新神話主義視角下中國神話的重構 —以『山海經』動畫改編爲中心

Abstract

This paper employs the theoretical framework of Neo-Mythologism to examine the mechanisms and cultural significance of Shan Hai Jing in contemporary animated adaptations. The study first identifies the text’s fragmented genealogy and non-linear spatial structure as a rich reservoir of motifs for modern media. Animated adaptations, however, are not faithful restorations of the original, but translations achieved through three key mechanisms: (1) the collage and reorganization of mythological fragments to construct new visual symbol systems; (2) narrative rewriting and emotional re-inscription that transform catalogued knowledge into character-driven stories, endowing mythic symbols with psychological and affective functions; and (3) spatial reconstruction that reinterprets heterotopian cosmography as a stage for order and identity. Together, these mechanisms shift the function of mythology from explaining the world to consoling individuals and shaping cultural identities. On the level of cross-cultural communication, the animated Shan Hai Jing demonstrates three forms of “intermediacy”: discursive, which sustains the tension and continuity of ancient Chinese cosmology in global contexts; subjective, which foregrounds audience interaction and re-creation; and situational, which embeds mythological imagery in festivals, digital platforms, and market systems. Its value lies not in packaging Chinese stories but in regenerating cultural genes within contemporary media and global exchange, thereby extending the scope of Neo-Mythologism and underscoring its dual role as cultural memory and cross-cultural meaning production.