چکیده:
الگوی سفرقهرمان ووگلر، الگویی شناخته شددرفیلمنامه نویسی هالیودی است.باتوجه به همزمانی همکاری ووگلردرپروژه های دیزنی باشکل گیری آنچه رنسانس دیزنی خوانده میشودو پیروی انیمیشنهای متاخردیزنی از این ساختار،این مقاله قصد داردپس ازبررسی ساختارسفرقهرمان زن دردوانیمیشن محبوب دورۀ رنسانس دیزنی - پری دریایی(1989)،دیو و دلبر(1991)و دو انیمیشن محبوب میازاکی - همسایۀ من توتورو(1988) ، شهر اشباح(2001) ، بررسی کندکه سفر قهرمانان زن میازاکی چه تفاوتی با قهرمانان زن دیزنی دارد و چه وجوه تفارقی میان این دو دسته انیمیشن است که روایت میازاکی را از دیزنی متمایز کرده و باعث میشودتجربۀ این انیمیشنهابرای مخاطب متفاوت باشد.این پژوهش توصیفی تحلیلی بوده و مشخص میکند با وجود تطابق روایت میازاکی با الگوی سفر قهرمان،پدرسالارانه نبودن جهان میازاکی، وجود شخصیت های مکمل زنی که درسفر قهرمان زن اثر گذارند،نبود آنتاگونیست سنتی که در تمام داستان نقاب سایه را به چهره می زند،فعال بودن قهرمان زن در تمام طول سفر،تحول بیشتر آنها و متنوع بودن اکسیر قهرمان از عواملی هستندکه سفر قهرمانان زن میازاکی را از دیزنی متمایز می کند.همچنین استفاده از نقاط اوج آرام در برابر نقاط اوج فیزیکی دیزنی که درآنها سایه نابود می شود، تجربۀ متفاوتی را برای مخاطب رقم می زند و شخصیت،روایت و جهان میازاکی را از دیزنی متمایزمی کند.
Christopher Vogler’s hero’s journey, inspired by and adapted from Joseph Campbell’s renowned “Monomyth” is a well-known template and reference for Hollywood screenwriters and producers. Considering the coincidence of Vogler's collaboration in Disney projects with the formation of what is called the Disney Renaissance and the prominence of this template in recent Disney animations, this article intends to examine the structure of the heroine's journey in two of the most popular Disney Renaissance animations - The little Mermaid (1989), The beauty and the beast (1991) . . ( - and heroine’s journey in Hayao Miyazaki's two popular animations - My Neighbor Totoro(1988), The Spirited away (2001) . . . . ( in order to find answers to these questions that how does Vogler’s hero’s journey apply to these different animations and What is the difference between the journey of Hayao Miyazaki's heroines and Disney's Princesses, what are the differences between these animations that differentiate Miyazaki's narrative from Disney’s and make the experience of these animations different for their respective audience? This research is a descriptive-analytical research and after defining each heroine’s journey shows that despite the adaptation of Vogler’s Hero’s journey structure in Hayao Miyazaki's narrative, the non-patriarchal nature of the Miyazaki world in contrast to Disney’ patriarchal world where men are the position of power and judge female characters by patriarchal virtues such as obedience and beauty and don’t approve of heroine’s independent and adventurous nature, the existence of complementary female characters in Miyazaki’s works that are powerful, independent and kind, and influence the heroine's journey in a positive way while in Disney’s animations the absence of such characters is prominent and the heroine is surrounded by male characters, the lack of a traditional antagonists in Miyazaki’s stories where every character can put on the shadow’s mask and take it off at any turn of the story, all three Disney animations have an antagonist whom wears the shadow’s mask throughout the story and dies at the end of it, The fact that Miyazaki’s female protagonist is active throughout their journey while Belle and Ariel can be considered passive during the end battle, Miyazaki’s characters greater evolution and growth in comparison the Disney’s characters who undergo minor changes, Miyazaki’s complex world in which character’s desire and journey is not as obvious and simple as Disney Heroine’s desire -which they sing it out loud at the beginning of the story, the diversity of the Miyazaki’s heroines elixirs in contrast to Disney’s elixir of romantic love, a love that would surely result in marriage, are some of the factors that distinguish the journey of Miyazaki's female protagonists from Disney’s heroines. The use of quiet climaxes in Miyazaki’s animations as opposed to Disney's action climaxes in which there is a spectacular scene with a physical fight resulting to shadow’s demise creates a different experience for the audience and distinguishes Hayao Miyazaki's character, narrative and world from Disney’s black and white world with fairytale qualities.