M. Abate
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引用次数: 0

摘要

本章探讨了在《提防戴克斯》中的莫·泰斯塔和查尔斯·舒尔茨的《花生》中的莱纳斯·范佩尔之间的许多迄今为止被忽视的身体、个人和心理领域的重叠。从她的不安全感和理智主义,到她的哲学本性,以及她作为团队反思评论员的角色,莫言的许多标志性特征和标志性品质都是她与李纳斯共有的。事实上,就连莫言对条纹服装的喜好也可以被视为是在借鉴李纳斯的服装风格,李纳斯总是穿着一件与他非常相似的横条纹t恤。虽然贝克德尔从未认为舒尔茨是她作品的灵感来源,也从未认为《花生》剧组是她DTWOF剧组的原型,但莫和莱纳斯之间的暗示性呼应似乎太多了,不可能仅仅是巧合。探索莫和莱纳斯之间的相似之处,揭示了贝克德尔的作品与美国漫画史上最著名的连环漫画之一之间令人信服的亲缘关系,同时也揭示了DTWOF与其社会文化环境的关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
MO VAN PELT
This chapter explores the numerous and heretofore overlooked physical, personal, and psychological areas of overlap between Mo Testa in Dykes to Watch Out For and Linus van Pelt in Charles Schulz’s Peanuts. Many of Mo’s signature traits and hallmark qualities are ones she shares with Linus: from her insecurity and intellectualism to her philosophical nature and her role as reflective commentator for the group. Indeed, even Mo’s penchant for striped clothing can be seen as taking a sartorial cue from Linus, who is always clad in a t-shirt with strikingly similar horizontal stripes. While Bechdel never identified Schulz as an inspiration for her work nor the Peanuts gang as a model for her DTWOF crew, the suggestive echoes between Mo and Linus seem too numerous to be merely coincidental. Exploring the similarities between Mo and Linus reveals a compelling kinship between Bechdel’s work and one of the most well-known strips in the history of American comics, while it also sheds new light on the relationship that DTWOF has to its socio-cultural milieu.
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