主体呈现与醒世觉述:清末民初报刊漫画的视觉现代性  

Subject Presentation and Awakening the National:the Visual Modernity of Chinese Newspaper Comics during Late Qing Dynasty and Early Republic of China

作　　者：李培[1] Li Pei

机构地区：[1]暨南大学新闻与传播学院

出　　处：《新闻与传播研究》2020年第6期110-125,128,共17页Journalism & Communication

摘　　要：从《时局全图》开始,清末报刊漫画运用地图、千里镜的符码,建构读者对自我国家现状的认知,通过“瓜分”“病夫”的视觉隐喻,塑造民众的民族国家观念以及对民族危机的想象。民初报刊漫画家形成了创作的“真相观”,用漫画作为照见社会现实的“灯和镜”,在一种“去蔽”的视觉机制下,呈现反照凋敝政局和落后国民性的“镜中像”,启发国民主体意识的觉醒。在中国从封建国家向现代民族国家迈进的过程中,清末民初报刊漫画以视觉修辞启蒙话语建构读者特别是底层民众的近代民族国家观念和国民主体意识,实现了图像的“高调启蒙”,构成了中国视觉现代性的独特轨迹。Since the publication of Shiju Quantu(Panorama of the Current Political Situation),the imagination of the westerners created by newspaper comics during late Qing Dynasty and early Republic of China shaped the public perception of a national crisis and raised their national awareness.Newspaper cartoonists have formed a concept about the truth during creation.Comics have become a mirror that reflects social re ality,awakening the people's subjective consciousness.By shaping the public's imagination of the West and their own people's cognition,they constructed a common visual consciousness of the readers,especially the people at the bottom of the society,for the modern nation-state and modern national subject.In the historical process of China's progress from a feudal country to a modern nation-state,newspaper comics in late Qing Dynasty and early Republic of China formed a set of high-profile enlightenment discourses that promoted the transformation of the country and the national subject in a visual way.

关 键 词：报刊漫画 想象的共同体 主体性 视觉现代性 

分 类 号：G219.29[文化科学—新闻学]