先验本体视阈下的《长安三万里》融合美育叙事  

The Narratives of Integrating Aesthetic Education in the Animated Film Chang An from the Priori Ontological Perspective

作　　者：周钟[1] 刘舒怡 ZHOU Zhong;LIU Shu-yi(School of Music,Nanjing University of the Arts,NanjingJiangsu 210013,China)

机构地区：[1]南京艺术学院音乐学院,江苏南京210013

出　　处：《齐齐哈尔大学学报（哲学社会科学版）》2024年第3期135-138,共4页Journal of Qiqihar University(Philosophy & Social Science Edition)

基　　金：教育部人文社会科学研究青年基金项目:当代美育对传统乐教资源的继承和转化研究(20YJC760142)。

摘　　要：动画电影《长安三万里》为传统美育的当代转进树立了一个范式,除了融合诗教、乐教等元素,其美育构境和审美叙事还有更为深沉的意涵。影片将盛唐气象、中华美学作为先验本体,通过对时代推力与人生张力、诗人言说时代抑或时代通过诗人言说、中华美学的理式分有与影像延展、长安城的景观存在与诗歌意象存在等一系列范畴互动和美学探索,让观众内居于观影场域并欢会神契,自发经历美育过程。这正是历史先验本体通过电影对观众审美体验和文化本能的侧显和召唤。The animated film Chang An has set up a benchmark for the contemporary transformation of traditional aesthetic education.In addition to integrating the elements of poetry and musical dance education,its aesthetic education structures and aesthetic narratives also have deeper meanings.The film takes the flourishing Tang Dynasty and Chinese aesthetics as the priori ontologies,explores the category interaction and aesthetic issues about the thrust of the times and the tension of life,the poet speaks of the times or the times speak through the poet,the idea share and video extension of Chinese aesthetics,the landscape existence and poetic imagery existence of Changan city.The audience,indwelling the film-watching field and enjoying the conviviality,spontaneously experience the process of aesthetic education,which is the manifestation and call of historical priori ontology to the audience’s aesthetic experience through the film.

关 键 词：《长安三万里》 先验本体 美育 叙事结构 

分 类 号：J954[艺术—电影电视艺术]