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"香格里拉"一词源自英国小说《消失的地平线》,经好莱坞改编搬上银幕后,该词迅速承载起西方极具乌托邦色彩的西藏想象。由小说到影像的转换,英美以西方帝国主义大国之间的默契,完成了对西藏想象的接力。《消失的地平线》成为西方国家关于西藏的文化生产,在表征乌托邦精神的同时,曝露了西方根深蒂固的东方主义思维方式,帝国主义、殖民主义意识形态以及美国实现"世界新秩序"的政治意图。
Abstract：The word Shangri-La from the British Novel "Lost Horizon ",adapted by Hollywood on screen,was quickly popularized after adapted by Hollywood films,and it bearing the utopian imagination of Tibet. From the novel to the image conversion,Britain and America completed the relay of the Tibet imagination by the tacit understanding between the Western imperialist powers. "Lost Horizon" had become a cultural production of Tibet by western countries. While symbolizing the spirit of utopia,it has exposed the deep-rooted Orientalism way of thinking,the ideology of imperialism and colonialism and the political intention of the United States to realize the "new world order".
[1]周宁.另一种东方主义:超越后殖民主义文化批判[J].厦门大学学报,2004(6).
[2]张宽.香格里拉围城:神话·小说·电影[J].东方丛刊,2006(1).
[3][美]弗雷德里克·詹姆逊.后现代主义与文化理论[M].唐小兵,译.北京:北京大学出版社,1997:187.
[4]郝时远.旧西藏:西方的记录与失忆的想象[J].民族研究,2008(4).
[5][英]埃德蒙·坎德勒.拉萨真面目[M].尹建新,苏平,译.拉萨:西藏人民出版社,1989.
[6][加]谭·戈伦夫.现代西藏的诞生[M].伍昆明,王宝玉,译.北京:中国藏学出版社,1990:21.
[7][英]詹姆斯·希尔顿.消失的地平线[M].吴夏汀,朱红杰,译.南京:译林出版社,2012.
[8][美]爱德华·W·萨义德.文化与帝国主义[M].李琨,译.北京:生活·读书·新知三联书店,2003.
(1)这些文本如瑞士学者米歇尔·泰勒(Michael Taylor)的《发现西藏》、法国探险家大卫·妮尔夫人的《一个巴黎女子的拉萨历险记》、法国传教士古伯察的《鞑靼西藏旅行记》、意大利学者朱塞佩·图齐的《西藏文明之旅:喜马拉雅的人与神》和《西藏宗教之旅》,等等。
(1)电影《莺飞人间》插曲《香格里拉》歌词:这美丽的香格里拉\这可爱的香格里拉\我深深地爱上了它\我爱上了它\你看这山隈水涯\你看这红墙绿瓦\仿佛妆点着神话\你看这柳丝参差\你看这花枝低桠\分明一幅彩色的画\啊\还有那温暖春风\更像是一袭轻纱\我们就在它的笼罩下\我们歌唱\我们欢笑\啦啦啦\哈哈哈\这美丽的香格里拉\这可爱的香格里拉\我深深地爱上了它\我理想的家\香格里拉。
(2)参见乐刚演讲记录稿《全球化视野下的香格里拉》,蒋兆勇的博客http://blog.ifeng.com/article/18886317.html,2017年4月9日访问。
(3)香格里拉酒店官网关于“香格里拉酒店”的介绍:“‘香格里拉’的名字,源于英国作家詹姆斯·希尔顿于1933年出版的传奇名著《消失的地平线》中所描写的一处梦幻世外桃源。许多年后,香格里拉酒店集团以其幽雅、安逸的环境与久负盛名、发自内心的殷勤待客之道,为这个名字作了完美的诠释。”资料来源:香格里拉酒店官网:http://www.shangri-la.com/cn/corporate/about-us/。
(4)“约翰长老”是中世纪欧洲流传甚广的关于东方的传说,传说“约翰长老”为基督教国王,统治着东方的大片土地。参看龚缨晏、石青芳:《约翰长老:中世纪欧洲的东方幻象》,载《社会科学战线》2010年第2期。
(1)原文的描述为:Not a thing-I tried him with them.After I‘d gone on questioning him for a time,he said:’Frankly,I’m not keen on monasteries-indeed,I once told a fellow I met in Tibet that if I went out of my way at all,it would be to avoid them,not pay them a visit.’That chance remark of his gave me a curious idea,and I asked him when this meeting in Tibet had taken place.‘Oh,a long time ago,’he answered,‘before the War-in nineteen-eleven,I and he gave them,as well as he could remember.It seemed that he’d been traveling then for some American geographical society,with several colleagues,porter,and so on-in fact,apukka expedition.参看James Hilton,‘lost horizon’,published by arrangement with William Morrow&company,page225.
(1)斯通女士在小说中的原型为女传教士布琳克洛,而拉沃特是电影改编时增置的人物。
(1)桑德拉这一人物在小说中并不存在。
(2)导演选角时认为考尔曼“Beautiful of face and soul,sensitive to the fragile and gentle,responsive both to poetic visions and hard intellect-cultured actor Ronald Colman was born to play the kidnapped foreign secretary who‘understood’his kidnapping.”参看卡普拉自传《The Name above the Title》第193页。
(1)小说中佩罗神父自述是在1719年,从北京出发,发起了一次去内地寻找或许残存的聂斯托利派遗产的活动中,误入香格里拉。
(2)小说中佩罗神父曾说,此前已有两个英国传教士、一个希腊商人、两个德国人、一个俄国人、一个英国人、一个瑞典人先后来到香格里拉。
(1)原文为:With Capra’s film,the Tibet of filth,ferocity,arcane religious practices,grinding poverty,barren wastes,inhospitable weather,serfdom,disease,and theocratic absolutism vanished totally from public consciousness.In their place appeared the earliest fully realized Western version of a virtual Tibet.参看Orville Schell:Virtual Tibet,New York:Henry Holt and Company,2001,Page246.
基本信息:
DOI：
中图分类号:I106;J905
引用信息:
[1]张涛.“香格里拉”神话与幻象——西方的“西藏印象”影像探源[J].西藏研究,2018,No.168(02):132-139.
基金信息: