家国的想象与重构——花木兰形象传播简史  

Imagination and Reconstruction of Family and Country:Overview of Hua Mulan's Image Communication

作　　者：贺滟波[1] HE Yanbo(School of Communication, Chongqing Normal University, Chongqing 401331, China)

机构地区：[1]重庆师范大学传媒学院,重庆401331

出　　处：《鲁东大学学报（哲学社会科学版）》2017年第6期56-60,65,共6页Ludong University Journal:Philosophy and Social Sciences Edition

基　　金：重庆市社科规划项目"<白毛女>的文本生产研究"(2015BS098);重庆师范大学(人才引进/博士启动)基金项目"政治审美化语境中的文本生产"(15XWB013)

摘　　要：自南北朝起,历史上关于花木兰形象的改编与重塑从未停止。作为花木兰形象谱系的源头,《木兰诗》初步具备了"家/家族"中心主义的思想观念,在之后的《雌木兰》中,花木兰形象的基本内核趋于形成:姓"花"+能文能武+替父从军+忠+孝+还乡/结婚。直至京剧《木兰从军》始,"国"的意识开始萌发。然而,新世纪以来,花木兰形象的接受与传播在数字化语境中发生了诸多的变化,媒介载体多种多样,电影、电视剧、动漫、歌剧、电子游戏等不同的媒介形式使花木兰的形象更加多样和立体。与此同时,"花木兰"这一传统文化符号也遭到了当代人的解构与戏谑,木兰形象趋向矮化和世俗化。The adaptation and reconstruction of Hua Mulan＇s image has never stopped since the Northern and Southern Dynasties. As the source of Hua Mulan＇s image, The Song of Mulan possesses the initial family-centered ideology. In Female Mulan, the core of her image mainly includes ： her family name being Hua, being efficient in both brainy and brawny activities, joining the army in place of her father, being loyal and filial, returning home and getting married. Then in Peking Opera Mulan Joins the Army, the consciousness of ＂nation＂ begins to germinate. However, many changes in the acceptance and communication of Hua Mulan＇ s image have taken place in the digital context since the new millennium. Various media, such as movies, TV plays, cartoons, operas and video games, make the image diversified and three-dimensional. At the same time, as a symbol of traditional culture, ＂Hua Mulan＂ is confronted with the deconstruction and banter by the contemporary people, which causes the image to be dwarfed and secularized.

关 键 词：花木兰 形象传播 家国意识 世俗化 

分 类 号：I026[文学—文学理论]