改編自文學(xué)經(jīng)典的中國短篇動畫的語用分析
發(fā)布時間：2018-07-23 07:56
【摘要】：中國傳統(tǒng)短篇動畫一般指20世紀50年代初至90年代初，形式上使用剪紙、水墨、皮影、木偶、戲曲等藝術(shù)元素，內(nèi)容上取材于文學(xué)經(jīng)典、神話傳說、民間故事、童話故事，時長在三十分鐘以內(nèi)的中國動畫作品。從文學(xué)經(jīng)典中取材，結(jié)合現(xiàn)實的文化思想背景加以改編，動畫作品在內(nèi)容上能做到推陳出新的效果。維索爾倫的順應(yīng)性思想在理論上證明了這一改編過程的傳承性和發(fā)展性。動畫作品作為傳播媒介，通過語言既順應(yīng)了文學(xué)經(jīng)典原著的內(nèi)容和思想，又順應(yīng)了受眾群體希望娛樂性和教育性結(jié)合的心理狀態(tài)。結(jié)合中國傳統(tǒng)藝術(shù)形式，對文學(xué)經(jīng)典繼承發(fā)展的改編，做到寓教于樂，繼往開來，是值得新時期的動畫制作人學(xué)習(xí)和借鑒的。作為傳播媒介的動畫要為普及中國傳統(tǒng)文化知識貢獻力量。 本文選取九篇具有代表性的動畫作品進行語用順應(yīng)性分析，分別從語境的順應(yīng)、結(jié)構(gòu)的順應(yīng)、動態(tài)順應(yīng)和意識凸顯程度的順應(yīng)四個方面闡述從文學(xué)經(jīng)典改編成動畫作品的順應(yīng)性思想。第一章緒論介紹語料來源、研究目的、研究方法、研究意義和創(chuàng)新之處；第二章介紹順應(yīng)論的研究概況，從引進順應(yīng)論到其在不同領(lǐng)域的發(fā)展；第三章介紹了順應(yīng)論和傳播媒介的相關(guān)概念，對論文研究提供依據(jù)；第四章分類介紹所選語料，將改編的動畫與文學(xué)經(jīng)典進行對比，分析改編的內(nèi)容和程度；第五章著重運用順應(yīng)論的四個分析維度對改編的作品進行分析和介紹；第六章結(jié)語對以上的分析得出結(jié)論。所選動畫在內(nèi)容上，有的對原文進行了擴充，有的基本符合原文框架，有的重新為人物設(shè)計情節(jié)，這些都是通過動畫這一媒介對文學(xué)經(jīng)典和當下價值觀的順應(yīng)，是對傳統(tǒng)文化的新時期解讀。順應(yīng)表現(xiàn)在語境上，語言結(jié)構(gòu)上，是動態(tài)的過程，凸顯了制作人的目的和意圖。20世紀90年代以前的國產(chǎn)動畫片之所以能夠享譽世界，不僅因為動畫形式的不斷開拓創(chuàng)新，還因為回望傳統(tǒng)藝術(shù)和經(jīng)典，從中國古老的藝術(shù)和文化中汲取養(yǎng)分，去粗取精，，并賦予時代精神，是對未來動畫媒介弘揚中華文化和思想的有力參考。語言承載思想，動畫仍然要充當傳播思想的媒介，通過語言向下一代傳播文化和科學(xué)知識。然而這種傳承必須借助新技術(shù)和態(tài)度對動畫的形式和內(nèi)容進行包裝，這是語言文化繼承和發(fā)展的必要條件。
[Abstract]:Chinese traditional short animation generally refers to the early 1950s to the early 1990s, the use of paper-cut, ink, shadow, puppet, opera and other artistic elements, the content is derived from literary classics, myths, folklore, fairy tales, A Chinese animation that lasts less than 30 minutes. Taking materials from literary classics and combining with realistic cultural and ideological background, animation works can bring forth new ideas in content. Visorun's adaptation theory proves the inheritance and development of the adaptation process. Animation works, as a medium of communication, not only conform to the contents and ideas of the literary classics through language, but also conform to the psychological state that the audience wants to combine entertainment and education. Combining with the Chinese traditional art form, the adaptation of the inheritance and development of the literary classics is worthy of learning and learning from the animation producers in the new period. Animation as a media should contribute to the popularization of traditional Chinese cultural knowledge. In this paper, nine representative animated works are selected for pragmatic adaptation analysis, respectively from the adaptation of the context, the adaptation of the structure. The adaptation of dynamic adaptation and conscious salience is expounded from the adaptation of literary classics to animated works. The first chapter introduces the source of the corpus, the purpose of the research, the research methods, the significance and the innovation of the research, the second chapter introduces the research overview of adaptation theory, from the introduction of adaptation theory to its development in different fields. The third chapter introduces the relevant concepts of adaptation theory and media, and provides the basis for the research of the thesis. Chapter four classifies the selected language materials, compares the adapted animation with the literary classics, and analyzes the content and extent of the adaptation. The fifth chapter focuses on the adaptation of the four dimensions of the analysis of the adaptation of the work to analyze and introduce; chapter six to the conclusion of the above analysis. In the content of the selected animation, some extend the original text, some basically conform to the original frame, others redesign the plot for the characters. These are the adaptation of literary classics and current values through animation. It is a new interpretation of traditional culture. Adaptation is a dynamic process in context and language structure, which highlights the purpose and intention of the producers. The reason why the domestic animation films before the 1990s enjoyed worldwide fame is not only because of the continuous development and innovation of animation forms, but also because of the continuous development and innovation of animation forms. Also because of looking back at the traditional art and classics, drawing nutrients from the ancient Chinese art and culture, getting rid of the crude refinement, and endowing with the spirit of the times, it is a powerful reference for the future animation media to carry forward Chinese culture and thought. Language carries ideas, animation still serves as a medium for the dissemination of ideas, through language to the next generation of cultural and scientific knowledge. However, this kind of inheritance must use new technology and attitude to package the form and content of animation, which is a necessary condition for the inheritance and development of language and culture.
【學(xué)位授予單位】：湖北師范學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：H136
本文編號：2138722
[Abstract]:Chinese traditional short animation generally refers to the early 1950s to the early 1990s, the use of paper-cut, ink, shadow, puppet, opera and other artistic elements, the content is derived from literary classics, myths, folklore, fairy tales, A Chinese animation that lasts less than 30 minutes. Taking materials from literary classics and combining with realistic cultural and ideological background, animation works can bring forth new ideas in content. Visorun's adaptation theory proves the inheritance and development of the adaptation process. Animation works, as a medium of communication, not only conform to the contents and ideas of the literary classics through language, but also conform to the psychological state that the audience wants to combine entertainment and education. Combining with the Chinese traditional art form, the adaptation of the inheritance and development of the literary classics is worthy of learning and learning from the animation producers in the new period. Animation as a media should contribute to the popularization of traditional Chinese cultural knowledge. In this paper, nine representative animated works are selected for pragmatic adaptation analysis, respectively from the adaptation of the context, the adaptation of the structure. The adaptation of dynamic adaptation and conscious salience is expounded from the adaptation of literary classics to animated works. The first chapter introduces the source of the corpus, the purpose of the research, the research methods, the significance and the innovation of the research, the second chapter introduces the research overview of adaptation theory, from the introduction of adaptation theory to its development in different fields. The third chapter introduces the relevant concepts of adaptation theory and media, and provides the basis for the research of the thesis. Chapter four classifies the selected language materials, compares the adapted animation with the literary classics, and analyzes the content and extent of the adaptation. The fifth chapter focuses on the adaptation of the four dimensions of the analysis of the adaptation of the work to analyze and introduce; chapter six to the conclusion of the above analysis. In the content of the selected animation, some extend the original text, some basically conform to the original frame, others redesign the plot for the characters. These are the adaptation of literary classics and current values through animation. It is a new interpretation of traditional culture. Adaptation is a dynamic process in context and language structure, which highlights the purpose and intention of the producers. The reason why the domestic animation films before the 1990s enjoyed worldwide fame is not only because of the continuous development and innovation of animation forms, but also because of the continuous development and innovation of animation forms. Also because of looking back at the traditional art and classics, drawing nutrients from the ancient Chinese art and culture, getting rid of the crude refinement, and endowing with the spirit of the times, it is a powerful reference for the future animation media to carry forward Chinese culture and thought. Language carries ideas, animation still serves as a medium for the dissemination of ideas, through language to the next generation of cultural and scientific knowledge. However, this kind of inheritance must use new technology and attitude to package the form and content of animation, which is a necessary condition for the inheritance and development of language and culture.
【學(xué)位授予單位】：湖北師范學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：H136
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