李安作品中所體現(xiàn)的身份意識及文化身份探討
發(fā)布時間：2019-03-21 14:18
【摘要】：隨著跨國界和跨文化的社會、經(jīng)濟、政治交流活動的日益增多，文化沖突問題的凸顯吸引了越來越多人的關(guān)注。隨之而來的文化危機及自我身份質(zhì)疑與定位更是困擾不少海外華人，，使他們的身份認同之路步步踉蹌。而在現(xiàn)實中，不少人對這種現(xiàn)象的初相識卻是通過電影這種文化的藝術(shù)性表達來實現(xiàn)。 李安是一名出生于臺灣，求學(xué)于美國，并取得綠卡的電影導(dǎo)演兼編劇，他受到臺灣、中國大陸及美國的多重文化影響。但在現(xiàn)實中，他被美國主流社會視為外國人，被中國大陸人視為臺胞，被臺灣人視為外省二代移居者，多重局外人的身份使得它的身份認同之路荊棘叢叢。在他的電影及劇本中，東西文化交織相生互為烘托，人物對于文化身份的探尋引人深�。欢@也正是他自身文化身份的寫照。因而，剖析李安作品引起各種沖突的根源---東西文化沖突對于探究他在跨國語境下的自我定位與身份認同特征具有借鑒及研究意義。 本文共分為三個部分。引言中主要介紹李安的自身文化背景、藝術(shù)成就、國內(nèi)外對其研究現(xiàn)狀及本文的研究依據(jù)和理論基礎(chǔ)。 第一章以斯圖爾特霍爾的流動文化認同理論為理論框架，結(jié)合全球理論下認同危機的形成，通過李安作品中人物思想意識走向、族裔文化探尋及文化身份塑造等方面進行分析，試圖揭示外籍華人對于自身文化身份認同的摸索。 第二章分析李安作品中人物從對自身身份意識的覺醒到著手探尋自身文化身份的過程，深入剖析兩種文化從表層的物質(zhì)到深層意識的多重沖突。以愛德華霍爾的高低語境理論為基礎(chǔ)，通過探索李安作品中對中國傳統(tǒng)文化追尋的過程以及劇本中人物對白展示的心理糾葛來梳理李安在高語境東方文化浸泡下不自覺的對這種文化的展露，并揭示其對東方文化的認同。 第三章介紹李安劇本中華裔作為美國社會邊緣人的形象，以及他們對家庭的向往。通過分析李安劇本中人物在經(jīng)歷“家”的解構(gòu)和重塑的過程中如何在以白人為主流群體的社會中通過文化沖突與碰撞尋求自身文化認同，在保留尊重傳統(tǒng)的東方母文化的同時包容吸收西方新文化來重塑文化身份，實現(xiàn)東西方文化交融并存。
[Abstract]:With the increasing activities of cross-border and cross-cultural society, economy and politics, cultural conflicts have attracted more and more people's attention. The following cultural crisis and self-identity questioning and positioning are perplexing many overseas Chinese, causing their identity to stagger step by step. In reality, many people's first acquaintance of this phenomenon is achieved through the artistic expression of film culture. Lee is a film director and screenwriter who was born in Taiwan, studied in the United States, and received a green card. He is influenced by various cultures in Taiwan, China and the United States. But in reality, he is regarded as a foreigner by the mainstream society in the United States, as a Taiwanese by Chinese people, and as a second generation immigrant from other provinces by Taiwanese people. The identity of multiple outsiders makes his identity a difficult road. In his films and plays, East and West cultures intertwined with each other, the characters' search for cultural identity is fascinating; and this is also the reflection of his own cultural identity. Therefore, analyzing the causes of all kinds of conflicts caused by Lee's works-the cultural conflicts in the East and the West is of great significance in exploring his self-orientation and identity characteristics in the transnational context. This paper is divided into three parts. The introduction mainly introduces Ang Lee's own cultural background, artistic achievements, the status quo of his research at home and abroad, the research basis and theoretical basis of this paper. The first chapter takes Stuart Hall's theory of mobile cultural identity as the theoretical framework, combining with the formation of identity crisis under the global theory, through the analysis of the ideological orientation of the characters in Lee's works, the exploration of ethnic culture and the shaping of cultural identity, and so on. Try to reveal the foreign Chinese on their own cultural identity exploration. The second chapter analyzes the process from awakening of identity consciousness to exploring the cultural identity of the characters in Lee's works, and deeply analyzes the multiple conflicts between the two cultures from the surface material to the deep consciousness. Based on Edward Hall's theory of high and low context, By exploring the process of pursuing the Chinese traditional culture in Lee's works and the psychological entanglement in the dialogue display of the characters in the script, the author tries to sort out Lee's unconsciously exposed to this culture under the immersion of the high-context oriental culture. And reveal its identity to the oriental culture. The third chapter introduces the image of Chinese Americans as marginal Americans in Lee's play, and their yearning for family. This paper analyzes how the characters in Lee's script seek their own cultural identity through cultural conflict and collision in a society with white people as the mainstream group in the process of deconstruction and reconstruction of "home". While respecting the traditional oriental mother culture, we should absorb the new western culture to reshape the cultural identity and realize the coexistence of the eastern and western cultures.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905;I207.3
本文編號：2445031
[Abstract]:With the increasing activities of cross-border and cross-cultural society, economy and politics, cultural conflicts have attracted more and more people's attention. The following cultural crisis and self-identity questioning and positioning are perplexing many overseas Chinese, causing their identity to stagger step by step. In reality, many people's first acquaintance of this phenomenon is achieved through the artistic expression of film culture. Lee is a film director and screenwriter who was born in Taiwan, studied in the United States, and received a green card. He is influenced by various cultures in Taiwan, China and the United States. But in reality, he is regarded as a foreigner by the mainstream society in the United States, as a Taiwanese by Chinese people, and as a second generation immigrant from other provinces by Taiwanese people. The identity of multiple outsiders makes his identity a difficult road. In his films and plays, East and West cultures intertwined with each other, the characters' search for cultural identity is fascinating; and this is also the reflection of his own cultural identity. Therefore, analyzing the causes of all kinds of conflicts caused by Lee's works-the cultural conflicts in the East and the West is of great significance in exploring his self-orientation and identity characteristics in the transnational context. This paper is divided into three parts. The introduction mainly introduces Ang Lee's own cultural background, artistic achievements, the status quo of his research at home and abroad, the research basis and theoretical basis of this paper. The first chapter takes Stuart Hall's theory of mobile cultural identity as the theoretical framework, combining with the formation of identity crisis under the global theory, through the analysis of the ideological orientation of the characters in Lee's works, the exploration of ethnic culture and the shaping of cultural identity, and so on. Try to reveal the foreign Chinese on their own cultural identity exploration. The second chapter analyzes the process from awakening of identity consciousness to exploring the cultural identity of the characters in Lee's works, and deeply analyzes the multiple conflicts between the two cultures from the surface material to the deep consciousness. Based on Edward Hall's theory of high and low context, By exploring the process of pursuing the Chinese traditional culture in Lee's works and the psychological entanglement in the dialogue display of the characters in the script, the author tries to sort out Lee's unconsciously exposed to this culture under the immersion of the high-context oriental culture. And reveal its identity to the oriental culture. The third chapter introduces the image of Chinese Americans as marginal Americans in Lee's play, and their yearning for family. This paper analyzes how the characters in Lee's script seek their own cultural identity through cultural conflict and collision in a society with white people as the mainstream group in the process of deconstruction and reconstruction of "home". While respecting the traditional oriental mother culture, we should absorb the new western culture to reshape the cultural identity and realize the coexistence of the eastern and western cultures.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905;I207.3
【相似文獻】
相關(guān)碩士學(xué)位論文 前1條
1 沈姍姍;李安作品中所體現(xiàn)的身份意識及文化身份探討[D];遼寧大學(xué);2014年
本文編號：2445031
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