release of the sixty-eighth Oscar Award for the best film swept seven awards will be at the bottom of the western film to a new high. Therefore, it is believed that the film is a crucial turning point in the history of West Hollywood movie. The film describes the" westward movement "looting and destruction of natural grassland resources in the western United States in the whites from the protagonist John Dunbar's perspective, white society The alienation of the meeting and the loss of the spiritual world and the harmonious and happy life of the people of the Soviet Union.
Ecological critics called on humans to respect, protect nature and other creatures of nature in harmony, ecological theory is the relationship between literature and nature. Ecological theorist Lu Shuyuan in his works < > in ecological literature ecological theory in accordance with the three division into natural ecology, social ecology and spiritual ecology.
This paper uses the above three ecological theory, discusses the movie wolf and American Hollywood director Kevin Costner dance ecological phenomenon reflected in the comparative analysis >, the exploitation and protection of nature of modern and ancient American Indians, the imbalance of social ecology and harmony and spiritual world'slosing and regression.
Because of its unique perspective and profound, "dances with Wolves" after the release has aroused great interest of scholars at home and abroad. Most scholars mainly Indian status in this film increased, the historical background of the film, the use of metaphor and symbol, change the theme of the film than in the past the West Film, "study civilized" and "savage" conflict and fusion and Chinese versions of the comparison, there are few scholars analyzed from the perspective of ecology, but the depth is not enough. This paper will based on the natural ecology, do further research on the social ecology and spiritual ecology three aspects. At present due to long-term exploitation and damage to people natural resources, human survival of the earth has been in a disastrous state, while modern civilization brings rich material life but also brings confusion and depression, resulting in the loss of self. This film uncovering The White Dew on the natural resources exploitation and destruction of the western United States, called for modern people to love nature and respect for nature, like the Indians, and advocates that human beings should return to nature and the identity of the natural healing power of human spiritual world. In addition, Kevin Costner will be the camera into the ancient Indian tribes, reproduce the original Indians living in harmony. Through the details of Indian life show, director to tell people today only to abandon the greedy desire to live in harmony with nature, and return to nature, human beings can truly find the self realization of individual spirit harmony in the world and build a harmonious social environment.
This study from the perspective of eco criticism, combined with the above three ecological view of < dances with wolves > interpretation, reflecting the director of respect for nature from different angles, in harmony with the natural appeal and advocate for returning to nature and the natural healing power of identity. This paper is divided into six chapters:
The first chapter introduces the background of the research first, then outlines the main contents of the movie and the shooting process of the movie. Secondly, it summarizes the significance of this research. Finally, it introduces the framework of the whole paper.
The second chapter is the literature review and theoretical basis. This chapter first summarizes the relevant research of domestic and foreign scholars on the film. Most of the scholars from the theme of the movie and the Indians and other Western different conflicts between civilization and barbarism, metaphor and symbol use and other aspects of the film were studied. Although there are studies a few scholars involved in ecological theory, but not systematic and profound, and few scholars from the interpretation of natural ecology, social ecology and spiritual ecology of these three aspects. This research is to make up for this vacancy, will interpret this film in three aspects. Secondly this chapter is review of the development of the ecological criticism the basic point of view and natural ecology, social ecology and spiritual ecology.
The third chapter is the analysis of the relationship between man and nature in the film from the natural ecological perspective. The ancient Indian respect for nature, reverence for nature and harmony with nature, and the white of the natural resources in the western United States has any plunder and trampling on grassland, the contrast strongly suggested that modern people like Indian style and natural coexistence reflects the director called for respect for nature and human nature harmony thought.
The fourth chapter in the film white imbalance of society and harmonious Indian tribes from the perspective of social ecology. The existence of social hierarchy and endless desire is the key to the white society. Ecological imbalance in the ecological imbalance in social relations among people, indifference, lack of sincere communication and care. The situation is just with the Indian tribes in contrast to the Sioux. The film portrays the harmonious life embodies the respect for nature, harmonious coexistence with nature.
The fifth chapter is the analysis of the film white self lost and the healing power of nature from the perspective of spiritual ecology. Desire and wars make the film white completely lost, but the ecological consciousness of John Dunbar by returning to nature to find the ego, so natural to the human spirit has healing power, reflecting the nature of the great importance of curing strength and return to nature.
The sixth chapter is the conclusion. This chapter summarizes the research process and viewpoints of the full text, discusses the theoretical and practical significance of this research, points out the shortcomings of this research, and looks forward to the future development of this topic.

【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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