中国式辩证思维、死亡观及其抒情传统——论李安电影的“中国性”  

Chinese Dialectical Thinking,the Dangerous Situation of Death,and Its Lyrical Tradition--On the“Chineseness”of Ang Lee's Movies

作　　者：陈林侠 CHEN Linxia

机构地区：[1]广州美术学院视觉文化传播研究中心

出　　处：《社会科学》2024年第6期102-111,共10页Journal of Social Sciences

基　　金：国家社会科学基金重大项目“中国电影文化竞争力与海外市场动态数据库建设”(项目编号:19ZDA271)的阶段性成果。

摘　　要：李安电影的“中国性”,在宏观的叙事思维层面,即是二元互渗、参差互见的中国式辩证法;在故事经验的中观层面,则是死亡及濒临死亡的险境,它既发挥了促使主客双方发生互渗互动的叙事功能,又强调宗教精神、世俗生活,表现了普适性状态。在微观的艺术情感层面上,李安电影的“中国性”体现了中国文艺最具民族性,也最具审美辨识度的抒情传统,强调情感与富于古典美学韵味的抒情方式,形成了浪漫想象的诗意、自控的延后式抒情以及借助无自性的自然风景产生含蓄慰藉的审美韵味等特征。李安电影的“中国性”是叙事艺术范畴中的“中国性”。它以空前的成功,证明了“中国性”在电影领域中所具备的世界意义与美学价值。The"Chineseness"of Ang Lee's films,in terms of macro narrative thinking,embodies the Chinese style dialectic that involves mutual infiltration and differences between two elements;at the meso level of story experience,it is the dangerous situation of death,which not only plays a narrative function to promote the transformation between the subject and the object,but also emphasizes religious spirit and secular life,demonstrating a universal state.At the micro level of sensibility,the"Chineseness"of Ang Lee's films reflects the most national and aesthetically recognizable lyrical tradition of Chinese art,emphasizing emotions and classical aesthetic charm in lyrical methods,forming romantic imagination,self-control of delayed lyricism,and the use of natural scenery to create implicit and comforting aesthetic charm.The"Chineseness"of Ang Lee's films is the one within the realm of narrative art.It has demonstrated with unprecedented success the global significance and aesthetic value of"Chineseness"in the field of film.

关 键 词：李安电影 中国性 中国式辩证思维 死亡观 抒情传统 

分 类 号：K233[历史地理—历史学]