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作 者:帕孜丽娅·阿力木 曹书乐[1] Alim Pazilye;Shule Cao(School of Journalism and Communication,Tsinghua University,Beijing 100084,China)
出 处:《中国数字出版》2025年第2期12-20,57,共10页CHINA DIGITAL PUBLISHING
基 金:“研究阐释党的十九届六中全会精神”国家社会科学基金重大项目“视听艺术精品推动中华优秀传统文化创造性转化、创新性发展研究”(22ZDA083)阶段性成果。
摘 要:文章以《哪吒之魔童闹海》中的“魔童”式哪吒形象为切入点,深入探究哪吒形象的变迁和跨媒介叙事。通过探寻哪吒传入中国千余年来在历史长河与不同媒介中的多次演变,剖析其“道教童神”形象的确立过程,梳理其跨媒介呈现及叙事演变,重点聚焦动画影视领域的发展与重构。运用德里达的延异概念,揭示哪吒形象在跨时空、跨媒介变迁中如何形成互文关系,实现文本增殖与新文本空间开拓,推动传统文化经典的当代书写。同时,分析哪吒故事发展过程中形成的精神内核及反叛精神的妥协。文章对《魔童》系列的研究对理解哪吒形象的文化内涵与当代演绎具有重要意义,认为该动画作品因呼应当代青年精神需求获得市场成功,但也因将反父权叙事改编为合家欢而削弱了文化批判力。This article explores the evolution of Ne Zha's image and its transmedia narrative.By tracing the different images of Ne Zha across different media over more than a thousand years since his introduction to China,this article analyzes the establishment of his image as a"Taoist Child Deity",sorts out his transmedia presentation and narrative evolution,with a particular focus on the development and reconstruction in animated films and television.This article applies Jacques Derrida's concept of differance to reveal how the image of Ne Zha forms intertextual relationships during its trans-temporal and cross-media changes,realizes text proliferation and the exploration of new textual spaces,and promotes the contemporary writing of traditional cultural classics.This article also analyzes the spiritual core formed in the development of the Ne Zha story and the compromise of his rebellious spirit.The study of the Ne Zha series is of great significance for understanding the cultural connotations of Ne Zha's image and its contemporary interpretations.The film has achieved market success by echoing the spirit of contemporary youth.However,it has also weakened its critical power by adapting the antipatriarchal narrative into a family-friendly story.
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