| 摘要: | 當代資訊科技的演進，改變了人類社會對於敘事載體的選擇及使用。在此之前，由於繪畫行為過於耗費時間與技術成本，長久以來，基礎於符號邏輯的文字，始終扮演著主流載體的角色。然而，隨著個人電腦問世、網際網路開通，以icon及其操作邏輯為起點，當代社會的資訊認知及應用，逐漸開拓了另一塊根基於圖像思維的疆域，形成了一種跨越載體差異，兼容了圖像、文字、線條及符號的新表述模式。就表現與接受而言，這類利用圖像基礎，將文字、線條、符號都予以整合的敘事方式，事實上，又與存在已久的漫畫系統，有著高程度的重疊。換言之，如果圖像載體的選用與跨用，將越發獲得人類溝通及表述行為的仰賴，那麼，針對漫畫作品與漫畫敘事所進行的文學研究，便不僅足以協助釐清圖像載體的特性及用法，對於跳脫了傳統文字形式，卻依舊延續也承載著文學精神的新創作形態，自然，也就更能有所前瞻，闢出一徑先行而超越的理路。
鑑此，本文以載體工具之於文學定義的連動關係為起點，探究中文學術進行圖像及漫畫研究的理據及必要。並依循當代資訊發展的數位化與圖像化進程，逐步梳理圖像載體及漫畫敘事的類型、構成和運作，嘗試藉由文學視野的漫畫研究軸線，歸納漫畫文學及其表現手法的審美脈絡，深入我國漫畫文學及其平台、世代的興衰遞嬗，捕捉臺灣漫畫文學的體系及血統，呈現其創作質性的輪廓與蛻變。
The evolution of science and technology, changing the expression of human society. With the advent of personal computers and internet, information expression of contemporary people, more and more dependent on the image, and contains a variety of possible carrier. On the other hand, the narrative form which including images, text, lines and symbols, has exist for a long time, they was called comic.
That is to say, if the integration of a variety of carrier by image will become the mainstream way of expression, make comics as a object of the literary research, will help to understand the characteristics of image carrier, and also help to study the usage of narrative image. In view of this, in order to establish the basis and necessity of comic research of department of Chinese literary, this article will investigate the question of the relationship of literary and carrier.
Not only that, it will also probe the method and logic of comic to understand the aesthetic of comic. In accordance with the existing understanding, this article will try to analyze the question of the lineage of Taiwan''s comic literary, and attempt to express the evolution and conversion of it. |
