技巧

W. Straw
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引用次数: 0

摘要

本文将探讨漫画与哥特传统之间的一些联系。它将识别文学哥特式的比喻,并讨论如何在漫画叙事学中识别这些比喻。它首先简要地建立了哥特传统与当代英美漫画的相关性,重点关注诸如回收,吸收以及叙事身份和叙事边界的问题化等比喻。本文以《密码》之前的美国恐怖漫画和20世纪70年代英国少女漫画《迷雾》为例,展示了这些叙事策略的存在。本文的第二部分论述了漫画叙事学的许多观点可以用哥特文学理论重新表述。这些包括时间作为空间的描述,视觉和语言视角的移动性,以及漫画读者的积极作用。本文的剩余部分着重于漫画在创造和表达故事世界时对过度视角的依赖。运用Charles Hatfield, Thierry Groensteen, Gerard Genette和Wolfgang Iser的理论,本文确定了漫画中叙述性过剩的四个主要领域:·面板内容之间的支持性或颠覆性关系·过度的风格(颜色、线条、emanata、效果)·过度的视角(具体化或非具体化)·多重或隐藏的叙事层次本文最后将这些过程定义为哥特式过度的例子,因为它们突出了真实性问题,使叙事身份成问题,并质疑叙事边界。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
ARTIFICE
This paper will explore some of the connections between comics and the gothic tradition. It will identify tropes of the literary gothic and discuss the ways in which these can be identified in comics narratology. It begins by briefly establishing the relevance of the gothic tradition to contemporary British and American comics, focusing on tropes such as recycling, absorption, and the problematisation of narrative identity and diegetic borders. It demonstrates the presence of these narratological strategies in examples taken from pre-Code American horror comics and the 1970s British girls’ comic Misty. The second half of this paper then argues that many points of comics narratology can be rearticulated using gothic literary theory. These include the depiction of time as space, the mobility of visual and verbal perspective, and the active role of the comics reader. The remainder of the paper focuses on comics’ reliance on an excess of perspective in the creation and articulation of their storyworlds. Using the theories of Charles Hatfield, Thierry Groensteen, Gerard Genette and Wolfgang Iser, this paper identifies four main areas of narratological excess in comics:  A supportive or subversive relationship between panel contents  An excess of style (color, line, emanata, effects)  An excess of perspective (embodied or disembodied)  Multiple or hidden levels of diegesis The paper concludes by defining these processes as examples of gothic excess, as they foreground the question of authenticity, problematise narrative identity, and interrogate diegetic boundaries.
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