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阿卡马斯范文1
【Key words】 Anna； image； feminism； tragedy
【摘要】俄伟大的现实主义作家托尔斯泰笔下的著名的女人形象安娜・卡列尼娜在文学史上有一定的影响力。本文旨在从女性主义的角度分析安娜在小说中的形象和她的悲剧。分析主要从三个方面展开，即社会、宗教和女权主义。该分析可以为现代女性提供一些深刻的启示。
【关键词】安娜・卡列尼娜 形象 女性主义 悲剧
Ⅰ. Foreword
《Anna Karenina》is the great Russian writer Tolstoy’s fiction in the 1970’s. Ann’s image is in the centurial position of the whole book. When Anna was only 18 years old， she was arranged to marry Karenin who was 20 years older than her by her ante. Anna is beautiful， elegant and sincere to emotions. She is full of passion and has a plentiful inner world. To Anna， Karenin is just a selfish， hypocritical， cold and obstinate official who knows nothing about love but to seek fame and fortune. While different from Karenin， Vronsky is casual and elegant bearing and he is full of justice. So the appearance of Vronsky quickly made Anna fall in love with him. Thus， Anna even forgot her dearest son and asked for divorce with her husband. Her husband， Karenin， was too angry to accept it. But illegally， Anna and Vronsky had a daughter. Unfortunately， Vronsky left Anna at last， because he could not stand Anna’s . Anna at last chose to commit suicide.
Ⅱ. Anna’s Images
1. An adamancy woman pursues true love regardless of any cost
According to Hegel， to women， love is the most beautiful thing in the world， because they put all of their souls and practical lives in enjoying love. And women can only find their support of life when they are in love. In other words， love means much more than man to women. Love is the meaning of their life， therefore， women will pursue true love regardless of any cost. This is completely different with what men think of love.
Love makes women more beautiful； what’s more， love can make women stronger.
Anna is strong and she is not hesitating for love. The unhappy marriage has devastated Anna’s passionate heart and body. The natural thirst of true love and the passion of life force Anna to free her mind out of the fetter of her unhappy marriage. So when the handsome， young officer Vronsky expressed his fanatical love to Anna， she couldn’t help herself falling love with him. The love that has been berried in Anna’s heart for years exploded like a volcano， and the fire melted away the mask that she wore for 8 years， and expelled her values and all the considerations， and encouraged her to speak out of her mind： I can’t deceive myself anymore， I’m not a corpse， I have a clear conscience. Since God has given me life， I need love， I need my life. After they felling love with each other， Anna associated with Vronsky in public and said that she would leave her husband. And she even told her husband that she loved Vronsky and she hated him， she was afraid of him. Anna and Vronsky moved to Italy and they had a daughter without the legal permission. Anna’s action was not acceptable by the society of that time. But for love， she betrayed her husband and family. In front of love， she cared nothing about moral code or values or ethics.
To Anna， love is revived because she was tied of her unhappy marriage and she was moved by Vronsky’s pursuit. Anna has been living in a world without love though their family seemed to be honorable， rich in material， and have a high position in society. For eight years， Anna was tortured by the pain of emptiness in her mind. Anna’s husband， Karenin just took Anna as a piece of furniture at home. They never had any heart-to-heart communication. Besides， Anna was a woman that longed for true love and had been educated of the Western Enlightment’s concept of freedom and equal right to women. Therefore， Vronsky’s pursuit acted as a fuse to Anna’s emotion and stimulated Anna’ energy of emotion. But Anna was passive in love.
2. A gentle mother felt hard to part with the mother-to-son love
Women who have become mothers are the same on the problem of children of their own. No matter what personalities they have， tough-minded or gentle， they will always think of their children first. Maternal instinct is innate to every woman.
Anna was a born kind woman with mother love， and that’s why she tardily made up her mind to separate with her husband. In the eight-years-long marriage， the only reason that kept her stayed in the family is her son. Her son was her only soul prop of life. No matter how her husband treated her she was found betrayed her husband， kicked her out of home， or forbidden her from seeing her son， she could not leave her son along and she always thought of taking her son away with her. She kept in mind that she must not let anybody to take her son away from her.
Though Anna loved her son very much， she didn’t have a good ending with her son. The love of Vronsky made her temporarily forget her dearest son. She chose to run away with Vronsky with her son. What Anna did made her husband very angry， so her husband forbidden Anna from seeing her son so as to make her come back to the family. But Anna finally chose to leave the cold family and to start her new life， so she was forced to leave her son. But she had never thought that she would never see her dear son any more. She had chosen a road that she could never come back. However， her sacrifice to the so-called love didn’t come to the end that she expected. She could not stand the indifference of Vronsky and chose to commit suicide which has separated her with her son forever.
3. A forsaken woman went on a tragic destiny
Though Anna fought for the love she desired and had a short tome of happiness， she became the rebel of the society of that time， and her love died in the cruel real world. That’s her destiny. From women’s side， her tragic destiny was the cost of her pursuit for the relatively equal right. She chose to perfect her life with love， gain her independent value in love， but her struggle and rebel could only end tragically in that patriarchy society.
According to Hegel， love is everything to women， so when they fail in love or lose it， they will be like a candle that blew out in the wind. In Anna’s mind， Vronsky was her everything， she had nothing but Vronsky. Anna was a slave of love. The only goal of her life was to see hoe much she could get back from what she had sacrificed to Vronsky. But little by little， Vronsky’s love to Anna became faded， and he felt void， after all， he had been used to live in the upper class of the society. When he wanted to return to the upper class， he found that Anna was a burden to him， therefore he became unsatisfied with Anna or even hated her. His cold treatment drove Anna despaired. Her love had no dependent any more， and she was finally abandoned by love.
Anna knew she would be repelled by the society and she also knew that she was guilty in front of God. She was a grandeur dame while she asked for freedom of personality； she was a mistress and a mother； when she got love she was as happy as in heaven， but when she left her family， her son， she felt restless and guilty. She could not get more love from Vronsky nor go back to her former life. She didn’t know how to revenge herself on Vronsky， thus the only way she could think of was to commit suicide.
Ⅲ. Anna’s Tragedy
1. Investigate the tragedy from the perspective of society
Anna was ling in the upper class of a hypocritical and absurd society. She was a brave woman that dared to face her feeling and run away from the situation which was full of hypocrisy and deceit. After they fell in love with each other， Anna overtly talked with Vronsky in the parties of the upper class， showed her determination of parting with her husband and even announced that she loved Vronsky， she was his lover and she hated Karenin. Anna overtly spent the honey moon with Vronsky in Italy. It was Anna’s extraordinary behavior that touched the tender spot of the hypocritical and absurd nerves of the society. If Anna hasn’t broke the old relationship of a family and just lied to her husband and was other’s mistress secretly， just like Mrs. Betsy and other ladies， she would not be blamed and interfered by the upper class of the society， because in the social interaction circles， most of the women were having this kind of secret relationship with somebody. Those women with the hypocritical and dirty souls could not accept Anna’s sincere and pure desire of love， facing the hearty pursuit for love； they felt scared， because it was a challenge to their hypocritical morality. Most of the women of that time did those immoral things secretly and they were full of jealousy seeing Anna’s pursuit for the true love which they could not find， therefore， they threw all the pejorative to Anna. They drove Anna out of the gate of the upper class so as to make Anna lose her foothold of life and the social interaction circles which was for living. Anna’s husband， Karenin as well， took all the means including laws， religion， status， and son that he could use to throttle Anna’s rebel. When he found the shamefaced love happened in his noble family， he was in great pain， but he was not sad to lose Anna but to ruin his fame and status in society. He thought Anna was guilty and could not be happy. And after all this happened， what he cared most was how to keep his status and fame. He first took religion as his sword， saying that he could not violate the Christianity rules， and refused Anna’s plea for divorce so as to put Anna in the position of being a mistress. Then he used laws to force Anna to stay at home even though they divorced so that they could keep the hypocritical relationship of the family， the social environment didn’t give Anna any retreat route， so Anna could only die in despair after the evaporation of love.
2. Investigate the tragedy from the perspective of religion
A fainthearted， irresolute and contradictory Anna was hidden behind the fearless pursuit and brave rebel. Anna who was educated by the thought of capitalist class’s humanism has lived in the noble upper class of the society which was with dense color of feudalism for a long period of time. She was a noble wife with both the old time’s shadow and the new time’s sun light. The moral code of the world influenced and restrained her every single movement because she has grown up in the atmosphere of such religion. In the process of her pursuit for love， she always felt ashamed for being a woman who violated the religious rites， and she also felt guilty for being unfaithful to her husband. That’s all because of the education and pious faith she had had. She on the one hand rigidly pursued for love， but on the other hand， she equaled the pursuit for happiness to crime and sin. She always thought herself was a bad woman and a debased woman. She hated her husband who has strangled her vitality while she felt very guilty to him. She abhorred the dissolute and shameless upper class， at the same time， she felt that she had no ability to give up the status in the upper class she used to have and got a shameless position in return. The contradictory psychology of Anna finally drove her restless and fidgety even though she was in love.
3. Investigate the tragedy from the perspective of Feminism
Modern psychology thinks that， a normal and complete personality should contain three levels. First， it is life. Being a person should show their life force which is healthy， vigorous and full of energy. The second is the social level. Being a member of the society， people should have the concept of the period and prevailing custom sense which embody the views of value and morality of the period. Similarly people should also be chosen by the society. The third level is the opposite sex esthetics level. The two sexes in the human world should be appreciated by the opposite sex. The standard of appreciation may not be the same but the two sexes should be treated equally. A complete personality should be restricted by the power of the three levels. However this ideal personality has never been found in any women in the ancient time’s traditional women. To women， the levels of their life force have been restrained. Women have been weakened from spirit to body. The energetic life force was not one of the standards of evaluating the traditional women； however， those petite， weak and thin women were far more popular. We can not deny that it is sorrowful that men appreciate women in this way， which misled the ancient women’s consciousness of beauty. What’s more， for thousands and hundreds of years， beautiful appearance has become the travel pass for women to get into the men’ world. When choosing a spouse， Chinese people think the man with talent and power and the woman with beautiful appearance match with each other. In fact， this reflects that men’s value of personality is to make achievement in society while women’s is to be chosen by men， in other words， women’s beauty is prepared for men. According to this， women’s beauty is existing as a kind of value that can be seen and enjoyed， not the value of women themselves.
When Vronsky first met Anna at the station， he was attracted by Anna’s beauty， “With the instinctive reaction of a man of the world， Vronsky， with one glance at this woman’s appearance， placed her as belonging to the best society. He apologized and was about to go on into the carriage， but he felt it necessary to glance at her once again- not because she was very beautiful， nor because of the elegance and demure grace visible in everything about her， but because there was something particularly tender and caressing in the expression of her sweet face as passed by him. When he looked around she also turned her head. Her shining gray eyes， which because of their thick lashes seemed dark， paused with friendly attentiveness at his face as though she recognized him， and the swept on at once to the passing crowd as though looking for someone. In this short glance Vronsky had time to notice the subdued vitality that played over her face and fluttered between her shining eyes， and the scarcely perceptible smile the curved her rosy lips. ” The first thing that moved Vronsky was Anna’s beauty， and his instinct of a playboy made him to pursue Anna. The love of Vronsky to Anna has come with the explosion of passion and gone with the wane of passion. It is hard to say that Vronsky had no true love to Anna， but it is not sure that Vronsky understood Anna， respected her decision and emotion from the very beginning. Their love was destined to be a tragedy.
When Anna fearlessly announced her rupture with her husband Karanin， Karenin wrote a letter to tell her about his decision， together with the letter there was the money that sent to Anna. After reading the letter and seeing the money， Anna felt very angry and disgraceful， but she could not deny that she was ling depend on Karenin.
Ⅳ. Conclusion
No matter which image of Anna’s we are talking about， Anna is just a representing of thousands of women who are in love. She was willing to be humble for the man she loved and took him as the center of her whole life. However when her love story ended tragically， we can see it from a feminism perspective. The love between Vronsky and Anna was unfair. She got her love when she lost her self-consciousness， so this kind of unfairness in the relationship between them would definitely lead to the tragedy. So women of today should take Anna as an example to learn to choose the right position in the relationship of love.
References：
[1]黑格.朱光潜译.《美学》第二卷[M].商务印书馆，1979.
[2]康林.世界文学名著选读[M].江西人民出版社，1979.
[3]卢慧玲.爱情与责任的较量――谈安娜与弗兰西斯卡的婚外情[J].桂林师范高等专科学报，16（2）.
[4]外国文学名著精译与赏析[M].南开大学出版社，2003.
阿卡马斯范文2
Keyword： Atsushi Nakajima； "Li Ling"； Psychological changes； Inner World
1. Introduction
Atsushi Nakajima， a famous Japanese writer （1909-1942）， is a modern Japanese literature a singular and unique writer. Although he lived in the Meiji， Taisho， Showa periods， his creation and career are short， as he only lived ten months after the debut publication， only 33 years old. Although compared to other writers， his works extremely limited quantities， the unique style of his creation is popular among readers of all ages， far-reaching. Most of his works are based on the Chinese classic， with major works including "Li Ling，" "Mountain Moon，" "disciples" and "Celebrity Biography". "Li Ling" is one of the influential masterpieces， which was published after his death by a fellow writer friend Hisamitsu. It is a based on the ancient Chinese historical facts， made by the author of a novel adaptation of the creation of practical significance. Hero Li Ling from a superstar of conquest changed into enemy generals Huns and humiliation to live down. Around the Li Ling， Su Wu and Sima Qian demonstrated their unyielding life trajectory. "Li Ling，" with its unique material， description of characters and forceful simple style of Chinese language， is widely loved by the audience.
In Chinese academia， Atsushi Nakajima research is rare. The pre-existing studies mainly discuss the relationship between literature and Chinese literature in the island from a macro point of view， but more focused on research works Atsushi Nakajima's another masterpiece "Mountain Moon." Recently， some researchers started from the perspective of the character and destiny to interpret and discuss Li Ling， Su Wu and Sima Qian in "Li Ling" and make in-depth analysis on their suffering and the practical significance.
This paper， by examining the contents of the original facts from the perspective of comparative， makes analysis of works by adding a large number of psychological descriptions， reflecting how Li Ling psychological process of change， adaptation and Atsushi Nakajima investigate the real cause of creation， from the inner world of spy author.
2. Psychological change of Li Ling
"Han" and "Historical Records" are objectively recorded history， but almost the simple record of events， without description of the character's psychology. But we found in the works Atsushi Nakajima has added a lot of psychological description， and through the protagonist， he gave a new interpretation of the character and content， so that they become the flesh and blood characters with distinct personality characteristics.
Here， based on the content we analyze how the hero Li Ling psychology changes.
2.1 Initial psychology
In the beginning of the third chapter of the novel： “when coma Li Ling in creating chaos in the past woke up， he found himself in a cage cashier. After waking up， he realized： either cut the throat neck suicide to avoid humiliation； either for the time being submissive enemy， and then waiting to see opportunities to escape and return home to relieve the responsibility meritorious defeat， but besides that no way， Li Ling decided to choose the latter. “This choice reflects the love of the motherland Li Ling， in his view， choose the former was not achieved the purpose of weakening the Huns， Han can not get any benefit， so he decided to insults to live. Facing the new reality， Li Ling with sincere heart， patiently waited for the opportunity.
In the meantime， Li Ling had to ask combat operations. Because the enemy is the East Hu， Li Ling readily put forward their own views. But Chanyu again raised the same question when to negotiate with Li Ling； Li Ling's face showed obvious displeasure， because that is precisely Han's campaign strategy. Chanyu wanted to send him as generals southbound looting， but flatly rejected by Li Ling.
Visible at the beginning Li Ling did not really betray his motherland. With a sincere heart， he is waiting to kill Chanyu for Han meritorious. With the faith to make contributions to Han， he is alive and strong， as his humiliation was complete in order to complete the great cause.
2.2 Medium-term psychology
In the second year of submission of Li Ling Hun， Han made a massive expedition but had come to defeat.
Ao Gongsun who is beat by Zuoxian King in order to absolve his charges， said that he was defeated because of Li Ling’s training. The angry Emperor beheaded the whole family， including the mother of Li Ling. Getting this information， Li Ling was too sad to tear.
He also thought of the Lee family. Since his grandfather and his uncle， they are loyal to the Han but did not receive favorable treatment. Gradually his homeland thoughts have gone and gave up the idea of returning， only with the resentment and despair of Han Dynasty and the king. In the work， it describes that： "Li Ling is like a changed man. He would not participate in the previous battle plan against Han， but now he offered to be involved. The king was very happy and appointed Wang Li Ling for the right school and brought his daughter betrothed to him. In fact， before he ever mentioned this but Li Ling has been rejected. This time he agreed without hesitation. "
From refused to participate in the program to take the initiative to participate in combat， in resentment and despair， Li Ling has been losing the loyalty and love of Han Emperor Wu gradually disappear and under the influence of resentment， he slowly accepted the Huns love. However， did he really emotional and spiritual Han completely forget it？
"Although Li Ling promised to marry the princess as his wife and personally volunteer to participate in the combat， but he still can not personally led troops fighting with Han. After all he has not truly alleged to the Huns in the heart. Although Han only meant despair for him， he still can not completely set aside homeland. "
It can be seen from this description Li Ling has his cowardice and contradictions. In him we see the feelings of ordinary people. Atsushi Nakajima author Li Ling distressed by the feelings of ordinary people a real show in front of us. Love and hate， two distinct feelings wonderfully integrated on him， tortured him and erosion him， so Li Ling struggling in pain and uncertainty， we see a contradiction Li Ling.
2.3 Late psychology
"Zhao Di summer of 1996， Su Wu who has been secretly imprisoned in the north and would die unexpectedly got the chance to return. Li Ling was really shaken. Regardless of returning the homeland again， Su Wu will never wave and change. Facing his greatness， Li Ling felt like there is nothing in his heart beat and felt a kind of nameless fear. Although he did not think he used to do something wrong， facing Su Wu， a sense of shame raise. Li Ling exceedingly fears it."
This psychological description in the farewell of Su Wu shows the struggling Li Ling in the anxiety and fear. When he left the Huns return farewell Su Wu Han， on one hand he cried "like a woman" and on the other hand he sings in moving and tragic. Li Ling is painful. When the Han envoys told him that he could back to the Han， then although touched him， he knows "it is impossible. This psychology let struggling Li Ling ultimately chose to stay there in the rest of his life.
It can be seen in the return of farewell Su Wu Han he has chance to return to the Han dynasty， but shame and humiliation make him feel fear and anxiety， and ultimately chose to stay in Hun.
These have been laid hold of any trace of the historical psychological description， by the author's imagination and creativity to join the rational work. From the initial cause of the sincerity of the firm to complete the disgrace of suffering a loss and then to face the reality of fear， anxiety， works in the description of his work makes psychological changes vivid characters， not only highlights the theme of the tragic fate of the characters will also Li Ling contradictions and suffering performance thoroughly. This is exactly where the author's creative intent.
3. Atsushi Nakajima's inner world
Seen from the above analysis， by Atsushi Nakajima adaptation and creation， he described Li Ling， a historical figure from the historical record becomes shaped by the author's subjective will come out of a tragic figure， we show in front of Li Ling is a contradiction anxious， filled with anxiety and fear of pain tragic figure.
In these three heroes， Li Ling can be said as a realistic self-projection of Atsushi Nakajima. Sima Qian and Su Wu are the incarnation of his ideal self. As Lee Exian said， "Nakajima projected his characters emotions and the pursuit of individuality onto characters and described their tragic fate." Su Wu appeared as a negative image of Li Ling. Facing a purely selfless， strong-willed Su Wu； Li Ling is always hard to get peace of mind. He chose to live with shame， and at the same time， he was annoyed about to standing up to live in trouble and finding the value of life. This is exactly Atsushi Nakajima anxious struggle reason. It is Sima Qian and Su Wu brought revelation to Li Ling. Li Ling is like a reality Atsushi Nakajima， and Sima Qian and Su Wu was his vision and ideal location.
In summary， we see Li Ling Atsushi Nakajima represent the inner world is full of self-existence of fear and anxiety and self-doubt contradictions anguish. So in the environmental and social context， why are there contradictions of anxiety， self-doubt and negative mentality？
First， from personal experience of Nakajima， his short life can be said as gloomy and unfortunate. He was not only infirm when young， but also withchronic disease increasingly worsening asthma. He has experienced parental divorce， his father remarried twice. The death of his family made him not only suffered pain in the body but also in spirit. We can imagine all kinds of misfortune experienced in life leave his heart in deep loneliness and anxiety. Impermanence of life and tragic fate of naturally became the theme of his literary expression.
Secondly， most of his anguish is that he failed while known as a prodigy in his childhood. He was a very lonely writer on the modern literary， as he did not belong to any literary genre， or a literary coterie magazine. His very close personal relationships are only with one writer Hisamitsu. This growth experience and lonely experience on the literary world that he had the presence of self-doubt and negative， affected his outlook and outlook on life.
Third， Atsushi Nakajima era of modern life is the doctrine of Western Europe continues to be introduced in Japan in the period， which has been the subject makes traditional Chinese Confucian cultural influence on Japanese values changed dramatically. And Atsushi Nakajima was born in a family of Sinology， bones imbued with Eastern thought， and Western civilization in mutual collisions， Atsushi Nakajima a loss， and he did not know how to face the fear and anxiety of his heart attack， Eastern and Western civilizations and values conflicts led to his loss.
Fourth， the creation of Li Ling is in Showa 17 years （1942）， in the outbreak of the Pacific War. Japan is social unrest due to lack of material caused by the war. Japanese government through special Tech Police Department stepped up the idea of national control， and the so-called "dangerous man" often suffered torture and arrested. Then the author is suffering increasingly worsening asthma， but he choked back pain by supporting a writing life. In order to overcome poverty material life， he bears the weight of life. Facing external aggression of Japanese militarism and internal repression of the democratic movement， the author showed dissatisfaction with the war， which was rampant in the literary world war cry is clearly incompatible with his work， "Mountain Moon" was therefore forbidden Edition. Li Ling have doubts on his literary path. His anxiety and ambivalence got the best interpretation by Li Ling. Living in such a volatile social environment， in the works Atsushi Nakajima wrote： "I feel an untrue sense." He embodies a Japanese national war on society Language suspicion.
In summary， Li Ling， a historical figure based on the "Historical Records" and "Han"， by adding a lot of psychological description of adaptation and creation， turned into a subjective character made by author Atsushi Nakajima. He is the author's own projection， from which we can see the pain of a loss Atsushi Nakajima's inner world. Fear， anxiety and self-doubt self contradictory anguish are closely related to both personal experience and the special social environment. Atsushi Nakajima put his faith and beliefs on Sima Qian and Su Wu. But for him， that kind of life is unreachable for him， which is his real trouble and life problem.
References
[1] Exian Li. Constitution Deformation between Li Ling and Li Zheng： Atsushi Nakajima literature on the nature of the problem [J]. Foreign Literature， 2004 （3）.
[2] Atsushi Nakajima. Li Ling. Tokyo： Chikuma study， 1976.
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[11] Kimura. Atsushi Kimura [M] Osaka： Izumi College， 2004.
阿卡马斯范文3
［关键词］英国动画； 动画系列； 品牌维护； 动画教育； 政府扶持
■基金项目：本文系湖北省2012年人文社科项目“中外成功动漫公司个案研究” 的阶段性成果（项目编号：2012SK459）。
英国动画业始于1930年左右，作品多以短片为主，首部长片《动物庄园》诞生于1954年。经过数十年努力，它已成为欧洲动画的领头羊，世界动画界重要一派。
一、动画产业概况
1997年在时任首相布莱尔直接倡导、推动下，政府积极扶持发展创意产业，利好的环境和政策使动画、影视在内的文化产业已成为英国金融业之后第二大产业。动画界在政府和电视台的大力支持下更加努力，重视创意和技术升级，注重动画教育和人才培养，充分发挥人才作用和创意优势，借鉴改编他国题材；英国动画跨国交流合作多，积极联合海外，与美国合作过《小鸡快跑》《僵尸新娘》《鼠国流浪记》《浪漫老鼠佩德罗》《战鸽快飞》《廷加廷加的传奇》。与法国合作《神奇的旋转木马》《大象家族》等。英德法合作《地震调音师》。此外与俄罗斯、荷兰、加拿大同行们也制作过《操纵者》《父与女》和《鲍勃的生日》等；动画佳作、获奖名片层出不穷。还注重品牌维护和形象开发，使动画得以持续发展，产业链条延长，周边产品不断开发、营销。具有世界影响的成功作品有《动物物语》《酷狗宝贝》《憨豆》《讨厌的亨利》《托马斯和他的朋友们》《动物悟语》以及怪鸭、山羊肖恩、天线宝宝、花园宝宝等卡通形象。为吸引孩子们热爱经典名著、本土传统文化，英国还把莎士比亚、狄更斯、卡夫卡等巨匠的经典作品，改编成风格多样、形象活泼的动漫图书，深受青少年欢迎，活跃动漫出版市场。
二、动画作品特点
英国动画系列片较成功，收益大；动画电影虽然数量少，但制作精良，独具个性，获奖多；动画短片数量多，风格样式多，探索性强，重人文、非主流。
（一）名作不断
1.动画系列，英国动画系列历来重视儿童教育、智慧启迪、人文底蕴、娱乐幽默，而且数量多，经典多——先前就有《神勇小白鼠》（1981）、《小飞机金波》（1986）、《怪鸭历险记》（1988），近年来还有260集《天线宝宝》、59集《花园宝宝》《小建筑师巴布》（1999年始）、116集《花童菲菲》（2005年始）、《赛车小莱里》《鲍勃和玛格丽特》《莎翁名剧》《守护神》《小羊肖恩》（获艾美奖）、《托马斯和朋友们》、北爱尔兰首部长动画《救生艇卢克》等，它们不仅在英国热播，而且走向百余个国家，深受众多儿童观众喜爱，其衍生产品也在国际市场畅销。
2.动画电影，与美国相比，英国剧场动画数量和水准难望其项背，但亦有自己的特色和地位。重要的有《小鸡快跑》（获金球奖）、《战鸽快飞》《超级无敌掌门狗》之《人兔的诅咒》（荣获2005年安妮奖、奥斯卡奖）和《面包和死亡事件》《廷加廷加的传奇》《神奇的旋转木马》《弗雷迪历险记》《仙女》《怀特霍尔街上的长筒靴》等，无一不想象力十足，充分体现出动画的神奇性、离奇性。
3.动画短片，英国短片种类繁多，风格多样，探索性强，富有想象力、人文内涵、政治寓意和讽刺意味，探讨生死、哲理、命运等深奥问题，也不乏、暴力、怪诞离奇之作。有些动画还颇具讽喻性、象征性、隐喻性、抽象性和成人化。英国历来不把叙事、娱乐当做动画惟一功效，二战期间政府还把它当做宣传动员的重要手段，鼓舞人民斗志。凭借特有创意和领先技术，英国动画运用广泛，体现教育、广告、MV、FLASH、文艺小品、互动游戏，也在影视片头、片尾、特技中大显身手。在美国大片《星球大战》《垂直极限》《十二只猴子》《珍珠港》《角斗士》《哈利·波特》《纳尼亚传奇》等都有英国动画人制造的炫目特效。英伦动画的材料、形式丰富，有二维动画、三维动画、静帧动画、逐格动画、偶动画、黏土动画、数字动画等。动画短片创作踊跃，锻炼了队伍，积累了经验，为产业的兴旺奠定基础。
1990年以来，英国六获奥斯卡动画短片奖：1990 年《动物悟语》、1992年《操纵》、1993年《神奇太空衣》、1995 年《九死一生》、2000年《父与女》、2006年苏西·邓普顿的《彼特与狼》。偶类恐怖动画《睡眠精灵》（1991）、《亚当》（1992）和《渥特的猪》（1996）、塞隆·科曼导演的《獾》（2006）等都获奥斯卡最佳短片提名。此外还有很多短片在国际动画节上崭露头角，如RabbbitPunch获斯图加特动画节国际营销奖；《三只小鸟》荣获2009年上海电影节海外动画片金奖。《自闭心灵》（A Is for Autism，1992）展现了自闭症少年的内心，荣获爱丁堡和渥太华电影节多项奖。获得英国学院奖更是不计其数，如动画《波斯波利斯》和《战场华尔兹》；重要的还有《跟屁猫斯卡特》《当死神遇到母爱》《先生的影像日记》《吉索普先生》等。英国动画2005年在上海、2007年在北京都做过展映。
（二）动画名导
英国动画界拥有不少人才，近年来杰出的导演如下：
1.尼克·帕克（1958—），他是英国动画界的一面旗帜，想象神奇，才华横溢。他在阿德曼动画公司做过导演、编剧、配音、特效、角色设定等工作，被誉为“掌门狗”之父，曾四度荣获奥斯卡奖。自1985年加入阿德曼后，很多里程碑式的黏土动画皆出自其手，如《动物悟语》《酷狗宝贝》系列、《小鸡快跑》、TV片《大锤》（Sledgehammer）等。
2.彼德·洛德（1953—），他集动画师、导演、制片于一身，与大卫·史波克斯顿一起，在1972年读大学期间就注册创立了阿德曼公司，参与过公司的许多作品创作，如《亚当》《沃特的猪》《愤怒的孩子》（2002）、《超级无敌掌门狗》系列、《小鸡快跑》《鼠国流浪记》《小羊肖恩》等。根据Gideon Defoe小说改编而来的动画《海盗》也由他执导。
3.菲尔·莫洛伊（1948—），他是一位风格独特、离经叛道、惊世骇俗、勤奋高产的作者型导演，敏锐地评价人类天性并挑战当代的价值观，引领成年观众去品味无政府主义。作品涉猎暴力、战争、政治、宗教、社会阶级和人类文明等主题，还不时关怀社会，批判丑恶的社会现实、保守伪善的人性、残忍丑陋的行为。内容上，夸大男女性器官和渲染血腥暴力，却不乏黑色幽默与嘲讽。形式上，形象多用简单墨水绘制而成，人物黑色图腾化，头似骷髅，坚挺长鼻，清瘦骨感，颗颗尖牙清晰可数。笔锋奇诡而略带粗糙，配乐独特诡异。第四频道及BBC长期赞助他，其代表作有《森林中》《书写的发明》《牛仔》《世界历史》《十诫》《锁链》《椅子的性生活》《奇怪的爱情》《克利斯蒂一家》《无法忍受》等。
4.巴瑞·普维斯，他是著名的偶类、逐格动画师，做过舞美设计，导演《下一个》《超级模特》《弄臣》《剧本》《阿基里斯》、柴可夫斯基的短片等。他的动画动作逼真细腻，视觉华丽，将偶动画的神韵发挥到极致，也参与过蒂姆·波顿的《火星人玩转地球》、杰克逊的《金刚》和《指环王3》的制作，完成专著《定格动画：激情、工艺与表演》。
5.鲍勃·苟德弗瑞，他享有英国动画教父之美誉，作品数量多且高质，荣获过奥斯卡奖、英国学院奖、布拉德福动画节终生成就奖等。动画含性、政治等成人内容，离经叛道、另类。1990年后制作《淘气的威利》《简短谈话》《凯文拯救世界》《撒切尔夫人：我这是在哪？》《初学者莎士比亚》等。
英国也涌现出不少优秀女动画家，如导演过《多爱》《死神与母亲》的鲁斯·灵福特；导演过《纯洁的仪式》《鸡蛋、鱼和血》《美人鱼如何繁殖》的琼·阿胥沃斯；导演过《彼德与狼》的苏茜·特姆普莱顿；导演过《夜店秀》《人体美》《埃莱斯》《不列颠》《弗雷德》《巴斯的妻子》《梦想和欲望——家庭关系》的乔安娜·奎因，还获得过安纳西、萨格勒布、渥太华等多项动画奖。
三、动画基础
英国动画业快速发展主因是已形成自己的机制：动画教学与制作的互动，人才的积极引入走出，多种基金支持，欧洲和英国本土动画奖项的鼓励，电视台和广告独特的推动作用，频繁的跨国合作。
（一）动画教育和培训机构
英国拥有数十所从事影视、创意、动画、艺术设计等教学的专业学院和综合大学，学校推崇创意、重视实践、联系市场，为动画业源源不断地输送人才。重要的院校有：皇家艺术学院、国家影视学校、创造艺术大学、皇家艺术学院、爱丁堡艺术学院、伦敦艺术大学、伯恩茅斯大学等，构成动画教育的基石。
（二）动画制作企业
目前英国有300余家动漫企业，从业者4千余人。各地皆有特征鲜明、运作成功的龙头企业，在布里斯托、卡迪夫、邓迪、伦敦和曼彻斯特等地尤为突出，聚集着大量高水平的动漫人才。其中14%是大型公司，24%是中型，其余是微型。大多数动画企业都强调宽松、优越、创造、兼容并蓄的精神，信奉“工作是文化”的理念。
参与动画制作重要的公司有第四频道Channel4、寇斯格罗夫·霍尔电影公司，作品有《神勇小白鼠》《怪鸭历险记》《野蔷薇村的故事》。还有阿德曼、克林伍德·欧海尔娱乐公司、光明电影公司、电幻想公司、阿卡工作室、激情公司、尼克萨斯公司、果冻动画公司、Glassworks、威尔士Calon动画工作室等。
英国还有较多的知名动画游戏公司，如Eidos，其巨作《古墓丽影》《冠军足球经理》横扫全球市场。优特力公司Eutechnyx是著名的赛车游戏开发商，曾获得多项欧洲或全球性奖项，作品有《街头赛车联盟》《速度与激情》等。还有Climax、Creativenorth、Creon stuios公司等。它们激发了游戏迷对动画的好感，扩大了动画影响力，拓展了动画产业链条，活跃了动画市场。
（三）动画节及奖项多
为鼓励优秀动画和创新型人才，英国举办多种影视节、动画节，设立多类动画奖项，如影视学院动画奖、电影协会奖（BAFTA）、电影电视工会奖、英国动画奖、伦敦国际动画节、布里斯托尔动画节、布拉德福动画节、诺维治动画节、爱尔兰动漫影展、Animex国际动画与电脑游戏节等。
（四）资金来源
英国动画业依靠电视台、彩票基金、广告基金、艺术协会等扶持。此外Channel4跟艺术发展局合办的“Animate!”计划，鼓励创新、实验性及多元性的动画创作，资助过不少得到国际奖项的动画短片。
继续加大资金投入、人才培养、技术更新，注重市场、创新，不断国际合作，减少人才流失，英国动画会取得更大成就，这些也值得中国动画业借鉴。
［参考文献］
［1］ 薛燕平.英国动画［M］.北京:中国传媒大学出版社,2010.
［2］ 邓林.世界动漫产业发展概论［M］.上海:上海交通大学出版社,2008.
阿卡马斯范文4
在19世纪，股份有限公司逐渐盛行，“公司”成为了基本的经济主体。但到了21世纪的今天，“公司+雇员”这一基本结构的空间，已逐渐受到了“平台+个人”这一结构的挤压。
“互联网平台+海量个人”正在成为我们这个时代，一种全新的、显著的组织景观。随着“平台+个人”这一社会和经济结构的持续生长和扩展，全新的经济、法律、社会含义，也将由此深化和扩展开去。
只要想一下“公司”在今日世界中的位置与影响，人们就应该对这一组织领域全新的重大变动，保持好奇、开放以及敬畏。
“公司+雇员”消退
人们熟悉的公司，不过只有约200年的历史。公司内的金字塔、科层制管理，也不过只有100多年。回顾历史，“公司化”曾是19世纪末20世纪初的一场商业运动，公司由此成为了社会结构的主要构件。“公司”的科层制管理体系，也逐渐扩散到了所有的经济和社会领域。
但这种公司占据主导地位的格局，在今天正受到越来越强烈的冲击。
如果说全球化改变了民族国家，那么互联网则正在改变“公司”，一场“去公司化、公司消退”的新商业运动，其实已经开始。
今天的情况是，互联网让跨越企I边界的大规模协作成为了可能。
一方面是公司中很多商业流程正在大量地向市场外移，也即所谓的“外包”活动的日益广泛化――比如电子商务消灭的只是一些利用信息不对称而生存的中间服务商，同时却又催生了大量新兴的拥有核心能力的中间服务商。
另一方面则是自发、自主、快速聚散的柔性共同体大量出现，很多人已经由此去构想一种普遍的“无组织的组织力量”：凭爱好、兴趣，快速聚散，展开分享、合作乃至集体行动。
组织将永远存在，但以“公司”为代表的那种科层制的组织地位，却将逐渐下降。同时，以自组织方式、柔性化地展开的各种社会化协作，则会不断涌现，并可能逐渐成长为另一种越来越主流的组织方式：
在戈尔公司，其低层领导并非由高层领导所任命，而是来自同事们的认可：你做事的能力如何？你作为团队建设者的表现如何？或者：你召开会议时，其他同事会否主动参加？
在维基百科，自发自愿的、活跃的业余编辑数量，在2011年初达到了约9万名，这种集体智慧带来了很高的、可以媲美专业编辑的编辑质量。
Linux、维基百科、闪客、字幕组……跨边界组织的成本正在大幅度地下降。
阿里巴巴曾鸣曾说：“以科层制为特征、以管理为核心职能的公司，面临着前所未有的挑战。组织的职能不再是分派任务和监工，而更多是让员工的专长、兴趣和客户的问题有更好的匹配方案，这往往要求更多的员工有更多的自主性、更高的流动性和更灵活的组织。甚至可以说，是员工使用了组织的公共服务，而不是公司雇用了员工。”
篱笆，到处都在被拆除。
互联网平台迥然不同
“全球最大的出租车公司Uber没有一辆出租车；全球最热门的媒体所有者Facebook没有一个内容制作人；全球市值最高的零售商阿里巴巴没有一件商品库存；全球最大的住宿服务提供商Airbnb没有任何房产，全国前三大酒店业OTA没有一间客房”，这句广为流传的语句，到底在说什么？
互联网平台正在给商业世界带来巨大的冲击。正如索尼前董事长出井伸之所言，“新一代基于互联网DNA企业的核心能力，在于利用新模式和新技术更加贴近消费者、深刻理解需求、高效分析信息并做出预判，所有传统的产品公司都只能沦为这种新型用户平台级公司的附庸，其衰落不是管理能扭转的。”
事实上，平台模式由来已久，但直到互联网的出现，它才具有了全新的规模、内涵与影响力。
作为一种经济现象：KPCB整理的2015年5月市值前15大的互联网公司，市值总和高达2.4万亿美元，成为了全球经济中重要的力量。哈佛大学托马斯・艾斯曼的研究也发现，全球最大100家企业有60家企业主要收入来自平台商业模式。
作为一种组织现象：上述15大互联网公司，几乎无一例外，都是平台模式。也不只是互联网公司，很多企业和行业，也走向了平台化的结构。
进一步的分析可以发现，任何企业都面临着纵向控制与横向协同，或集权控制，或分权创新的难题。此外，企业还面临着如何与外部需求进行对接的难题。
今天的互联网，为这一老难题提供的新方法，就是以后端坚实的云平台（管理或服务平台+业务平台）去支持前端的灵活创新，并以“多个小前端”去实现与“多种个性化需求”有效对接。这种“大平台+小前端”的结构，已成为了很多企业组织变革的原型结构。如7天酒店的放羊式管理、韩都衣舍的买手制、海尔的自主经营体等。
不只是单个企业演化出了这样的结构，苹果的App Store，淘宝的网络零售平台等，同样也是类似的结构。它们也都是“平台+多元应用”这一结构（或大平台+小前端）在不同企业那里的碎片化呈现，也即不同程度的“后台标准化、统一化、模块化”与不同程度的“前台个性化”之间的组合。其特征则表现为分布式、自动自发、自治和参与式的治理等。
平台在这一体系中扮演了基础服务商、资源调度者的角色，如淘宝网向平台上的商家所提供的“信用体系、用户体系、商品体系、交易流程、计算能力、服务标准”等服务。而垂直市场、垂直应用或企业内部的前端员工与团队，则创造了灵活多样的产品和服务。这在很大程度上是因为，集成了技术模块或封装了商业流程模块的平台，使得平台之上的协作得以简化，“大平台+小前端”的整个体系的运转，也因此体现出了很强的灵活性。
个人成为经济主体
工业时代占据主导地位的是“大批量、小品种”的规模经济，与之对应，组织也在持续走向极大化。1929年，资产达10亿美元以上的美国巨型企业已有约65家，到1988年这一数字增至了466家。再如今天的沃尔玛，它在全球的雇员已经超过了200万人！
到了DT（数据处理）时代，尽管大型组织仍将是组织领域里的一个主要图景，但随着“多品种、小批量”的范围经济正在很多个行业里取得越来越主导的地位，与之相应的组织规模，相应地也在逐步走向小微化、个人化。
当“公司”多多少少地变成了“低效率”的代名词，那么企业组织的规模将注定走向小微化，大企I式的“多人企业”最终也将会裂变为很多个“个人企业”。甚至于，一个单独的个体也仍会进一步地碎片化――当每一个人参与到以任务中心、以流程来驱动的各个不同的临时性组织中去时，他们可能会担任不同的角色――在这种现象越来越普遍之前，能够在不同剧组里同时出演不同角色的演员，其实已经是这条道路上的先行者了。
在今天这种一个人就可以面对全球市场的时代，小企业――更确切地说是个人，正在迎来自身发展史上的黄金时代。
“小微企业乃至个人”在今天的发展机遇，与个性化需求的勃兴直接相关。互联网所聚合、催生的个性化需求，是“组织小微化”的沃土。过去受限于市场规模而不能成立的很多特色小生意，现在在网上找到了它的客户；反之亦然，过去受限于信息成本而不能得到满足的那些个性化需求，现在在网上也找到了它的卖家。
大企业往往意味着超级细致的分工――每个人只能参与价值链上的一个小环节，员工难以直接感知到自己的劳动到底为客户创造了什么价值；大企业也往往意味着超长、超慢的内部流程――每个人要实现跨部门协同都需要付出很大的努力，组织本身的复杂性最终将一点点地压垮个体的协作意愿。大型组织带给个体的，往往是一种无力感，以及一种被螺丝钉化之后的乏味感，组织对于个人也变得越来越难以理解和感知。
分工与协作被重构
过去那种生产者和消费者角色的二分法，似乎也越来越不准确了。一个巨大的转变是，消费者正在转变为产销合一者。在淘宝网，用户既是信用体系的消费者（购物参考），也是它的建设者（参与打分）。搜索引擎也同样如此。
无论是互联网上蓬蓬勃勃的特色生意，对中小企业和个人的赋能，还是对“组织人”的重新解构，都让我们看到了一种令人心仪的未来：个体被机器和组织“异化”的状态，有望得到很大的改善――这正是信息文明带给我们的一个了不起的礼物。
这种分工全面深化、分工与协作体系全面升级的原因是什么？
在市场范围方面，大市场才会有大分工。典型如20世纪初的美国经济，已经摆脱了对欧洲出口的过度依赖，随着铁路、流通网络（邮购商店、百货商店等）、现代媒体（杂志、报纸等）的发展，以及西部开拓、人口增长、收入水平高等因素，美国国内市场当时成为了全球规模最大的单一市场，新兴技术在这样一个大市场上较容易实现规模经济及相应的大分工体系。互联网和云计算则正在支撑起一个在广度与深度上前所未有的全球大市场，这就为分工与协作体系的升级提供了前提。
在交易费用方面，虽然社会总体的交易费用是否有很大变化这一点很难估算，但互联网和云计算在局部上的确大幅降低了企业间的交易和协作费用。另外，降低交易费用也只是一个方面，更重要的是，互联网和云计算通过对海量消费者个性化需求的满足，正在创造出新的专业化价值。
无数个体创业者或开发者等小企业、个体经营者的大量兴起也说明，这是一个企业间分工（自发自动地协作）大行其道而不是企业内分工（以管理来协同）盛行的时代。
在交易技术方面，诸如淘宝、支付宝的交易系统与交易机制，都可以被视为是广义上的交易技术，正是由于这种可以同时服务数亿消费者、在陌生人之间极低成本地开展远程交易、高度发达的交易系统，为交易效率的提升提供了巨大的可能性，才支撑起了高度复杂的分工协作体系。
在资产专用性方面，与工业时代企业的资产专用性完全不同，云平台以“平台共享”的方式，在云计算中心的“初始固定投入”与App、垂直应用、增值业务等的“边际投入”之间，进行了一种超出企业资产专用性边界的社会化的分工。
企业价值观发生转变
因此，在价值追求上，一些企业早已开始接受“非财务目标至少与财务目标同样重要”的价值观。如《小巨人》一书所介绍的一些美国企业，它们并不热衷于追逐利润，也不致力于规模扩张，而是追求一些在它们看来更为重要的目标，比如员工的自豪感与尊严，与客户和供应商之间建立一种朋友关系并分享共同的理想，与社区建立和谐的关系等。这些看似空泛但却真实存在的价值观，在网络时代之前就已经存在。
到了现在的互联网环境，基于共同的小众兴趣、小众价值观、小众梦想、小众爱好，去实现内部协同和外部与客户的深度沟通，比过去要更为容易了。裂帛、阿卡、阿芙等淘宝上成长起来的企业，多少都具有这样的特性。
当然，抨击“公司”这种组织方式的管理制度，但在工作中又或多或少地只能扮演螺丝钉一样的固定角色，这样的情形已经存在一个多世纪了。面向未来，类似于“自由人的自由联合”的社会化自发协作，对于个人而言，要以这种柔性化方式参与其中的前提，就是个人自身的“专家化”。
德鲁克曾预测，知识工作者将很快成为发达国家中最大的族群。
事实正是如此。仅从企业内部与信息工作相关的员工比例来看，上世纪60年代的IT应用，首先让后端财务人员等的工作方式发生了转变；上世纪80年代的PC普及，几乎让所有的知识工作者的工作方式都发生了革命；到今天的IT消费化浪潮――平板电脑、智能手机的普及，以及可以预期的云计算对IT民主化的极大推进，企业里最后那些工作还没有实现IT化的员工，其工作方式也必将发生“信息化、知识化”的转变。
至此，所有部门和员工工作的IT化、信息化、知识化，将基本完成。而这又意味着全社会知识型工作人群比例的极大提升。
既然经验和知识不均匀地分布在每个人身上，那么只有每个人的经验、知识与数据的结合，才能让数据变得鲜活生动起来，诸如此类的长尾生意和职业也将越来越多。在宽泛的意义上，人人都是知识工作者，人人也都是某个领域的专家，这会让个体的工作与生活更加柔性化。