樱花与武士刀
摘要
当今日本动漫产业规模庞大市场繁荣,其所产生的动漫文化影响波及全世界。而在日本动漫作品中日益凸显出的暴虐表现方式,一如樱花般华丽的外表下闪烁着锐利的武士刀锋芒,伴随着这股动漫热潮被广大动漫迷迅速追捧接受。
首先对于日本动漫的影响最为广泛最为深刻的还是日本本土文化。神道教的信仰一直是日本精神的真髓或说是本源。而来自中国的儒学和通过中国传入日本的佛学又对这一独具民族特性的文化进行了新的构建。这些复杂的文化混合,最终展现在我们面前便是“樱花”和“武士刀”文化,它是对的日本人的精神表象的概括。这些多重复杂的本土文化在分许多个层面与动漫文化相作用,暴虐文化正是其中一种产物。
从另一角度来看,“暴虐”对于人类文明来说并非一个新鲜词语。恰恰相反人类的天性中正包含了其“暴虐”的一面。荀子曾说“人性本恶”,而弗洛伊德所提出的“死本能”都是对这一人性的揭示。在弗氏的心理分析学说的启发下,荣格提出了自己的“集体无意识”理论。集体无意识被认为是人类全体成员继承下来的,联系现代人和原始祖先的种族记忆,它通过种种原始的意象在人类的精神和文化中不断地显现出来。荣格认为审美经验和艺术创造来自于人类的集体无意识。所以说无论是创作这些包含了众多暴虐意象的动漫作品的作者还是欣赏这些暴虐的观众的审美倾向都有着某种程度的集体无意识。纵观几千年的历史,人类文明和发展的每一步都是以暴力开道。这在人类原始记忆中是赢得食物和与异性交配机会的主要因素,在今天,它仍然是健美的标准。在中国,人们对暴力场面的描述和表达在整个美术史中随处可见。而在古希腊,人们崇尚力与美的统一,对暴虐美的欣赏事实上是对自身走过的历程的回顾,进而对自身力量产生美的感受,在此过程中自豪与审美意识交织产生。
今天本文在此讨论动漫中的暴虐的目的并非是提倡暴虐,也不是为动漫中的暴虐文化摇旗呐喊,而是为了对其进行有益的探索。对动漫中的暴虐文化研究应该落脚到动漫艺术本身,把道德判断的权利交还给读者,而不能仅仅从表面上理解动漫中的暴虐问题。但是,动漫中的暴虐必须控制在一定的尺度内。探索更新、更好的暴虐表现手法,从而在一定程度上消解暴力,同时还要注重动漫中的暴虐文化身后的社会、政治、心理、文化等因素,是广大的动漫作者所应当遵循的。
Japan's large-scale animation industry market has witnessed prosperity recently, and its cultural impact reaches every corner all around the world. In Japan, violence, which is like the sparkles of sharp samurai swords hidden in the gorgeous cherry blossoms, has become increasingly prominent in the work of animations. Along with this animation boom, the violent elements have been followed and accepted by those animation fans.
Japanese animation is most widely and profoundly influenced by its most Japan native culture. Shinto has long been the essence of Japanese spirit and origin. Confucianism and Buddhism from china have done some new construction on this unique national culture. This complex cultural mix finally comes to us with a combined form of "Sakura" and "Katana" culture, which is the representation of the spirit of the Japanese people. These multiple and complex local culture at many levels interacts with the animation culture, and produced one typical product—violence.
From another point of view, "violence" is not a fresh term in human civilization. On the contrary, Human nature contains the "violent" side. Xunzi said, "human nature is of evilness, " and Freud also proposed "death instinct" to illustrate the kind of human nature. Inspired by Freund's psychological analysis n, Jung put forward his "collective unconscious" theory. Collective unconsciousness, as a memory that connects modern people and their primitive ancestors, is inherited by all members of humanity and constantly shows itself through a variety of the human spirit and culture. Jung holds that both the art creation and aesthetic experience come from the human collective unconsciousness. So both the author of these violent animation works and the audience who are obsessed by the oppressive aesthetic tendencies have a certain degree of collective unconsciousness.
Throughout thousands of years of history, human civilization and each step of development is pioneered by violence. This in human's primitive memories is the main factor that leads to food and mating opportunities with the opposite sex; today, it is still a fitness standard. In China, description and expression on violent scenes can be seen everywhere in the whole art history. In ancient Greece, people advocated the unity of power and beauty, and their appreciation on violence is a review of their already covered course, which would produce aesthetic appreciation on their own power. And it is in this course that pride and aesthetic consciousness intertwine with each other.
Though violence in animation is discussed in this paper, it is neither intended to vote for savage brutality, nor to bang the drum for violent culture, but for the sake of beneficial exploration. For the studies of the violence in animation, it should start from the animation art itself, and leave the a moral judgment to the audience; meanwhile, it shouldn't see the violence in animation at a superficial level. Of course, animation violence should be controlled to some extent. And newer and better violent expressions should be explored with obedience to the social, political, psychological and cultural elements behind the violent culture in animation on the part of the mass animation fans.
首先对于日本动漫的影响最为广泛最为深刻的还是日本本土文化。神道教的信仰一直是日本精神的真髓或说是本源。而来自中国的儒学和通过中国传入日本的佛学又对这一独具民族特性的文化进行了新的构建。这些复杂的文化混合,最终展现在我们面前便是“樱花”和“武士刀”文化,它是对的日本人的精神表象的概括。这些多重复杂的本土文化在分许多个层面与动漫文化相作用,暴虐文化正是其中一种产物。
从另一角度来看,“暴虐”对于人类文明来说并非一个新鲜词语。恰恰相反人类的天性中正包含了其“暴虐”的一面。荀子曾说“人性本恶”,而弗洛伊德所提出的“死本能”都是对这一人性的揭示。在弗氏的心理分析学说的启发下,荣格提出了自己的“集体无意识”理论。集体无意识被认为是人类全体成员继承下来的,联系现代人和原始祖先的种族记忆,它通过种种原始的意象在人类的精神和文化中不断地显现出来。荣格认为审美经验和艺术创造来自于人类的集体无意识。所以说无论是创作这些包含了众多暴虐意象的动漫作品的作者还是欣赏这些暴虐的观众的审美倾向都有着某种程度的集体无意识。纵观几千年的历史,人类文明和发展的每一步都是以暴力开道。这在人类原始记忆中是赢得食物和与异性交配机会的主要因素,在今天,它仍然是健美的标准。在中国,人们对暴力场面的描述和表达在整个美术史中随处可见。而在古希腊,人们崇尚力与美的统一,对暴虐美的欣赏事实上是对自身走过的历程的回顾,进而对自身力量产生美的感受,在此过程中自豪与审美意识交织产生。
今天本文在此讨论动漫中的暴虐的目的并非是提倡暴虐,也不是为动漫中的暴虐文化摇旗呐喊,而是为了对其进行有益的探索。对动漫中的暴虐文化研究应该落脚到动漫艺术本身,把道德判断的权利交还给读者,而不能仅仅从表面上理解动漫中的暴虐问题。但是,动漫中的暴虐必须控制在一定的尺度内。探索更新、更好的暴虐表现手法,从而在一定程度上消解暴力,同时还要注重动漫中的暴虐文化身后的社会、政治、心理、文化等因素,是广大的动漫作者所应当遵循的。
Japan's large-scale animation industry market has witnessed prosperity recently, and its cultural impact reaches every corner all around the world. In Japan, violence, which is like the sparkles of sharp samurai swords hidden in the gorgeous cherry blossoms, has become increasingly prominent in the work of animations. Along with this animation boom, the violent elements have been followed and accepted by those animation fans.
Japanese animation is most widely and profoundly influenced by its most Japan native culture. Shinto has long been the essence of Japanese spirit and origin. Confucianism and Buddhism from china have done some new construction on this unique national culture. This complex cultural mix finally comes to us with a combined form of "Sakura" and "Katana" culture, which is the representation of the spirit of the Japanese people. These multiple and complex local culture at many levels interacts with the animation culture, and produced one typical product—violence.
From another point of view, "violence" is not a fresh term in human civilization. On the contrary, Human nature contains the "violent" side. Xunzi said, "human nature is of evilness, " and Freud also proposed "death instinct" to illustrate the kind of human nature. Inspired by Freund's psychological analysis n, Jung put forward his "collective unconscious" theory. Collective unconsciousness, as a memory that connects modern people and their primitive ancestors, is inherited by all members of humanity and constantly shows itself through a variety of the human spirit and culture. Jung holds that both the art creation and aesthetic experience come from the human collective unconsciousness. So both the author of these violent animation works and the audience who are obsessed by the oppressive aesthetic tendencies have a certain degree of collective unconsciousness.
Throughout thousands of years of history, human civilization and each step of development is pioneered by violence. This in human's primitive memories is the main factor that leads to food and mating opportunities with the opposite sex; today, it is still a fitness standard. In China, description and expression on violent scenes can be seen everywhere in the whole art history. In ancient Greece, people advocated the unity of power and beauty, and their appreciation on violence is a review of their already covered course, which would produce aesthetic appreciation on their own power. And it is in this course that pride and aesthetic consciousness intertwine with each other.
Though violence in animation is discussed in this paper, it is neither intended to vote for savage brutality, nor to bang the drum for violent culture, but for the sake of beneficial exploration. For the studies of the violence in animation, it should start from the animation art itself, and leave the a moral judgment to the audience; meanwhile, it shouldn't see the violence in animation at a superficial level. Of course, animation violence should be controlled to some extent. And newer and better violent expressions should be explored with obedience to the social, political, psychological and cultural elements behind the violent culture in animation on the part of the mass animation fans.
引文
[1](美)约翰.惠特尼.霍尔.邓懿.周一良译.日本[M].商务印书馆.1998.12
[2]李泽厚.世纪新梦[M].安徽文艺出版社.1998.10
[3](日)依田熹家.卞立强.李天工译.简明日本通史[M].北京大学出版社.1989.7
[4]叶渭渠.唐月梅.物哀与幽玄[M].广西师范大学出版社.2002.9
[5](美)爱德华·威尔逊著.方展画.周丹译.论人性[M].浙江教育出版社.2001.1
[6](德)尼采.周国平译.悲剧的诞生[M].三联书店.1986.12
[7](瑞士)容格.心理学与文学[M].三连书店.1987.5
[8]赵鑫珊.李毅强.战争与男性荷尔蒙[M].百花文艺出版社.1997.10
[9](奥)弗洛伊德.彭润金译.梦的解析[M].中国社会科学出版社.1999.12
[10](德)康德著.何兆武译.论优美感和崇高感[M].商务印书馆 2001.11
[11]吴琼.西方美学史[M].上海人民出版社.2000.12
[12](美)鲁思·本尼迪克特.菊与刀[M].商务印书馆.2002.10
[13]邓惠伯.亚洲美术史[M].广西美术出版社.2005.7
[14]刘晓路.世界美术中的中国与日本美术[M].广西美术出版社.2001.12
[15]腾守尧.审美心理描述[M].四川人民出版社.2005.3
[16]李兆忠.暖昧的日本人[M].金城出版社.2005.9
[17](日)久野健等编.日本美术简史[M].上海译文出版社 2000.11
[18]王勇高等.日本文化[M],教育出版社.2001.3
[19](德)康德著.邓小芒译.判断力批判[M].人民出版社.2002.7
[20]王一川.大众文化导论[M].高等教育出版社.2004.3
[21]索晓玲.动画影片画面赏析[M].北京广播学院出版社.2003.7
[22]孙立军.影视动画影片分析[M].中国宇航出版社.2003.8
[23]岛子.后现代主义艺术谱系[M].重庆出版社.2001.5
[24]刘晓路.世界美术中的中国与日本美术[M].广西美术出版社.2001.1
[25](日)中川作一.许平等译.视觉艺术的社会心理[M].上海人民美术出版社.1997.10
[26]王琢编.中日比较文学研究资料汇编[M].中国美术学院出版社.2002.3
[27](美)戴维·波普诺.李强等译.社会学[M].中国人民大学出版社.1999.8
[28]陈端端.论日本动画片〈少年猿飞佐助〉的文化内涵和社会意蕴—从战后日本动画片腾飞谈起[J].外国文学研究.2002.02
[29]BS格格.日本动漫,校园暴力的罪魁祸首![J]http://bbs.tongji.net/viewthread.php?tid=358235
[30]转自 林家有,《以史为鉴 面向未来》[J].http://www.hbsy.org.cn/syxb/qw11/qw1124.asp
[31]赵世林.论民族文化传承的本质[J].北京大学学报.2002.3(39):10-16
[2]李泽厚.世纪新梦[M].安徽文艺出版社.1998.10
[3](日)依田熹家.卞立强.李天工译.简明日本通史[M].北京大学出版社.1989.7
[4]叶渭渠.唐月梅.物哀与幽玄[M].广西师范大学出版社.2002.9
[5](美)爱德华·威尔逊著.方展画.周丹译.论人性[M].浙江教育出版社.2001.1
[6](德)尼采.周国平译.悲剧的诞生[M].三联书店.1986.12
[7](瑞士)容格.心理学与文学[M].三连书店.1987.5
[8]赵鑫珊.李毅强.战争与男性荷尔蒙[M].百花文艺出版社.1997.10
[9](奥)弗洛伊德.彭润金译.梦的解析[M].中国社会科学出版社.1999.12
[10](德)康德著.何兆武译.论优美感和崇高感[M].商务印书馆 2001.11
[11]吴琼.西方美学史[M].上海人民出版社.2000.12
[12](美)鲁思·本尼迪克特.菊与刀[M].商务印书馆.2002.10
[13]邓惠伯.亚洲美术史[M].广西美术出版社.2005.7
[14]刘晓路.世界美术中的中国与日本美术[M].广西美术出版社.2001.12
[15]腾守尧.审美心理描述[M].四川人民出版社.2005.3
[16]李兆忠.暖昧的日本人[M].金城出版社.2005.9
[17](日)久野健等编.日本美术简史[M].上海译文出版社 2000.11
[18]王勇高等.日本文化[M],教育出版社.2001.3
[19](德)康德著.邓小芒译.判断力批判[M].人民出版社.2002.7
[20]王一川.大众文化导论[M].高等教育出版社.2004.3
[21]索晓玲.动画影片画面赏析[M].北京广播学院出版社.2003.7
[22]孙立军.影视动画影片分析[M].中国宇航出版社.2003.8
[23]岛子.后现代主义艺术谱系[M].重庆出版社.2001.5
[24]刘晓路.世界美术中的中国与日本美术[M].广西美术出版社.2001.1
[25](日)中川作一.许平等译.视觉艺术的社会心理[M].上海人民美术出版社.1997.10
[26]王琢编.中日比较文学研究资料汇编[M].中国美术学院出版社.2002.3
[27](美)戴维·波普诺.李强等译.社会学[M].中国人民大学出版社.1999.8
[28]陈端端.论日本动画片〈少年猿飞佐助〉的文化内涵和社会意蕴—从战后日本动画片腾飞谈起[J].外国文学研究.2002.02
[29]BS格格.日本动漫,校园暴力的罪魁祸首![J]http://bbs.tongji.net/viewthread.php?tid=358235
[30]转自 林家有,《以史为鉴 面向未来》[J].http://www.hbsy.org.cn/syxb/qw11/qw1124.asp
[31]赵世林.论民族文化传承的本质[J].北京大学学报.2002.3(39):10-16
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