作　　者： ;

机构地区： 中国社会科学院文学研究所

出　　处： 《文学与文化》 2013年第1期19-34,共16页

摘　　要： 被西方人视作中国符号的龙,其形象之美丑与其被译作Dragon或Loong并没有实质关系。早期入华的传教士很早就意识到龙是中国皇帝的纹章、至高权力的象征,他们出于传教的策略,并未刻意丑化龙,反而表现出与龙合作的姿态。19世纪后,中国形象持续走低,这才导致龙形象不断被丑化,"满大人"和"中国龙"作为固定丑角登上了西方漫画的舞台。龙由高贵的皇权象征逐渐转化为顽固、落后的国家象征;庚子事变之后,进一步被漫画成愚昧的暴民象征。而在中国本土,不同群体眼中的龙,分别折射着不同的政治色彩。直到20世纪30年代,出于团结抗日的需要,一批知识精英为了生产一种国族"图腾",才重新唤起了龙的民族特性。可惜龙图腾的观念尚未得以推广,抗日战争就结束了。此后直到20世纪80年代,在振兴中华的又一波爱国主义浪潮中,通俗文化的"龙的传人"才重新唤醒了闻一多"龙图腾"的旧文章。大众传媒配合时政需求,在这个天时、地利、人和样样具备的时代,最终完成了龙就是中国、我们就是中国龙的身份建构。 @@@@As early as in 16th century, missionaries to China had sensed that the dragon was the sign of the Chinese emperor and the symbol of supreme power. Out of their missionary strategy, they chose to cooperate with the dragon instead of ridiculing it. With the gradual decline of the Qing dynasty in the 19th century, the dragon image tended to be more and more demonized. Therefore Mandarin and Chinese Dragon were shown up in the Western comic as a styled clown. The Dragon transformed gradually from noble symbol of the imperial power into stubborn and backward national symbol. It transformed into a symbol of ignorant mobs since the Boxer Rebellion of 1900. In modern China, the dragon demonstrated different political colors to different groups of people. During the Anti-Japanese Invasion in the 1930s, a number of the Chinese intellectual elites revived the national identity of the dragon as a National Totem. In the 1980s, the mass media finally completed self-identity of “Descendants of the Dragon”with the current requirement.

关 键 词： 传统的发明 龙纹 龙旗 龙图腾 龙的传人

领　　域： [文化科学]