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阿卡馬斯范文1
【Key words】 Anna； image； feminism； tragedy
【摘要】俄偉大的現實主義作家托爾斯泰筆下的著名的女人形象安娜?卡列尼娜在文學史上有一定的影響力。本文旨在從女性主義的角度分析安娜在小說中的形象和她的悲劇。分析主要從三個方面展開，即社會、宗教和女權主義。該分析可以為現代女性提供一些深刻的啟示。
【關鍵詞】安娜?卡列尼娜 形象 女性主義 悲劇
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.朱光潛譯.《美學》第二卷[M].商務印書館，1979.
[2]康林.世界文學名著選讀[M].江西人民出版社，1979.
[3]盧慧玲.愛情與責任的較量――談安娜與弗蘭西斯卡的婚外情[J].桂林師范高等專科學報，16（2）.
[4]外國文學名著精譯與賞析[M].南開大學出版社，2003.
阿卡馬斯范文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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[4] Gu Ban. History of Han Dynasty [M]. Beijing： Zhonghua Book Company， 1962.
[5] Qingshu Meng. Atsushi Nakajima and Chinese literature [J]. Chinese Comparative Literature， 1995 （1）.
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[8] Okuno Zhengyuan. Atsushi Nakajima Theory [M] Tokyo： Shinano printing， 1985.
[9] Kimura & Atsushi Nakajima. Theory on Atsushi Nakajima [M]. Tokyo： double Literary Society publication， 1986.
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[11] Kimura. Atsushi Kimura [M] Osaka： Izumi College， 2004.
阿卡馬斯范文3
［關鍵詞］英國動畫； 動畫系列； 品牌維護； 動畫教育； 政府扶持
■基金項目：本文系湖北省2012年人文社科項目“中外成功動漫公司個案研究” 的階段性成果（項目編號：2012SK459）。
英國動畫業始于1930年左右，作品多以短片為主，首部長片《動物莊園》誕生于1954年。經過數十年努力，它已成為歐洲動畫的領頭羊，世界動畫界重要一派。
一、動畫產業概況
1997年在時任首相布萊爾直接倡導、推動下，政府積極扶持發展創意產業，利好的環境和政策使動畫、影視在內的文化產業已成為英國金融業之后第二大產業。動畫界在政府和電視臺的大力支持下更加努力，重視創意和技術升級，注重動畫教育和人才培養，充分發揮人才作用和創意優勢，借鑒改編他國題材；英國動畫跨國交流合作多，積極聯合海外，與美國合作過《小雞快跑》《僵尸新娘》《鼠國流浪記》《浪漫老鼠佩德羅》《戰鴿快飛》《廷加廷加的傳奇》。與法國合作《神奇的旋轉木馬》《大象家族》等。英德法合作《地震調音師》。此外與俄羅斯、荷蘭、加拿大同行們也制作過《操縱者》《父與女》和《鮑勃的生日》等；動畫佳作、獲獎名片層出不窮。還注重品牌維護和形象開發，使動畫得以持續發展，產業鏈條延長，周邊產品不斷開發、營銷。具有世界影響的成功作品有《動物物語》《酷狗寶貝》《憨豆》《討厭的亨利》《托馬斯和他的朋友們》《動物悟語》以及怪鴨、山羊肖恩、天線寶寶、花園寶寶等卡通形象。為吸引孩子們熱愛經典名著、本土傳統文化，英國還把莎士比亞、狄更斯、卡夫卡等巨匠的經典作品，改編成風格多樣、形象活潑的動漫圖書，深受青少年歡迎，活躍動漫出版市場。
二、動畫作品特點
英國動畫系列片較成功，收益大；動畫電影雖然數量少，但制作精良，獨具個性，獲獎多；動畫短片數量多，風格樣式多，探索性強，重人文、非主流。
（一）名作不斷
1.動畫系列，英國動畫系列歷來重視兒童教育、智慧啟迪、人文底蘊、娛樂幽默，而且數量多，經典多——先前就有《神勇小白鼠》（1981）、《小飛機金波》（1986）、《怪鴨歷險記》（1988），近年來還有260集《天線寶寶》、59集《花園寶寶》《小建筑師巴布》（1999年始）、116集《花童菲菲》（2005年始）、《賽車小萊里》《鮑勃和瑪格麗特》《莎翁名劇》《守護神》《小羊肖恩》（獲艾美獎）、《托馬斯和朋友們》、北愛爾蘭首部長動畫《救生艇盧克》等，它們不僅在英國熱播，而且走向百余個國家，深受眾多兒童觀眾喜愛，其衍生產品也在國際市場暢銷。
2.動畫電影，與美國相比，英國劇場動畫數量和水準難望其項背，但亦有自己的特色和地位。重要的有《小雞快跑》（獲金球獎）、《戰鴿快飛》《超級無敵掌門狗》之《人兔的詛咒》（榮獲2005年安妮獎、奧斯卡獎）和《面包和死亡事件》《廷加廷加的傳奇》《神奇的旋轉木馬》《弗雷迪歷險記》《仙女》《懷特霍爾街上的長筒靴》等，無一不想象力十足，充分體現出動畫的神奇性、離奇性。
3.動畫短片，英國短片種類繁多，風格多樣，探索性強，富有想象力、人文內涵、政治寓意和諷刺意味，探討生死、哲理、命運等深奧問題，也不乏、暴力、怪誕離奇之作。有些動畫還頗具諷喻性、象征性、隱喻性、抽象性和成人化。英國歷來不把敘事、娛樂當做動畫惟一功效，二戰期間政府還把它當做宣傳動員的重要手段，鼓舞人民斗志。憑借特有創意和領先技術，英國動畫運用廣泛，體現教育、廣告、MV、FLASH、文藝小品、互動游戲，也在影視片頭、片尾、特技中大顯身手。在美國大片《星球大戰》《垂直極限》《十二只猴子》《珍珠港》《角斗士》《哈利·波特》《納尼亞傳奇》等都有英國動畫人制造的炫目特效。英倫動畫的材料、形式豐富，有二維動畫、三維動畫、靜幀動畫、逐格動畫、偶動畫、黏土動畫、數字動畫等。動畫短片創作踴躍，鍛煉了隊伍，積累了經驗，為產業的興旺奠定基礎。
1990年以來，英國六獲奧斯卡動畫短片獎：1990 年《動物悟語》、1992年《操縱》、1993年《神奇太空衣》、1995 年《九死一生》、2000年《父與女》、2006年蘇西·鄧普頓的《彼特與狼》。偶類恐怖動畫《睡眠精靈》（1991）、《亞當》（1992）和《渥特的豬》（1996）、塞隆·科曼導演的《獾》（2006）等都獲奧斯卡最佳短片提名。此外還有很多短片在國際動畫節上嶄露頭角，如RabbbitPunch獲斯圖加特動畫節國際營銷獎；《三只小鳥》榮獲2009年上海電影節海外動畫片金獎?！蹲蚤]心靈》（A Is for Autism，1992）展現了自閉癥少年的內心，榮獲愛丁堡和渥太華電影節多項獎。獲得英國學院獎更是不計其數，如動畫《波斯波利斯》和《戰場華爾茲》；重要的還有《跟屁貓斯卡特》《當死神遇到母愛》《先生的影像日記》《吉索普先生》等。英國動畫2005年在上海、2007年在北京都做過展映。
（二）動畫名導
英國動畫界擁有不少人才，近年來杰出的導演如下：
1.尼克·帕克（1958—），他是英國動畫界的一面旗幟，想象神奇，才華橫溢。他在阿德曼動畫公司做過導演、編劇、配音、特效、角色設定等工作，被譽為“掌門狗”之父，曾四度榮獲奧斯卡獎。自1985年加入阿德曼后，很多里程碑式的黏土動畫皆出自其手，如《動物悟語》《酷狗寶貝》系列、《小雞快跑》、TV片《大錘》（Sledgehammer）等。
2.彼德·洛德（1953—），他集動畫師、導演、制片于一身，與大衛·史波克斯頓一起，在1972年讀大學期間就注冊創立了阿德曼公司，參與過公司的許多作品創作，如《亞當》《沃特的豬》《憤怒的孩子》（2002）、《超級無敵掌門狗》系列、《小雞快跑》《鼠國流浪記》《小羊肖恩》等。根據Gideon Defoe小說改編而來的動畫《海盜》也由他執導。
3.菲爾·莫洛伊（1948—），他是一位風格獨特、離經叛道、驚世駭俗、勤奮高產的作者型導演，敏銳地評價人類天性并挑戰當代的價值觀，引領成年觀眾去品味無政府主義。作品涉獵暴力、戰爭、政治、宗教、社會階級和人類文明等主題，還不時關懷社會，批判丑惡的社會現實、保守偽善的人性、殘忍丑陋的行為。內容上，夸大男女性器官和渲染血腥暴力，卻不乏黑色幽默與嘲諷。形式上，形象多用簡單墨水繪制而成，人物黑色圖騰化，頭似骷髏，堅挺長鼻，清瘦骨感，顆顆尖牙清晰可數。筆鋒奇詭而略帶粗糙，配樂獨特詭異。第四頻道及BBC長期贊助他，其代表作有《森林中》《書寫的發明》《牛仔》《世界歷史》《十誡》《鎖鏈》《椅子的性生活》《奇怪的愛情》《克利斯蒂一家》《無法忍受》等。
4.巴瑞·普維斯，他是著名的偶類、逐格動畫師，做過舞美設計，導演《下一個》《超級模特》《弄臣》《劇本》《阿基里斯》、柴可夫斯基的短片等。他的動畫動作逼真細膩，視覺華麗，將偶動畫的神韻發揮到極致，也參與過蒂姆·波頓的《火星人玩轉地球》、杰克遜的《金剛》和《指環王3》的制作，完成專著《定格動畫：激情、工藝與表演》。
5.鮑勃·茍德弗瑞，他享有英國動畫教父之美譽，作品數量多且高質，榮獲過奧斯卡獎、英國學院獎、布拉德福動畫節終生成就獎等。動畫含性、政治等成人內容，離經叛道、另類。1990年后制作《淘氣的威利》《簡短談話》《凱文拯救世界》《撒切爾夫人：我這是在哪？》《初學者莎士比亞》等。
英國也涌現出不少優秀女動畫家，如導演過《多愛》《死神與母親》的魯斯·靈福特；導演過《純潔的儀式》《雞蛋、魚和血》《美人魚如何繁殖》的瓊·阿胥沃斯；導演過《彼德與狼》的蘇茜·特姆普萊頓；導演過《夜店秀》《人體美》《埃萊斯》《不列顛》《弗雷德》《巴斯的妻子》《夢想和欲望——家庭關系》的喬安娜·奎因，還獲得過安納西、薩格勒布、渥太華等多項動畫獎。
三、動畫基礎
英國動畫業快速發展主因是已形成自己的機制：動畫教學與制作的互動，人才的積極引入走出，多種基金支持，歐洲和英國本土動畫獎項的鼓勵，電視臺和廣告獨特的推動作用，頻繁的跨國合作。
（一）動畫教育和培訓機構
英國擁有數十所從事影視、創意、動畫、藝術設計等教學的專業學院和綜合大學，學校推崇創意、重視實踐、聯系市場，為動畫業源源不斷地輸送人才。重要的院校有：皇家藝術學院、國家影視學校、創造藝術大學、皇家藝術學院、愛丁堡藝術學院、倫敦藝術大學、伯恩茅斯大學等，構成動畫教育的基石。
（二）動畫制作企業
目前英國有300余家動漫企業，從業者4千余人。各地皆有特征鮮明、運作成功的龍頭企業，在布里斯托、卡迪夫、鄧迪、倫敦和曼徹斯特等地尤為突出，聚集著大量高水平的動漫人才。其中14%是大型公司，24%是中型，其余是微型。大多數動畫企業都強調寬松、優越、創造、兼容并蓄的精神，信奉“工作是文化”的理念。
參與動畫制作重要的公司有第四頻道Channel4、寇斯格羅夫·霍爾電影公司，作品有《神勇小白鼠》《怪鴨歷險記》《野薔薇村的故事》。還有阿德曼、克林伍德·歐海爾娛樂公司、光明電影公司、電幻想公司、阿卡工作室、激情公司、尼克薩斯公司、果凍動畫公司、Glassworks、威爾士Calon動畫工作室等。
英國還有較多的知名動畫游戲公司，如Eidos，其巨作《古墓麗影》《冠軍足球經理》橫掃全球市場。優特力公司Eutechnyx是著名的賽車游戲開發商，曾獲得多項歐洲或全球性獎項，作品有《街頭賽車聯盟》《速度與激情》等。還有Climax、Creativenorth、Creon stuios公司等。它們激發了游戲迷對動畫的好感，擴大了動畫影響力，拓展了動畫產業鏈條，活躍了動畫市場。
（三）動畫節及獎項多
為鼓勵優秀動畫和創新型人才，英國舉辦多種影視節、動畫節，設立多類動畫獎項，如影視學院動畫獎、電影協會獎（BAFTA）、電影電視工會獎、英國動畫獎、倫敦國際動畫節、布里斯托爾動畫節、布拉德福動畫節、諾維治動畫節、愛爾蘭動漫影展、Animex國際動畫與電腦游戲節等。
（四）資金來源
英國動畫業依靠電視臺、彩票基金、廣告基金、藝術協會等扶持。此外Channel4跟藝術發展局合辦的“Animate!”計劃，鼓勵創新、實驗性及多元性的動畫創作，資助過不少得到國際獎項的動畫短片。
繼續加大資金投入、人才培養、技術更新，注重市場、創新，不斷國際合作，減少人才流失，英國動畫會取得更大成就，這些也值得中國動畫業借鑒。
［參考文獻］
［1］ 薛燕平.英國動畫［M］.北京:中國傳媒大學出版社,2010.
［2］ 鄧林.世界動漫產業發展概論［M］.上海:上海交通大學出版社,2008.
阿卡馬斯范文4
在19世紀，股份有限公司逐漸盛行，“公司”成為了基本的經濟主體。但到了21世紀的今天，“公司+雇員”這一基本結構的空間，已逐漸受到了“平臺+個人”這一結構的擠壓。
“互聯網平臺+海量個人”正在成為我們這個時代，一種全新的、顯著的組織景觀。隨著“平臺+個人”這一社會和經濟結構的持續生長和擴展，全新的經濟、法律、社會含義，也將由此深化和擴展開去。
只要想一下“公司”在今日世界中的位置與影響，人們就應該對這一組織領域全新的重大變動，保持好奇、開放以及敬畏。
“公司+雇員”消退
人們熟悉的公司，不過只有約200年的歷史。公司內的金字塔、科層制管理，也不過只有100多年。回顧歷史，“公司化”曾是19世紀末20世紀初的一場商業運動，公司由此成為了社會結構的主要構件?！肮尽钡目茖又乒芾眢w系，也逐漸擴散到了所有的經濟和社會領域。
但這種公司占據主導地位的格局，在今天正受到越來越強烈的沖擊。
如果說全球化改變了民族國家，那么互聯網則正在改變“公司”，一場“去公司化、公司消退”的新商業運動，其實已經開始。
今天的情況是，互聯網讓跨越企I邊界的大規模協作成為了可能。
一方面是公司中很多商業流程正在大量地向市場外移，也即所謂的“外包”活動的日益廣泛化――比如電子商務消滅的只是一些利用信息不對稱而生存的中間服務商，同時卻又催生了大量新興的擁有核心能力的中間服務商。
另一方面則是自發、自主、快速聚散的柔性共同體大量出現，很多人已經由此去構想一種普遍的“無組織的組織力量”：憑愛好、興趣，快速聚散，展開分享、合作乃至集體行動。
組織將永遠存在，但以“公司”為代表的那種科層制的組織地位，卻將逐漸下降。同時，以自組織方式、柔性化地展開的各種社會化協作，則會不斷涌現，并可能逐漸成長為另一種越來越主流的組織方式：
在戈爾公司，其低層領導并非由高層領導所任命，而是來自同事們的認可：你做事的能力如何？你作為團隊建設者的表現如何？或者：你召開會議時，其他同事會否主動參加？
在維基百科，自發自愿的、活躍的業余編輯數量，在2011年初達到了約9萬名，這種集體智慧帶來了很高的、可以媲美專業編輯的編輯質量。
Linux、維基百科、閃客、字幕組……跨邊界組織的成本正在大幅度地下降。
阿里巴巴曾鳴曾說：“以科層制為特征、以管理為核心職能的公司，面臨著前所未有的挑戰。組織的職能不再是分派任務和監工，而更多是讓員工的專長、興趣和客戶的問題有更好的匹配方案，這往往要求更多的員工有更多的自主性、更高的流動性和更靈活的組織。甚至可以說，是員工使用了組織的公共服務，而不是公司雇用了員工?！?/p>
籬笆，到處都在被拆除。
互聯網平臺迥然不同
“全球最大的出租車公司Uber沒有一輛出租車；全球最熱門的媒體所有者Facebook沒有一個內容制作人；全球市值最高的零售商阿里巴巴沒有一件商品庫存；全球最大的住宿服務提供商Airbnb沒有任何房產，全國前三大酒店業OTA沒有一間客房”，這句廣為流傳的語句，到底在說什么？
互聯網平臺正在給商業世界帶來巨大的沖擊。正如索尼前董事長出井伸之所言，“新一代基于互聯網DNA企業的核心能力，在于利用新模式和新技術更加貼近消費者、深刻理解需求、高效分析信息并做出預判，所有傳統的產品公司都只能淪為這種新型用戶平臺級公司的附庸，其衰落不是管理能扭轉的?！?/p>
事實上，平臺模式由來已久，但直到互聯網的出現，它才具有了全新的規模、內涵與影響力。
作為一種經濟現象：KPCB整理的2015年5月市值前15大的互聯網公司，市值總和高達2.4萬億美元，成為了全球經濟中重要的力量。哈佛大學托馬斯?艾斯曼的研究也發現，全球最大100家企業有60家企業主要收入來自平臺商業模式。
作為一種組織現象：上述15大互聯網公司，幾乎無一例外，都是平臺模式。也不只是互聯網公司，很多企業和行業，也走向了平臺化的結構。
進一步的分析可以發現，任何企業都面臨著縱向控制與橫向協同，或集權控制，或分權創新的難題。此外，企業還面臨著如何與外部需求進行對接的難題。
今天的互聯網，為這一老難題提供的新方法，就是以后端堅實的云平臺（管理或服務平臺+業務平臺）去支持前端的靈活創新，并以“多個小前端”去實現與“多種個性化需求”有效對接。這種“大平臺+小前端”的結構，已成為了很多企業組織變革的原型結構。如7天酒店的放羊式管理、韓都衣舍的買手制、海爾的自主經營體等。
不只是單個企業演化出了這樣的結構，蘋果的App Store，淘寶的網絡零售平臺等，同樣也是類似的結構。它們也都是“平臺+多元應用”這一結構（或大平臺+小前端）在不同企業那里的碎片化呈現，也即不同程度的“后臺標準化、統一化、模塊化”與不同程度的“前臺個性化”之間的組合。其特征則表現為分布式、自動自發、自治和參與式的治理等。
平臺在這一體系中扮演了基礎服務商、資源調度者的角色，如淘寶網向平臺上的商家所提供的“信用體系、用戶體系、商品體系、交易流程、計算能力、服務標準”等服務。而垂直市場、垂直應用或企業內部的前端員工與團隊，則創造了靈活多樣的產品和服務。這在很大程度上是因為，集成了技術模塊或封裝了商業流程模塊的平臺，使得平臺之上的協作得以簡化，“大平臺+小前端”的整個體系的運轉，也因此體現出了很強的靈活性。
個人成為經濟主體
工業時代占據主導地位的是“大批量、小品種”的規模經濟，與之對應，組織也在持續走向極大化。1929年，資產達10億美元以上的美國巨型企業已有約65家，到1988年這一數字增至了466家。再如今天的沃爾瑪，它在全球的雇員已經超過了200萬人！
到了DT（數據處理）時代，盡管大型組織仍將是組織領域里的一個主要圖景，但隨著“多品種、小批量”的范圍經濟正在很多個行業里取得越來越主導的地位，與之相應的組織規模，相應地也在逐步走向小微化、個人化。
當“公司”多多少少地變成了“低效率”的代名詞，那么企業組織的規模將注定走向小微化，大企I式的“多人企業”最終也將會裂變為很多個“個人企業”。甚至于，一個單獨的個體也仍會進一步地碎片化――當每一個人參與到以任務中心、以流程來驅動的各個不同的臨時性組織中去時，他們可能會擔任不同的角色――在這種現象越來越普遍之前，能夠在不同劇組里同時出演不同角色的演員，其實已經是這條道路上的先行者了。
在今天這種一個人就可以面對全球市場的時代，小企業――更確切地說是個人，正在迎來自身發展史上的黃金時代。
“小微企業乃至個人”在今天的發展機遇，與個性化需求的勃興直接相關?；ヂ摼W所聚合、催生的個性化需求，是“組織小微化”的沃土。過去受限于市場規模而不能成立的很多特色小生意，現在在網上找到了它的客戶；反之亦然，過去受限于信息成本而不能得到滿足的那些個性化需求，現在在網上也找到了它的賣家。
大企業往往意味著超級細致的分工――每個人只能參與價值鏈上的一個小環節，員工難以直接感知到自己的勞動到底為客戶創造了什么價值；大企業也往往意味著超長、超慢的內部流程――每個人要實現跨部門協同都需要付出很大的努力，組織本身的復雜性最終將一點點地壓垮個體的協作意愿。大型組織帶給個體的，往往是一種無力感，以及一種被螺絲釘化之后的乏味感，組織對于個人也變得越來越難以理解和感知。
分工與協作被重構
過去那種生產者和消費者角色的二分法，似乎也越來越不準確了。一個巨大的轉變是，消費者正在轉變為產銷合一者。在淘寶網，用戶既是信用體系的消費者（購物參考），也是它的建設者（參與打分）。搜索引擎也同樣如此。
無論是互聯網上蓬蓬勃勃的特色生意，對中小企業和個人的賦能，還是對“組織人”的重新解構，都讓我們看到了一種令人心儀的未來：個體被機器和組織“異化”的狀態，有望得到很大的改善――這正是信息文明帶給我們的一個了不起的禮物。
這種分工全面深化、分工與協作體系全面升級的原因是什么？
在市場范圍方面，大市場才會有大分工。典型如20世紀初的美國經濟，已經擺脫了對歐洲出口的過度依賴，隨著鐵路、流通網絡（郵購商店、百貨商店等）、現代媒體（雜志、報紙等）的發展，以及西部開拓、人口增長、收入水平高等因素，美國國內市場當時成為了全球規模最大的單一市場，新興技術在這樣一個大市場上較容易實現規模經濟及相應的大分工體系。互聯網和云計算則正在支撐起一個在廣度與深度上前所未有的全球大市場，這就為分工與協作體系的升級提供了前提。
在交易費用方面，雖然社會總體的交易費用是否有很大變化這一點很難估算，但互聯網和云計算在局部上的確大幅降低了企業間的交易和協作費用。另外，降低交易費用也只是一個方面，更重要的是，互聯網和云計算通過對海量消費者個性化需求的滿足，正在創造出新的專業化價值。
無數個體創業者或開發者等小企業、個體經營者的大量興起也說明，這是一個企業間分工（自發自動地協作）大行其道而不是企業內分工（以管理來協同）盛行的時代。
在交易技術方面，諸如淘寶、支付寶的交易系統與交易機制，都可以被視為是廣義上的交易技術，正是由于這種可以同時服務數億消費者、在陌生人之間極低成本地開展遠程交易、高度發達的交易系統，為交易效率的提升提供了巨大的可能性，才支撐起了高度復雜的分工協作體系。
在資產專用性方面，與工業時代企業的資產專用性完全不同，云平臺以“平臺共享”的方式，在云計算中心的“初始固定投入”與App、垂直應用、增值業務等的“邊際投入”之間，進行了一種超出企業資產專用性邊界的社會化的分工。
企業價值觀發生轉變
因此，在價值追求上，一些企業早已開始接受“非財務目標至少與財務目標同樣重要”的價值觀。如《小巨人》一書所介紹的一些美國企業，它們并不熱衷于追逐利潤，也不致力于規模擴張，而是追求一些在它們看來更為重要的目標，比如員工的自豪感與尊嚴，與客戶和供應商之間建立一種朋友關系并分享共同的理想，與社區建立和諧的關系等。這些看似空泛但卻真實存在的價值觀，在網絡時代之前就已經存在。
到了現在的互聯網環境，基于共同的小眾興趣、小眾價值觀、小眾夢想、小眾愛好，去實現內部協同和外部與客戶的深度溝通，比過去要更為容易了。裂帛、阿卡、阿芙等淘寶上成長起來的企業，多少都具有這樣的特性。
當然，抨擊“公司”這種組織方式的管理制度，但在工作中又或多或少地只能扮演螺絲釘一樣的固定角色，這樣的情形已經存在一個多世紀了。面向未來，類似于“自由人的自由聯合”的社會化自發協作，對于個人而言，要以這種柔性化方式參與其中的前提，就是個人自身的“專家化”。
德魯克曾預測，知識工作者將很快成為發達國家中最大的族群。
事實正是如此。僅從企業內部與信息工作相關的員工比例來看，上世紀60年代的IT應用，首先讓后端財務人員等的工作方式發生了轉變；上世紀80年代的PC普及，幾乎讓所有的知識工作者的工作方式都發生了革命；到今天的IT消費化浪潮――平板電腦、智能手機的普及，以及可以預期的云計算對IT民主化的極大推進，企業里最后那些工作還沒有實現IT化的員工，其工作方式也必將發生“信息化、知識化”的轉變。
至此，所有部門和員工工作的IT化、信息化、知識化，將基本完成。而這又意味著全社會知識型工作人群比例的極大提升。
既然經驗和知識不均勻地分布在每個人身上，那么只有每個人的經驗、知識與數據的結合，才能讓數據變得鮮活生動起來，諸如此類的長尾生意和職業也將越來越多。在寬泛的意義上，人人都是知識工作者，人人也都是某個領域的專家，這會讓個體的工作與生活更加柔性化。