文学与图像的会通共振及其文化意义——以敌后抗日根据地文学图像传播为中心  

The General Resonance of Literature and Image and Its Cultural Significance——Centered on the Dissemination of Literature and Images in the Anti-Japanese Base Area behind the Enemy’s Line

作　　者：王雅坤 于广杰[2] WANG Ya-kun;YU Guang-jie(Journal of Hebei University, Baoding 071002, China;School of Liberal Art, Hebei University, Baoding 071002, China)

机构地区：[1]河北大学期刊社,河北保定071002 [2]河北大学文学院,河北保定071002

出　　处：《河北学刊》2018年第3期203-207,共5页Hebei Academic Journal

基　　金：2016年度河北省社会科学基金项目《莲池学派文艺思想研究》(HB16WX009);2017年度河北省社会科学基金项目《诗画交融视域下“诗意画”整理与研究》(HB17ZW013)

摘　　要：1940年代至1980年代以来,敌后抗日根据地许多革命文学作品被改编成连环画,成为此类文学图像传播的重要形式。连环画吸纳了革命文学的内容和形式,并将其故事和人物加以形象化,这对于文学作品的广泛传播具有十分重要的意义。作为具有独立文学价值的艺术形式,叙事和抒情的连环图像,重塑了文学文本的艺术形态和价值生成方式。可以说,从文学成像的理据探索起始,通过图像再现文学文本,是图像时代最为活跃且重要的文艺创新领域。since the 1980s from the 1940s,many revolutionary literary works have been adapted into comic books about the Anti-Japanese base area behind the enemy＇s line. Comics are of great significance for the wide spread of literary works. As an artistic form of independent literary value,narrative and lyrical images reconstructed the artistic form and the way of value generation of literary texts. Starting from the rationale of literary imaging,we start with image reproduction. It is the most active and important field of literature and art innovation in the era of image.

关 键 词：敌后抗日根据地 连环画 图像传播 

分 类 号：I206.6[文学—中国文学]