趋生之死:日本动画的死亡审美
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摘要
日本动画中对死亡现象的关注,背后的文化动因是对生命的留恋。这种留恋通过生命的另一极——死亡展现出来。其动画文本的死亡审美通过三种方式达成:一是死亡为与生命一样的日常,死亡因通向平凡的日常性而具有感悟的超脱之美;二是对生命的本体崇拜与生命轮回说体现了对永生的追求,平行世界的设定和此死彼生的情节给予死亡生的善意,死亡因之具有德性的希望之美;三是为了弥补彼世的破除和生的短暂与有限,死亡的瞬间被凝固于永恒存在的想象性弥补中,从而使死亡具有辩证的悲剧之美。对生死两端的奇妙融合给日本动画带来独特而民族化的审美效果。
In Japanese Animation,the cultural reason for the death phenomenon is the attachment to life.This attachment is revealed by death. The death aesthetics of Japanese animation text is achieved in three ways. Firstly,death is the same daily life as life,it has a sentimental and unconventional beauty by the routinization. Secondly,the worship of life and the reincarnation of life reflect the pursuit of eternal life,the setting of parallel world and the plot of being towards life give death the goodwill of survival,so that death has a hopeful and moral beauty. Thirdly,to make up for the shortness and limitation of life,the moment of death is solidified in the perpetual imaginative remedy,so that death has a dialectical and tragic beauty. The wonderful blending of life and death brings special and nationalized aesthetic effect to Japanese Animation.
In Japanese Animation,the cultural reason for the death phenomenon is the attachment to life.This attachment is revealed by death. The death aesthetics of Japanese animation text is achieved in three ways. Firstly,death is the same daily life as life,it has a sentimental and unconventional beauty by the routinization. Secondly,the worship of life and the reincarnation of life reflect the pursuit of eternal life,the setting of parallel world and the plot of being towards life give death the goodwill of survival,so that death has a hopeful and moral beauty. Thirdly,to make up for the shortness and limitation of life,the moment of death is solidified in the perpetual imaginative remedy,so that death has a dialectical and tragic beauty. The wonderful blending of life and death brings special and nationalized aesthetic effect to Japanese Animation.
引文
[1]刘立善.没有经卷的宗教——日本神道[C]//.季羡林,周一良,张芝联.世界文化史知识(6).沈阳:辽宁大学出版社,1996.
[2]台词来自哔哩哔哩动画网.死后文(第三集)[EB/OL]. https://www. bilibili. com/bangumi/play/ep102380? from=search&seid=16820728521857136580,2018-06-14.
[3]罗钢.叙事学导论[M].昆明:云南人民出版社,1994.
[4]万柳.从解情趣到审丑——论“物哀”对日本动漫审美精神的影响[J].北京电影学院学报,2016(1).
[5][日]梅原猛著,卞立强、李力译.森林思想——日本文化的原点[M].北京:中国国际广播出版社,1993.
[6][日]本居宣长(本居宣長)著,王向远编译.日本物哀[M].长春:吉林出版集团有限责任公司,2010.
[7][日]山本常朝口述,田代阵基(田代陣基)笔录,李冬君译.叶隐闻书[M].桂林:广西师范大学出版社,2007.
[8]刘毅.悟化的生命哲学——日本禅宗[C]//.季羡林,周一良,张芝联.世界文化史知识(6).沈阳:辽宁大学出版社,1996.
[9]但理念抽象而难以贯彻,行为具象而简单易学。武士道精神到底应该从不执着于生死的纯理论层面进行解读,还是应该从纷纷鲁莽赴死的客观现象的总结入手予以描述和定义,是另外一个值得深思的话题。
[10][日]铃木贞美(鈴木貞美)著,魏大海译.日本文化史重构——以生命观为中心[M].北京:中国社会科学出版社,2011.
[11]台词来自哔哩哔哩动画网.青兰圆舞曲(第十四集)[EB/OL]. https://www. bilibili. com/bangumi/play/ep54383,2018-06-14.
[12]台词来自优酷网.犬夜叉(第二十三集)[EB/OL]. https://v. youku. com/v_show/id_XMzcy Nz I w Nzgw. html? tpa=d W5pb25faWQ9MTAzNjY3XzEw MDAwMV8wMV8wMQ,2018-06-14.
[13]万柳.论《犬夜叉》中桔梗的东方式救赎[J].电影文学,2011(19).
[14]台词来自哔哩哔哩动画网.薄樱鬼(第二季·第十集)[EB/OL]. https://www. bilibili. com/bangumi/play/ep87750,2018-06-14.
[2]台词来自哔哩哔哩动画网.死后文(第三集)[EB/OL]. https://www. bilibili. com/bangumi/play/ep102380? from=search&seid=16820728521857136580,2018-06-14.
[3]罗钢.叙事学导论[M].昆明:云南人民出版社,1994.
[4]万柳.从解情趣到审丑——论“物哀”对日本动漫审美精神的影响[J].北京电影学院学报,2016(1).
[5][日]梅原猛著,卞立强、李力译.森林思想——日本文化的原点[M].北京:中国国际广播出版社,1993.
[6][日]本居宣长(本居宣長)著,王向远编译.日本物哀[M].长春:吉林出版集团有限责任公司,2010.
[7][日]山本常朝口述,田代阵基(田代陣基)笔录,李冬君译.叶隐闻书[M].桂林:广西师范大学出版社,2007.
[8]刘毅.悟化的生命哲学——日本禅宗[C]//.季羡林,周一良,张芝联.世界文化史知识(6).沈阳:辽宁大学出版社,1996.
[9]但理念抽象而难以贯彻,行为具象而简单易学。武士道精神到底应该从不执着于生死的纯理论层面进行解读,还是应该从纷纷鲁莽赴死的客观现象的总结入手予以描述和定义,是另外一个值得深思的话题。
[10][日]铃木贞美(鈴木貞美)著,魏大海译.日本文化史重构——以生命观为中心[M].北京:中国社会科学出版社,2011.
[11]台词来自哔哩哔哩动画网.青兰圆舞曲(第十四集)[EB/OL]. https://www. bilibili. com/bangumi/play/ep54383,2018-06-14.
[12]台词来自优酷网.犬夜叉(第二十三集)[EB/OL]. https://v. youku. com/v_show/id_XMzcy Nz I w Nzgw. html? tpa=d W5pb25faWQ9MTAzNjY3XzEw MDAwMV8wMV8wMQ,2018-06-14.
[13]万柳.论《犬夜叉》中桔梗的东方式救赎[J].电影文学,2011(19).
[14]台词来自哔哩哔哩动画网.薄樱鬼(第二季·第十集)[EB/OL]. https://www. bilibili. com/bangumi/play/ep87750,2018-06-14.