「後記憶」—從自傳性圖像小說《鼠族》論二戰猶太民族苦難歷史的再現

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题名:	「後記憶」—從自傳性圖像小說《鼠族》論二戰猶太民族苦難歷史的再現 Post-Memory: Examining the Representations of the Suffering Endured by the Jews during World War II Portrayed in Maus
作者:	鄭慕尼
贡献者:	推廣教育部廣告學系
日期:	2016
上传时间:	2020-01-08 22:18:37 (UTC+8)
摘要:	阿特．斯皮格曼（Art Spiegelman）創作的兩冊《鼠族》為首部榮獲普利茲獎的圖像小說，奠定了圖像小說作為漫畫新分支的重要里程碑。本計劃將以史考特．麥克勞（Scott McCLOUD）在《重構漫畫》（Reinventing Comics）的論述為基礎，探討《鼠族》在二戰歷史上如何處理多層涵義與潛在意義（subtext）的能力，以及使用漫畫媒材獨特的表現手法。在想法/目的上，以法國哲學家呂格爾（Paul Ricoeur）提出的「惡的實在性」出發，以呂格爾「三層再現論」，包括再現一（Mimesis 1）—結構、象徵資源與時間性，再現二（Mimesis 2）— 語言和時間的「佈局」（employment），再現三（Mimesis 3）—讀者關係，探討讀者如何從故事中再建構世界。透過「前構—形構—再構」三個環結的探討，分析當代漫畫如何開創新的範式。 The two volumes of Maus composed by Art Spiegelman were the first graphic novels to be awarded the Pulitzer Prize. These volumes introduced a new genre of graphic novel models in the form of comics. The present study examines how the hierarchical history content and subtexts of Maus based on the arguments proposed in Reinventing Comics by Scott McCloud? And how to use the unique presentation methods of comics? In terms of the views/objectives, the present study employed the concepts of “Reality of Evil” and “Triple Mimesis” proposed by the French philosopher Paul Ricoeur. The latter comprises “Mimesis 1” (comprehensible structure, symbolic resources, and temporality), “Mimesis 2” (a structure formed by the employment of language and time), and “Mimesis 3” (a world created by the reader within the story using his/her association with the text). The Mimesis process, which forms a triple connection of “prestructuring–structuring–restructuring,” is adopted in the present study to elucidate how a new model was created in contemporary comics.
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