论《倩女幽魂》与《幽魂娜娜》中的女鬼形象及其文化结构

On the Images of Female Ghost and the Cultural Structures in A Chinese Ghost Story and Nang Nak

中国电影《倩女幽魂》与泰国电影《幽魂娜娜》是各自文化中比较有名的鬼片,两者都成功塑造了女鬼形象。由于文化的差异,两个女鬼形象有共性也有差异:娜娜单纯善良,在维护自己的爱情时展现了勇敢和凌厉的鬼气,并在佛教高僧的感召之下虔诚认罪,皈依佛法;而聂小倩纯情善良,飘逸妩媚,亦鬼亦仙亦神,是一个幽怨哀怜美艳动人的女鬼,在儒、佛、道的共同帮助下,战胜了鬼妖的控制,重回人间得到爱情。两部电影展现了相近而又不同的文化结构,《幽魂娜娜》里是人—鬼—佛(僧),由佛主导;《倩女幽魂》则是儒—鬼—佛(道),儒为主,佛(道)为辅。

Both the Thailand film Nang Nak and the Chinese film A Chinese Ghost Story are famous in each coun-try because both create the images of female ghost successfully.Due to the cultural differences,the two female ghosts share some similarities but they are different:Nak is simple and kindhearted but she shows her braveness and aggres-siveness when protecting her love.Inspired by an eminent monk,she finally admits her guilty and is converted to Bud-dhism.Nie Xiaoqian is innocent and good-natured,graceful and attractive,and both ghostly and fairy and goddesslike.With the coordinated assistance of Confucianism,Buddhism and Taoism,this gloomy,pitiable and beautiful female ghost defeats the control of the Tree Demoness and returns to the upper world and wins her love.The two films present similar but different cultural structures.In the Thailand film,the structure is human—ghost—Buddhism with the domi-nance of Buddhism while in the Chinese film,the structure is Confucianism—ghost—Buddhism(and Taoism)with the dominance of Confucianism.