《新神榜:杨戬》中的传统文化内涵  

The Traditional Cultural Connotation in New Gods:YANG Jian

作　　者：焦炯炯 JIAO Jiongjiong(College of Culture and Tourism,Jiangsu University of Technology,Changzhou 213001,China)

机构地区：[1]江苏理工学院文化与旅游学院,江苏常州213001

出　　处：《连云港师范高等专科学校学报》2024年第4期10-15,共6页Journal of Lianyungang Normal College

基　　金：江苏省社会科学基金项目“洪亮吉对常州文脉传承影响研究”(项目编号:22ZWD002);江苏高校哲学社会科学研究项目“王夫之诗歌中的《周易》研究”(项目编号:2023SJYB1241)。

摘　　要：电影《新神榜:杨戬》是《周易》中的“汤武革命”的当代叙事。这部影片中,玉鼎等人赢得了封神之战,但也陷入汤武革命的致命逻辑;申公豹既质疑天庭、又潇洒自适,继承了伯夷、叔齐的首阳之隐;婉罗极具宿命感和复仇特征,是在反对红颜祸水的亡国污蔑;杨戬、沉香相继劈山的矛盾故事,也为《周易》“生生不息”的哲学观念所涵盖。这部影片人物的对称扩张和核心剧情的环环相扣,是当代电影文学对《封神演义》这一传统文本的创造性改造,其中一些瑕疵则启示将来要进行更为精细的处理。New Gods:YANG Jian belongs to the traditional narrative of the“Tang&Wu Revolution”.Yuding Zhengren won the War of Fengshen,but also fell into the fatal logic of the“Tang&Wu Revolution”.SHEN Gongbao both questioned the Heavenly Court and lived a carefree life,which was influenced by Boyi and Shuqi.While Wanluo,a female character with a strong sense of destiny and revenge,is opposing the topic of the downfall of the country caused by beauty.The contradictory story of YANG Jian and Chenxiang splitting mountains one after another is also covered by the philosophy of“endless life and death”in Zhouyi.They symmetrically expand and interlock,which is a creative transformation of Fengshen Yanyi by contemporary film literature,inspiring more refined processing in the future.

关 键 词：《新神榜:杨戬》 《周易》 汤武革命 中国叙事 

分 类 号：G122[文化科学] J90-02[艺术—电影电视艺术]