Abstract

The narrative influence on martial arts master—Huang Feihong,which become one of the three modern martial Arts cultural narrative systems besides neo-swordplay novel and film system,Huo Yuanjia's novel and film system in China,has already been transformed into a symbolic cultural token of Folk Heroes from a pure historical figure among Chinese Folk and overseas Chinese groups,and has been widely spread over 100 years.However,the cultural ecology on receptive groups of"Huang Feihong's phenomenon"has always been ignored in the academic field.This dissertation is divided into three parts to explore Huang Feihong's narrative series.

The first part focuses on the cultural imagination course in the folk groups of China Mainland,Hong Kong and World by tracing the historical legends,novels,Cantonese operas,broadcasting stories,film,TV series and network comments.

The second part explores the depth model of Huang Feihong's narrative motifs,which is approached from such three aspects as six narrative completed motifs,folklore poetics images and the wandering trait in contemporary narrative folklores in China Mainland,Hong Kong and World.The narrative completed motifs cover the following six types according to their appearance more or less in narrative text:①Martial arts contest for wedding:hero+talented lady;②An open competition for winner:against violence+foreigners;③Convincing skill:punish evil+doers and encourage people to do good+develop school;④Chinese and foreigner's puzzle:national consciousness and modern anxiety;⑤Martial arts school:save the world+prevent the conflicts;⑥Conflicts between officers and common people:martial merit+good and evil.Based on these completed motifs,this dissertation analyses the series of folk images as the martial arts house and community groups,Bao Zhilin's image as Chinese medical store,common people's living,lion dance,dragon dance and struggling for fireworks and professional groups.All these analyses help illustrate Huang Feihong's narrative series context and group living conditions—clan living together,countryside folklore recognition,pragmatism.

The third part exhibits its cultural imagination embedded in Chinese Folklore psychology and emotion—expand Kungfu,inherit tradition,founder (of a school of learning) worship,spiritual willing,cultural pride.Then the dissertation probes the recognition generalization in hero culture's repeated recognition process,variety and complexity of folklore transformation.The dynamic factors as the wandering and transformative traits ignored by folklore community groups,professional schools are beginning with the historical classical resources combining folklore with popular culture,the writer adopts such policy as "pragmatics+poetics" poststudy tactics,and proposes a typical case of "Film and TV Folklore Poetics" with Chinese characteristics,and provides a new perspective and field,thus ensuring a variety of literature and art theories and forms,revealed in this part—cultural memory and cultural invention in many ways.Meanwhile we can establish a good role of the expansion of cultural industry brand with Chinese characteristics and international competitiveness.

Key words:Huang Feihong;Narrative Completed Motifs;Culture Repeated Recognition;Film and TV Folklore Poetics;Cultural Industry Brand