演讲与诉说:解放区木刻版画的声音叙事  

Speech and Telling:The Voice Narration of Woodcut Prints in the Liberated Areas

作　　者：刘坛茹 Liu Tanru

机构地区：[1]安徽师范大学美育研究中心

出　　处：《媒介批评》2023年第2期362-386,共25页Media Criticism

基　　金：教育部人文社会科学研究青年项目“解放区木刻版画的声音叙事研究(1937—1949)”(项目批准号:19YJC760063)的阶段性成果。

摘　　要：在二十世纪三四十年代的解放区,演讲是党和边区政府进行革命宣传和政治动员的重要媒介,也作为一种经典图式在新兴木刻版画中得到充分彰显。解放区的木刻版画聚焦于声音层面的政治效应,通过演讲和诉说图式,让革命群众从被动的听到主动的诉说,推动抗战动员和政治建设进入新阶段。演讲图式推崇演讲者个人魅力,构成了所谓“卡里斯马”人格情结。诉说图式强调声音感知权力的重新分配,让曾经被剥夺了声音权力的乡村民众也具有了话语权。作为空间媒介的木刻版画,运用了多重修辞方式去表征作为时间媒介的无形声音,从而为建构真正意义上的总体艺术叙事学提供了范例。In the liberated areas of the 1930s and 1940s,speeches were an important medium for the Party and border area governments to carry out revolutionary propaganda and political mobilization,and were also fully demonstrated as a classic pattern in the emerging woodcut prints.The woodcut prints in the liberated areas focus on the political effects at the sound level,allowing revolutionary masses to passively hear active complaints through speeches and narrative schemes,and promoting the mobilization of the Anti Japanese War and political construction to enter a new stage.The speech schema praises the speaker s personal charm,forming the so-called“Calisma”personality complex.The narrative schema emphasizes the redistribution of sound perception power,giving rural people who have been deprived of their voice rights the right to speak.As a spatial medium,woodcut prints use multiple rhetorical devices to represent the intangible sound as a temporal medium,providing an example for constructing a truly holistic artistic narrative.

关 键 词：解放区 木刻版画 演讲 诉说 出位之思 

分 类 号：J217[艺术—美术]