1、毕业论文 文客久久 本科 毕业论文 (设计 ) 题 目： Chinese Images in American CultureFrom Kung Fu Panda 学 院： 学生姓名： 专 业： 英语 班 级： 指导教师： 起 止 日期： 文客久久 Contents Abstract . 2 Introduction. 3 1. A Brief Introduction to Chinese Images . 3 1.1 The Definition of Image . 4 1.2 The Definition of Imagology . 4 1.3 Chinese Images in A
2、merican Culture in History . 5 2. Chinese Images Implanted in Kung Fu Panda . 6 2.1 The Plot of Kung Fu Panda . 6 2.2 Chinese Elements in Kung Fu Panda . 7 2.3 Other Manifestations of Traditional Chinese Culture in Kung Fu Panda . 7 3. Analysis of Kung Fu Panda in Different Kinds of Culture . 8 3.1
3、Chinese Culture in Kung Fu Panda . 8 3.1.1 Chinese Philosophy in Kung Fu Panda . 9 3.1.2 Chinese Spirit in Kung Fu Panda . 9 3.1.3 Chinese Relationships in Kung Fu Panda . 10 3.2 The American Dream Implanted in Kung Fu Panda . 10 3.2.1 Self-confidence in Kung Fu Panda .11 3.2.2 Individualism in Kung
4、 Fu Panda .11 3.2.3 Individualistic Heroism in Kung Fu Panda .11 3.2.4 Equality in Kung Fu Panda . 12 3.3 Enthusiastic Sense of Humor in Kung Fu Panda . 12 3.4 Summary . 13 Conclusion . 13 References . 14 1 摘要 法国形象学学者达尼埃尔 -亨利巴柔指出“形象即为对两种类型文化现实间的差距所作的文学的或非文学的，且能说明符指关系的表述。”西方视野中的中国形象错综复杂、变幻无穷，有正面的、美好的
5、，也有负面的、丑陋的。中国文化和美国文化是两种完全不同的文化类型，两个国家相互之间存在着十分强烈的本土与异域关系的自觉意识。和许多西方国家一样，在历史和文化因素的共同作用下，美国文化中的中国形象经历了一个复杂的变化发展过程。 2008 年，好莱坞动画 电影功夫熊猫成功打入国际市场，并在熊猫的故乡 中国也取得了优异的票房。功夫熊猫作为一种重要的文化载体在一定程度上表现了以其创作者为代表的文化对一定事物的观点和态度。本论文从比较文学的视角以形象学理论为依据，以功夫熊猫为对象对美国文化中的中国形象进行研究。文章通过对该影片的结构、情节和中国元素运用的研究，力图探讨在新的时代背景下美国人心目中的中国形
6、象。 研究表明，随着大量中国元素的注入，功夫熊猫代表着一种对他者文化更为积极、包容和尊重的态度。它所体现出来的文化价值取向，表达了美国文化 工作者对中国文化内涵的深层次理解和认同。这种积极的文化融合趋势，不但打破了文化对立，还使世界文化走向多元化和一体化的统一。从某种意义上来说，中国形象在美国文化中发生了一次重要的飞跃。 关键词 中国形象；美国文化；价值取向；他者 2 Abstract As French scholar Dr. Daniel-Henri Pageaux states: “Image is a literature or non-literature description o
7、f disparity between the two cultural types.” Chinese images in the west are intricate and variable, sometimes positive and brave, sometimes negative and timid. Chinese culture and American culture are two completely different cultural types, there is a strong relationship between native and exotic c
8、onsciousness in the two countries. As many western countries, under the influence of historical and cultural factors, Chinese images in American culture have experienced a long and complicated developing process. Kung Fu Panda, an animated film made a big success in the world market as well as in th
9、e panda hometown China in the year of 2008. As an important carrier of culture, to a certain degree, Kung Fu Panda represents the opinions and attitudes of the producers. Based on the theory of Imagology of comparative literature, this thesis does a research on Chinese images in American culture by
10、analyzing Kung Fu Panda. Through studying the structures, the plots and Chinese elements in the movie, it aims to explore Chinese images in the Americans minds under the background of the new times. The study indicates that with plenty of Chinese elements constructed in the movie, Kung Fu Panda show
11、s a positive attitude and implies a tendency of more tolerance and respect towards Other culture. In expressing the deep understanding of Chinese culture connotation, value orientations are adopted. This positive cultural integration not only breaks the cultural opposition, but also creates a multic
12、ultural and integrated world. In some sense, Kung Fu Panda is a breakthrough of Chinese images in American culture. Key Words Chinese images; American culture; value orientations; the other 3 Chinese Images in American Culture From Kung Fu Panda Introduction In the development of human civilization,
13、 multi-cultural collision and mutual infiltration play significant roles in the human cultural exchanges. Americans have always been creating Chinese images according to their own understanding and imagination. In recent years, with increasing cultural communication, the study on exotic image has be
14、come a new tendency in this cultural-industry-oriented era. Imagology is a study of hetero image, which is concerned with the representations of other image in historical, cultural and literary context. From the point of comparative study, Imagology aims to discuss the interactive relations between
15、the two nations. Under the background of the new times, Americans gain a better understanding of China, and their prejudices against China gradually decrease. As an indispensable element of culture, animated movie is an important part to present Chinese culture. Following Disney movies, DreamWorks r
16、eleased Kung Fu Panda, an animated movie featuring Chinese images in the year of 2008. In the eyes of American producers, Kung Fu Panda is a platform for the cultural exchange between America and China. It does not reflect Chinese culture superficially, but makes a thorough inquiry on the deep compr
17、ehension of the life, death and oriental philosophy from the view of screenwriters and shows respect of Chinese culture. Based on the theory of Imagology of comparative literature, this thesis can be divided into three chapters to study Chinese images in American culture. Chapter one is the introduc
18、tory part, which gives a brief introduction to image, Imagology and Chinese images in American culture in history. Chapter two makes an exploration of Chinese images implanted in Kung Fu Panda from the respect of Chinese elements and other manifestations of traditional Chinese culture. In the third
19、chapter, a detailed and progressive analysis is applied to discuss Kung Fu Panda in different kinds of culture. Actually, Chinese philosophy, Chinese spirit and Chinese relationships are three main parts to announce Chinese culture. Meanwhile, American dream and enthusiastic sense of humor are perme
20、ated incisively and vividly to find out the essence of American culture. 1. A Brief Introduction to Chinese Images A good national image is favorable to a nations strategy. On one hand, it is good to build friendly-relationships with other nations. On the other hand, it supplies appropriate conditio
21、ns to promote the development of a nation and increases the fascination of a nation. In fact, Chinese images have been created by Westerners according to their subjective observation and imagination in China. As a mirror to the western civilization, sometimes Chinese images are glittered, and someti
22、mes gloomed. For a long time, Chinese images in American culture change with two extremists: 4 extremely intelligent, hard-working, filial and peace-loving. On the contrary, it shows indifference and apathy to pain, death and human disasters. However, with the rapid development of communication, the
23、 world has gained more opportunities to know each other well. In this process, A renewal of Chinese images is emerging. In order to study Chinese images constructed in Kung Fu Panda, it is necessary to understand the general definitions of some key terms. 1.1 The Definition of Image To study Chinese
24、 images, above all, we need to be acquainted with the definition of image. Image originates from Latin imago, which means semblance or likeness. There are many meanings of image, since image is a complicate concept in human history, to have a general idea of it is essential. Based on the psychologic
25、al perspective, Karl Jung draws a conclusion that image is the phenomenon of assimilation of intersubjective relationship. However, in terms of reality, image may be a deformation. In the field of international politics, some British scholars believe that image originates from different emotional at
26、titudes. In their opinion, these attitudes are either positive or negative. Well actually, all these have direct impacts on the reproduction of realistic image. Professor Jean-Mac-Moura in his thesis On History and Methodology of Literary Image shows that hetero image comes from an ethnical people,
27、society and culture. As time goes on, French scholar Dr. Daniel-Henri Pageaux completes the definition of image and points out that all images are derived from the consciousness of the relationships with self and other, native and exotic, even if this awareness is very weak. Therefore, image is a li
28、terature or non-literature description of disparity between the two cultural types. Seeing from the various connotations of image given by many researchers, we may conclude that image concerns the reproduction of a cultural reality. 1.2 The Definition of Imagology Imagology, a study of hetero image,
29、 is concerned with the representations of other image in historical, cultural and literary context. In other words, Imagology is an inclusive critical notion on national characterizations and cultural or ethnic stereotypes. Some related research shows that Renee Wellek had made his famous remarks th
30、at Imagology was a form of literary sociology, closer to the concerns of ethnic anthropology than of literary scholars(Leerssen, 2007: 19). As its name implies, the area Imagology involves is extensive, including literary, culture, anthropology and social studies. Imagology, the term itself, has its
31、 “archeology” and “pre-history”. The archeology leads us to the cultural criticism of early-modern Europe, which began in the tradition of Julius Caesar Scaliger(1484-1558), to sort European cultural and societal patterns into national categories, thereby formalizing an older, informal tradition of
32、attributing essential characteristics to a certain national or ethnic groups(Leerssen, 2007: 17). As a critical study of national characterization, the actual emergence of Imagology 5 begins only after people had abandoned a belief in the “realness” of national characters as explanatory models, whic
33、h literary scholars finally realized in the years after the Second World War(Meng, 2001: 7). As a developing branch of comparative literature, the study of one nations image comparatively develops more dramatically in the European countries than in the English-speaking countries. The etymon of Imago
34、logy implies that “self” and “other”, “native” and “exotic” are the basic binaries in Imagology studies. From the ideas above, we may come to a conclusion that the study of Imagology concerns the representation of a foreign country and it is all about imagination and illusion of a foreign country. 1
35、.3 Chinese Images in American Culture in History Like the great river, Chinese images in American culture have been constantly changing from time to time. Since 1850s, when a large number of Chinese got away from their homeland and firstly set foot on America, several hundreds of years had passed. H
36、istory has shown us how Chinese immigrants ran up against racial discrimination and how American People gradually accepted Chinese civilization. Although different scholars had taken different approaches to probe into the history of American view of China all the time, nearly all scholars were proud
37、 of one fact that tolerance and hostility alternatively dominate American Peoples attitudes towards China as well as Chinese. In the later half of the nineteenth century, lots of Chinese arrived in US because of Gold Rush. The Chinese were often drawn as the ones who are physically small, dirty and
38、diseased. Their social status was also inferior to the native. Chinese immigrants had a very hard and miserable experience in history. Of poverty in the beginning, because life forced them to work as miners, railroad workers and farmers. Meanwhile, the stereotype of “coolie image” was set up and the
39、 despiser and contempt towards Chinese continually increases for a very long period of time. By the end of 19th century, movie as a public entertainment firstly appeared in the screen. Americans began to build negative image of “Yellow Peril” for Chinese. The Chinese had been considered as the evil
40、villains and Fu Manchu became a representation of Chinese image on the big screen. As a matter of fact, Fu Manchu was not only a “Yellow Peril” incarnate, but also a racial threat to the white. According to all the descriptions of Fu Manchu series movies, it was regarded as the ends of Orientalism f
41、or the author of the Fu Manchu series novel Rohmer had never been to China and knew nothing about Chinese. During the 1930s and 1940s, as anally of the United States in the First World War, America started to repeal the Chinese Exclusion Act and expressed their friendly attitude towards China as wel
42、l as Chinese. From then on, Chinese people played ideal roles in American minority. Following these changes, a new image of Chinese emerged from the water. Charlie Chan, a typical representative was approved by Americans for 6 his intelligence. As Zhao Wenshu described in his Positioning Contemporar
43、y Chinese American Literature in Contested Terrains, “Charlie Chan was very fat indeed, yet he walked with the light dainty step of a woman. His cheeks were as chubby as a babys, his skin ivory tinted, his black hair close-cropped, amber eyes slanting(Zhao, 2004: 36).” Politically silent, hardworking and extremely polite, Charlie Chan was also a stereotyped image of Chinese created by Orientalists to assert their white superiority. “Charlie Chan played a key role in the transition of Chinese image in American culture, the influence of a new image represented by him was inc
