美国漫画《功夫大师》中的华人形象

发布时间：2018-04-13 11:48

本文选题：形象学 + 华人形象　；参考：《北京外国语大学》2017年硕士论文

【摘要】：从文化角度考察华人形象在欧美的演变,在学术界是个备受关注的课题。从总体上看,在20世纪前欧美社会中的华人形象呈现了一个由褒到贬的轨迹,从20世纪70年代开始,华人形象呈现出改善趋势。本文试图通过对20世纪70年代美国漫画中的傅满洲家族为例来考察这一时期的华人形象,并从形象学、心理学、政治问题等方面对其形象的变迁展开分析和解读。傅满洲和梵洛苏父女二人的形象最初诞生于20世纪初萨克斯·罗默的小说中,其形象反映了在"黄祸论"思潮影响下当时西方社会对华人的偏见和恐惧:傅满洲本人是黄祸思想的集大成者,而梵洛苏体现了当时西方男性对中国女性的想象的代表人物——美丽危险的蛇蝎女人形象——也是黄祸论的另一种表现形式。上气作为诞生于70年代的模范华人,代表了当时人们对华人的新认识和要求。通过分析傅满洲和梵洛苏二人形象的演变,以及其与上气的对比,可以看出,在70年代的美国人眼中,美国漫画中的华人形象与之前相比有了明显的进步和发展。漫画中的傅满洲虽然较大程度地保留了原作小说中的邪恶特征,但对其威胁性进行了弱化。小说中的傅满洲是一个象征性的人物,象征着在当时西方人的心目中,来自东方的威胁像幽灵一样驱之不散;漫画中更多地赋予了傅满洲个性化的人的特色,特别是他的衰老、软弱和死亡,以及漫画最后对其的态度体现了 70年代西方人对黄种人种族歧视的态度的缓和与转变。梵洛苏形象在漫画中的转变,与吴蕾柯形象一起共同体现了西方男性对东方女性的认识的进步。首先在穿着和外貌上不再刻意强调种族特点和民族特点,减少了猎奇心理,让两位中国女性在外貌和穿着上与西方白人妇女别无二致。其次是在人物塑造上,赋予了女性角色多样化的性格特点和层次,与原著小说中梵洛苏的扁平化的人物形象迥异。小说中的傅满洲和梵洛苏两个人物形象属于"黄祸"思想的一体两面。傅满洲的弱化和彻底死亡,加上梵洛苏的正面转化,说明当时的美国人已经不再盲目地敌视和仇视黄种人,而是进行有选择的区别对待。这种选择性在上气身上得到集中展示。上气作为一个黄种人能在西方社会获得普遍承认和认可,说明他完美符合西方人对华人的要求,那就是身为一个中国人却应该全心全力为西方政府服务,思想上要反对共产主义。只要能做到这些,西方人也可以接受黄种人。尽管上气的形象在不断进化,但他身上异国情调的神异色彩却始终没有完全褪去,西方人并未完全停止用猎奇的眼光看待东方文化。傅满洲和梵洛苏形象的变化,以及上气形象的塑造均说明,到了 70年代西方人对中国的态度与之前相比发生了显著的改变,反共思想成为主流,已经明确将共产主义政府和传统意义上的中国进行区别对待,不再强调"白种人优于黄种人"的理论,而以意识形态立场作为判断是非的标准。同时,随着西方人对中国的进一步了解,西方媒体对中国人的描绘,虽然没有也不可能全然摆脱猎奇意识,但原有的刻板印象已经逐步开始松动,塑造的华人形象趋于立体化和多样性,这种趋势一直延续至今,使得美国漫画中的华人形象越来越丰富多彩。
[Abstract]:On the image of the Chinese in Europe and the evolution from the perspective of culture, in the academic circles is a topic of concern. On the whole, in twentieth Century the Chinese images in the western world presents a commendatory derogatory to the track, from the beginning of 1970s, the Chinese image showing a trend of improvement. This paper attempts to the United States in 1970s in the comic book the Fu Manzhou family as an example to study this period of Chinese image, and from the image of science, psychology, political issues such as the change of their image analysis and interpretation. Fu Manzhou and Fanluosu daughter of two image was originally born in early twentieth Century Sax Romer's novel, the image reflects the "the Yellow periltheory" thought under the influence of the western society of Chinese prejudice and fear that Fu Manzhou himself is a master of the peril of thought, and Fanluosu reflected the male to female to Western Chinese As the representative of a beautiful woman image and dangerous a yellow peril another form of Chinese model. As the gas was born on 70s, on behalf of the people of new knowledge and requirements. Through the analysis of Chinese Fu Manchuria and Fanluosu two image change, and contrast it with the gas. We can see that in 70s the Americans, the United States in the cartoon image of the Chinese compared with before have obvious progress and development in the comic book Fu Manzhou. Although largely retain the evil feature of the original novel, but the threat was weakened. Fu Manzhou in the novel is a symbolic figure, symbol at the time of the westerners, the threat from the East like a ghost of displacement; cartoon to give Fu Manzhou a more personalized characteristic of a person, especially in his old, weak and Death, and finally embodies the comic detente with the 70s changes of Westerners on the Yellow attitude of racial discrimination on the attitude. Fanluosu image changes in the comics, together with the image of Wu Leike reflects the Western male understanding of Oriental women's progress. First in dress and appearance not deliberately emphasize the ethnic characteristics and ethnic characteristics that reduces the curiosity, let two China women in appearance and dress with western white women. Second is identical in character, given the character and level of female role diversification, and Fanluosu original novel flat characters are different. One of the two sides in the novels of Fu Manzhou and Fanluosu two characters the image belongs to the "Yellow Peril". Fu Manzhou's thought of weakening and thorough death, positive transformation and Fanluosu, indicating that the Americans are no longer blind The purpose of hostility and hatred of the yellow people, but is the difference between the choice of treatment. The selectivity in gas got showcase. On the gas as a yellow man can be widely acknowledged and recognized in the western society, that he is perfectly fit the Westerners to Chinese demands. It is as a Chinese but should dedicated to the western government service, thought to oppose communism. As long as you can do these, Westerners can also accept the yellow race. Despite the image of gas continues to evolve, but his exotic miraculous color has not completely faded, the West did not completely stop at Oriental culture with curious eyes. The change of Fu Manzhou and Fanluosu image, and the image of the shape of gas are that by 70s China Westerners on the attitude and prior to the occurrence of a significant change, anti communist ideology has become the main stream, Has made it clear to the Communist government and the traditional sense of Chinese differently, no longer stressed that "white than yellow" theory, and ideological stance as the judgment is not standard. At the same time, with the further understanding of the western Chinese, Western media of Chinese portrayed, although could not completely get rid of Adventures of consciousness, but the original stereotype has gradually began to loosen, shaping the image of the Chinese more and more three-dimensional and diversity, this trend continues, the United States in the cartoon image of the Chinese more and more rich and colorful.

【学位授予单位】：北京外国语大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I712.074;J218.2

【参考文献】