User:Zhang Jiaxin - Revision history

Zhang Jiaxin at 00:05, 20 June 2025

2025-06-20T00:05:17Z

Zhang Jiaxin at 00:00, 20 June 2025

2025-06-20T00:00:13Z

Zhang Jiaxin: /* 术语 */

2025-06-19T23:58:47Z

术语

Zhang Jiaxin at 10:14, 19 June 2025

2025-06-19T10:14:41Z

Zhang Jiaxin: /* Literature Analysis and Citation Selection */

2025-06-19T10:04:43Z

Literature Analysis and Citation Selection

Zhang Jiaxin: /* The Patricidal Act and Its Profound Philosophical Paradox */

2025-06-13T23:21:16Z

The Patricidal Act and Its Profound Philosophical Paradox

Zhang Jiaxin: /* English Translation and Quality Assessment */

2025-06-13T10:36:48Z

English Translation and Quality Assessment

Zhang Jiaxin: /* Text Composition and Refinement */

2025-06-13T10:35:14Z

Text Composition and Refinement

Zhang Jiaxin: /* Abstract */

2025-06-13T10:33:17Z

Abstract

Zhang Jiaxin: /* 摘要 */

2025-06-13T10:32:52Z

摘要

@@ Line 284: / Line 284: @@
 I used the following AI tool to assist in writing my final paper: DeepSeek (R1).
-===Key Prompts Used===
+===Key Prompts Used and Partial Manual Operations===
 ====Structure Determination====

@@ Line 280: / Line 280: @@
 [6]Zhang, Xinxin, Huang, Xiaoyu, & Sun, Yanbin. The Rich Connotation, Contemporary Expression, and Strategic Mechanism of Excellent Traditional Chinese Culture—An Analysis of the Cultural Phenomenon in Nezha: Birth of the Demon Child [J/OL]. China Editor, 2025: 12.
-===AI Statement===
+==AI Statement==
 I used the following AI tool to assist in writing my final paper: DeepSeek (R1).
-====Key Prompts Used====
+===Key Prompts Used===
-=====Structure Determination=====
+====Structure Determination====
 Prompt:
@@ Line 306: / Line 306: @@
 Main task: Please adjust the structure based on the narrative order of the sample chapters, revising the logic to follow a "simple to complex" progression. Do not add new subpoints; instead, refine the content direction and requirements under each existing subpoint.
-=====Literature Analysis and Citation Selection=====
+====Literature Analysis and Citation Selection====
 Once the structure and content direction for each subpoint were confirmed, I was able to determine the necessary search keywords and the general scope of literature suitable for citation. I conducted searches using CNKI and Google Scholar, and selected sources based on keywords and abstracts that would effectively support the argumentation. Then, I read through the relevant literature and broadly selected a sufficient number of citations with strong usability.
-=====Text Composition and Refinement=====
+====Text Composition and Refinement====
 After the above two stages, the preparatory work for writing the paper was complete. I then issued prompts with detailed writing instructions, prompting DS to generate a draft.
@@ Line 340: / Line 340: @@
 The draft was further refined manually.
-=====English Translation and Quality Assessment=====
+====English Translation and Quality Assessment====
 Prompt:
@@ Line 362: / Line 362: @@
 Then I revised the English translation accordingly based on the assessment table.
-=====The final version is completed=====
+====The final version is completed====

@@ Line 72: / Line 72: @@
 ”（ 张新新，黄笑语，孙俨斌 2025，12）
-==术语==
+==术语和表达==
 Nezha:哪吒

@@ Line 25: / Line 25: @@
 ===“弑父”行为蕴含深刻的哲学悖论===
-据北宋苏辙著《栾城集》第 3 集卷 1《哪吒诗》记载:北方天王有狂子,只知拜佛不拜父。佛知其愚难教语,宝塔令父左手举。儿来见佛头辄俯,且与拜佛略相似。佛如优县难值遇,见者闻道出生死。嗟尔何为独如此，业果已定不去。佛灭到今千万祀，只在江湖挽船处。郭俊叶据此分析得出信息，“‘不拜父’又说明天王父子关系不和......佛在协调天王父子关系上发挥了作用......哪吒因拜佛而拜父，‘以佛为父’”，（郭俊叶，2008：34）即揭示了佛教信仰对父子关系的调解功能。塔作为镇压与和解的象征，既事对传统孝道的颠覆，亦暗含个体在神权与父权间的挣扎。
+据北宋苏辙著《栾城集》第 3 集卷 1《哪吒诗》记载:北方天王有狂子,只知拜佛不拜父。佛知其愚难教语,宝塔令父左手举。儿来见佛头辄俯,且与拜佛略相似。佛如优县难值遇,见者闻道出生死。嗟尔何为独如此，业果已定不去。佛灭到今千万祀，只在江湖挽船处。郭俊叶据此分析得出信息，“‘不拜父’又说明天王父子关系不和......佛在协调天王父子关系上发挥了作用......哪吒因拜佛而拜父，‘以佛为父’”，（郭俊叶 2008, 34）即揭示了佛教信仰对父子关系的调解功能。塔作为镇压与和解的象征，既事对传统孝道的颠覆，亦暗含个体在神权与父权间的挣扎。
 ===莲花化身的双重隐喻===
@@ Line 45: / Line 45: @@
 ===文化符号的现代重构===
-改革开放前后，“中国早期现代主义的代表者们吸收了西方二十世纪哲学问题的重要体系，并依据其自身经验、社会与艺术期待对其进行了重构——这些期待由内在的民族国家世界观所决定（即中华传统、共产主义身份认同与现代化进程交融而成的混合体）”。（Franziska Bruckner et al., 2019：73）1979年的动画《哪吒闹海》就是该阶段的代表作之一。其以自刎明志的悲壮结局，隐喻“旧秩序→新世界”的断裂，将反抗对象从家族伦理扩展至阶级压迫。这部跨越了二十年才得以完成的动画电影，“不仅是‘文革’结束后，中国社会进入新时期以来的首部大型长片动画电影，更是继承并创造性地发展了《大闹天宫》的人物塑造与叙事风格，并注入了新的社会主义价值观念，成为中国动画电影的经典之作”（褚亚男， 2018：86）。
+改革开放前后，“中国早期现代主义的代表者们吸收了西方二十世纪哲学问题的重要体系，并依据其自身经验、社会与艺术期待对其进行了重构——这些期待由内在的民族国家世界观所决定（即中华传统、共产主义身份认同与现代化进程交融而成的混合体）”。（Franziska Bruckner et al. 2019，73）1979年的动画《哪吒闹海》就是该阶段的代表作之一。其以自刎明志的悲壮结局，隐喻“旧秩序→新世界”的断裂，将反抗对象从家族伦理扩展至阶级压迫。这部跨越了二十年才得以完成的动画电影，“不仅是‘文革’结束后，中国社会进入新时期以来的首部大型长片动画电影，更是继承并创造性地发展了《大闹天宫》的人物塑造与叙事风格，并注入了新的社会主义价值观念，成为中国动画电影的经典之作”（褚亚男 2018，86）。
 [[File:Nezha2.jpg|200px|center|link=]]
@@ Line 63: / Line 63: @@
 [[File:Nezha4.jpg|200px|center|link=]]
-郑伟丽指出，借助了“镜像结构与浴火重生”的叙事策略的《哪吒之魔童降世》，“不仅是中国神话的表述，更杂糅着日漫的成长叙事与好莱坞的合家欢。从割肉自毁到改命而亡，从个体抗争走向镜像结构，从莲花中复生到浴火中变身，哪吒作为被关照主体，在凝视中完成了自我成长与大团圆......彻底消解了曾经哪吒的核心叙事及思想，把一个反抗上位权力压迫的革命寓言转换为反抗成见和宿命的成长寓言”（郑伟丽，2022：46）。这种改编既保留神话原型，又注入当代青年对抗偏见的集体情绪。
+郑伟丽指出，借助了“镜像结构与浴火重生”的叙事策略的《哪吒之魔童降世》，“不仅是中国神话的表述，更杂糅着日漫的成长叙事与好莱坞的合家欢。从割肉自毁到改命而亡，从个体抗争走向镜像结构，从莲花中复生到浴火中变身，哪吒作为被关照主体，在凝视中完成了自我成长与大团圆......彻底消解了曾经哪吒的核心叙事及思想，把一个反抗上位权力压迫的革命寓言转换为反抗成见和宿命的成长寓言”（郑伟丽 2022，46）。这种改编既保留神话原型，又注入当代青年对抗偏见的集体情绪。
 ===全球化语境下的文化延伸===
@@ Line 70: / Line 70: @@
 启示当代文化从业者，“要在坚定文化自信的基础上，进一步提升文化自强的实力和能力，以多模态叙事技术切实讲好中国故事，讲好中华优秀传统文化故事，充分发挥中华优秀传统文化价值，深度参与全球文化格局的重构，从而不断走向更加多元化、全球化的舞台中心。
-”（ 张新新，黄笑语，孙俨斌，2025：:12）
+”（ 张新新，黄笑语，孙俨斌 2025，12）
 ==术语==
@@ Line 149: / Line 149: @@
 ==Core Versions of the Myth==
-The transformation of Nezha's image from a Buddhist guardian deity to a Daoist child god reflects a classic trajectory of cross-cultural integration. As Fu Fangyan points out, Nezha's story reached its peak in Investiture of the Gods:"The novel established the definitive image of Nezha for later generations, fully sinicizing, localizing, and Daoizing the character." This transformation not only secularized his religious persona but also infused it with the tension of native ethical conflict through the dramatic episode of "returning bones to the father."(Fu Fangyan, 2014: 20)
+The transformation of Nezha's image from a Buddhist guardian deity to a Daoist child god reflects a classic trajectory of cross-cultural integration. As Fu Fangyan points out, Nezha's story reached its peak in Investiture of the Gods:"The novel established the definitive image of Nezha for later generations, fully sinicizing, localizing, and Daoizing the character." This transformation not only secularized his religious persona but also infused it with the tension of native ethical conflict through the dramatic episode of "returning bones to the father."(Fu Fangyan 2014，20)
 ===The Secularized Narrative in Investiture of Gods===
@@ Line 165: / Line 165: @@
 According to Volume 1, Collection 3 of Collected Works from Luancheng by Su Zhe of the Northern Song dynasty, a poem on Nezha reads: "The Northern Heavenly King had a mad son, who knew only to worship the Buddha but not his father. Knowing his ignorance was hard to correct, the Buddha instructed the father to lift his left hand beside the pagoda. When the son approached the Buddha, he instinctively bowed his head—slightly resembling a bow to the father. The Buddha, like a rare sage, brings enlightenment to those who encounter him. Why do you, alone, remain unchanged? Karma is fixed, unshakable. Since the Buddha's passing, ten thousand generations have come and gone; only the sound of towlines echoes across the rivers and lakes."
-Based on this, Guo Junye analyzes: "Not bowing to his father reflects the strained relationship between the Heavenly King and his son... the Buddha intervenes to mediate the father-son conflict... Nezha bows to his father through the act of bowing to the Buddha, effectively taking the Buddha as father" (Guo Junye, 2008: 34), thus revealing Buddhism's reconciliatory function in resolving familial tension.
+Based on this, Guo Junye analyzes: "Not bowing to his father reflects the strained relationship between the Heavenly King and his son... the Buddha intervenes to mediate the father-son conflict... Nezha bows to his father through the act of bowing to the Buddha, effectively taking the Buddha as father" (Guo Junye 2008，34), thus revealing Buddhism's reconciliatory function in resolving familial tension.
 The pagoda, as a symbol of both suppression and reconciliation, not only subverts traditional filial piety but also embodies the individual's struggle between divine authority and paternal power.
@@ Line 187: / Line 187: @@
 ===Modern Reconstruction of Cultural Symbols===
-Before and after the Reform and Opening-up, "the early representatives of Chinese modernism absorbed significant Western twentieth-century philosophical frameworks, and reconstructed them based on their own experiences and social and artistic expectations—expectations determined by an internal worldview combining Chinese tradition, communist identity, and modernization processes." (Franziska Bruckner et al., 2019: 73)
+Before and after the Reform and Opening-up, "the early representatives of Chinese modernism absorbed significant Western twentieth-century philosophical frameworks, and reconstructed them based on their own experiences and social and artistic expectations—expectations determined by an internal worldview combining Chinese tradition, communist identity, and modernization processes." (Franziska Bruckner et al. 2019，73)
-The 1979 animation Nezha Conquers the Dragon King is one representative work from this period. Its tragic ending of self-slitting to prove resolve metaphorically depicts the rupture from the "old order to the new world," extending the target of rebellion from family ethics to class oppression. This animation, which took over twenty years to complete, "was not only the first large-scale feature animation since the end of the Cultural Revolution and the start of a new era in Chinese society but also inherited and creatively developed the character shaping and narrative style of The Monkey King, infused with new socialist values, becoming a classic of Chinese animation." (Chu Yanan, 2018: 86)
+The 1979 animation Nezha Conquers the Dragon King is one representative work from this period. Its tragic ending of self-slitting to prove resolve metaphorically depicts the rupture from the "old order to the new world," extending the target of rebellion from family ethics to class oppression. This animation, which took over twenty years to complete, "was not only the first large-scale feature animation since the end of the Cultural Revolution and the start of a new era in Chinese society but also inherited and creatively developed the character shaping and narrative style of The Monkey King, infused with new socialist values, becoming a classic of Chinese animation." (Chu Yanan 2018，86)
 [[File:Nezha2.jpg|200px|center|link=]]
@@ Line 207: / Line 207: @@
 [[File:Nezha4.jpg|200px|center|link=]]
-Zheng Weili notes that Nezha: Birth of the Demon Child, which employs narrative strategies of "mirrored structure and rebirth through fire," is "not merely a representation of Chinese mythology, but also interweaves elements of Japanese anime's coming-of-age narratives and Hollywood-style family entertainment." "From self-mutilation to death in defiance of fate, from individual resistance to mirrored narrative structure, from rebirth in a lotus to transformation through fire—Nezha, as the object of narrative attention, completes a journey of self-growth and reconciliation under the gaze of others... This entirely dissolves the core narrative and ideological thrust of the traditional Nezha, turning a revolutionary allegory of rebellion against authority into a coming-of-age parable about resisting prejudice and fatalism." (Zheng Weili, 2022: 46) Such adaptation retains the mythological prototype while injecting the collective sentiment of contemporary youth in their struggle against prejudice.
+Zheng Weili notes that Nezha: Birth of the Demon Child, which employs narrative strategies of "mirrored structure and rebirth through fire," is "not merely a representation of Chinese mythology, but also interweaves elements of Japanese anime's coming-of-age narratives and Hollywood-style family entertainment." "From self-mutilation to death in defiance of fate, from individual resistance to mirrored narrative structure, from rebirth in a lotus to transformation through fire—Nezha, as the object of narrative attention, completes a journey of self-growth and reconciliation under the gaze of others... This entirely dissolves the core narrative and ideological thrust of the traditional Nezha, turning a revolutionary allegory of rebellion against authority into a coming-of-age parable about resisting prejudice and fatalism." (Zheng Weili 2022，46) Such adaptation retains the mythological prototype while injecting the collective sentiment of contemporary youth in their struggle against prejudice.
 ===Cultural Extension in a Globalized Context===
@@ Line 215: / Line 215: @@
 This adaptation strategy resonates with the identity politics of the globalized era, allowing the Eastern narrative of "defying destiny" to find common ground with the Western tradition of individual resistance against discipline and control. By merging visual spectacle with universal themes, the film advances the Nezha IP from a regional myth to a global cultural symbol.
-This offers inspiration to today's cultural practitioners: "On the foundation of firm cultural confidence, we must further strengthen our cultural competence and capacity. By using multimodal narrative techniques, we can effectively tell China's stories—especially the stories of its outstanding traditional culture—so as to fully realize their value, actively participate in the reshaping of the global cultural landscape, and continuously move toward a more diverse and global center stage." (Zhang Xinxin, Huang Xiaoyu, Sun Yanbin, 2025: 12)
+This offers inspiration to today's cultural practitioners: "On the foundation of firm cultural confidence, we must further strengthen our cultural competence and capacity. By using multimodal narrative techniques, we can effectively tell China's stories—especially the stories of its outstanding traditional culture—so as to fully realize their value, actively participate in the reshaping of the global cultural landscape, and continuously move toward a more diverse and global center stage." (Zhang Xinxin, Huang Xiaoyu, Sun Yanbin 2025，12)
 ==Terms and Expressions==

@@ Line 308: / Line 308: @@
 =====Literature Analysis and Citation Selection=====
-Once the structure and content direction for each subpoint were confirmed, I was able to determine the necessary search keywords and the general scope of literature suitable for citation. I conducted searches using CNKI and Google Scholar, and selected sources based on keywords and abstracts that would effectively support the argumentation.
+Once the structure and content direction for each subpoint were confirmed, I was able to determine the necessary search keywords and the general scope of literature suitable for citation. I conducted searches using CNKI and Google Scholar, and selected sources based on keywords and abstracts that would effectively support the argumentation. Then, I read through the relevant literature and broadly selected a sufficient number of citations with strong usability.
 =====Text Composition and Refinement=====

@@ Line 163: / Line 163: @@
 ===The Patricidal Act and Its Profound Philosophical Paradox===
-According to Volume 1, Collection 3 of Collected Works from Luancheng by Su Zhe of the Northern Song dynasty, a poem on Nezha reads: "The Northern Heavenly King had a mad son, who knew only to worship the Buddha but not his father. Knowing his ignorance was hard to correct, the Buddha instructed the father to lift his left hand beside the pagoda. When the son approached the Buddha, he instinctively bowed his head—slightly resembling a bow to the father. The Buddha, like a rare sage, brings enlightenment to those who encounter him. Why do you, alone, remain unchanged? Karma is fixed, unshakable. Since the Buddha’s passing, ten thousand generations have come and gone; only the sound of towlines echoes across the rivers and lakes."
+According to Volume 1, Collection 3 of Collected Works from Luancheng by Su Zhe of the Northern Song dynasty, a poem on Nezha reads: "The Northern Heavenly King had a mad son, who knew only to worship the Buddha but not his father. Knowing his ignorance was hard to correct, the Buddha instructed the father to lift his left hand beside the pagoda. When the son approached the Buddha, he instinctively bowed his head—slightly resembling a bow to the father. The Buddha, like a rare sage, brings enlightenment to those who encounter him. Why do you, alone, remain unchanged? Karma is fixed, unshakable. Since the Buddha's passing, ten thousand generations have come and gone; only the sound of towlines echoes across the rivers and lakes."
 Based on this, Guo Junye analyzes: "Not bowing to his father reflects the strained relationship between the Heavenly King and his son... the Buddha intervenes to mediate the father-son conflict... Nezha bows to his father through the act of bowing to the Buddha, effectively taking the Buddha as father" (Guo Junye, 2008: 34), thus revealing Buddhism's reconciliatory function in resolving familial tension.
 The pagoda, as a symbol of both suppression and reconciliation, not only subverts traditional filial piety but also embodies the individual's struggle between divine authority and paternal power.
-−
 ===The Dual Metaphor of the Lotus Reincarnation===

@@ Line 358: / Line 358: @@
 Ds output:
- (Terminology table provided)
+(Terminology table provided)
 Then I translated the Chinese manuscript into English, using the AI-generated terminology table for consistency.
@@ Line 364: / Line 364: @@
 Prompt:
- [Attachment: Chinese Original and English Translation]
+[Attachment: Chinese Original and English Translation]
 Main task: Conduct a translation quality assessment based on the Chinese original.

@@ Line 334: / Line 334: @@
 Ds output:
- (Draft generated)
+(Draft generated)
 After receiving the draft, I reviewed it and added further prompts such as avoiding repeated citations and excluding unverifiable sources. I then revised the draft accordingly to ensure its acceptability.
@@ Line 346: / Line 346: @@
 Ds output:
- (Reviewed draft generated)
+(Reviewed draft generated)
 The draft was further refined manually.

@@ Line 145: / Line 145: @@
 Nezha is the most rebellious young deity in ancient Chinese mythology. His image incorporates elements from Daoism, Buddhism, and folk beliefs, portraying him as both a guardian deity and a symbol of defying fate. His story can be traced back to the Yuan dynasty’s Compendium of the Three Teachings on the Origins of Deities and was later solidified in the Ming dynasty novel Investiture of the Gods, where he became a widely known dragon-slaying hero. Over time, Nezha's image has evolved from a religious symbol into a cultural archetype. In contemporary film and literature, he has been endowed with new philosophical connotations, serving as a medium through which traditional and modern values collide.
-[[File:Nezha1.jpg|200px|center|link=]]
+[[File:Nezha1.jpg|300px|center|link=]]
 ==Core Versions of the Myth==

@@ Line 7: / Line 7: @@
 哪吒（Nezha）是中国古代神话中最具反叛精神的少年神祗，其形象融合了道教、佛教与民间信仰，即是护法神将，也是“逆天改命”的象征。其故事最早可追溯至元代《三教源流搜神大全》，后在明代小说《封神演义》中定型，成为家喻户晓的弑龙英雄。随着时代演变，哪吒的形象从宗教符号逐渐演变为文化母题，在当代影视与文学中被赋予新的哲学内涵，成为传统与现代价值碰撞的载体。
-[[File:Nezha1.jpg|200px|center|link=]]
+[[File:Nezha1.jpg|300px|center|link=]]
 ==神话故事的核心版本==