台灣信仰文化漫畫—《冥戰錄》之圖像研究
| dc.contributor | 蔣旭政 | zh_TW |
| dc.contributor.author | 顏茹稜 | zh_TW |
| dc.contributor.author | Yan, Ru-Leng | en_US |
| dc.date.accessioned | 2020-12-14T07:06:08Z | |
| dc.date.available | 2019-08-26 | |
| dc.date.available | 2020-12-14T07:06:08Z | |
| dc.date.issued | 2019 | |
| dc.description.abstract | 漫畫作為一種說故事的媒介，可以用來諷刺時政、反映民情，創作者透過圖文兼備的漫畫，表達出自己對社會的想法和理念，讀者透過閱讀，與現實連結引起共鳴。許多學者認為，要讓台灣漫畫在市場間具有競爭力，就「必須要創造出屬於台灣本土的漫畫」，但「本土」不是堅持在特立獨行的畫風技法上，而是在漫畫內容本身要進行「本土化」，利用本土題材喚起在地讀者的認同。 而宗教信仰是台灣根深蒂固的傳統文化，也是最為人熟悉的社會生活，其中，媽祖又是臺灣民間信仰中，最具代表性，最受關注的神祇，媽祖甚至又被稱為「天上聖母」，是台灣民間的重要信仰，媽祖的「慈母意象」，具有母親的特質、慈母的形象，會將對母親的依賴感投射到媽祖信仰上，普受愛戴。 不過韋宗成著作的《冥戰錄》卻翻轉了文化禁忌，將台灣傳統信仰重新包裝，將神明形象進行改編，但卻受到外界抨擊，認為把媽祖汙名化，是對傳統信仰文化的不尊重，不過這樣的指教，卻還是澆熄不了讀者對《冥戰錄》的喜愛與支持。 本研究選擇以《冥戰錄》作為研究讀本，主要探討傳統民間信仰漫畫在台灣的文化脈絡與發展，並分析漫畫中的視覺圖像，以及讀者對於台灣民間信仰漫畫之認同，透過《冥戰錄》傳遞之信仰觀念，如何解讀，又對讀者社會生活產生何種意義與心態轉變，並藉由讀者訪談，思考台灣本土創作的珍貴，讀者對於信仰漫畫的期許，以及其對宗教信仰觀的影響，最後給予以台灣信仰文化為題材的漫畫作品之發展與建議。 本研究將研究發現分為「認知」、「情感」、「行為」三個層面剖析。認知層面上，創作者為了突出特定描述對象的特徵，會以神祇本身在民間信仰中的形象及大眾觀感作為改編基礎，後續再選擇重要部分加以誇張或是變形，但也不至於模糊到讓讀者難以分辨。這樣的神祇塑造，不僅使讀者更能產生共鳴、認同，也使宗教信仰文化以親切、有趣的角度來貼近我們的生活。 透過年輕漫畫的結合與闡述，讓神明不再只是人們崇拜的對象，還成了人們心目中的時代英雄與靈感來源，讓更多年輕人能從少年漫畫的元素中，學習到台灣傳統信仰的偉大與悠久。 神明信仰在不同的社會文化中，會各自發展出不同的樣貌，不同的詮釋方式，信仰就會有所改變，但只要人們仍舊對神明充滿敬仰，沒有褻瀆之心，透過漫畫創作，再加入現代社會文化的表徵，如場景、飲食、流行用語、社會議題等，不僅能喚起讀者共鳴，引發認同感，還能讓讀者重新去認識這些已經逐漸被現代人所遺忘的傳統或信仰，使民間信仰向下扎根，也透過流行的傳播媒介進行翻轉創新，玩出新花樣。讓漫畫的娛樂性帶有傳遞意義的功能，透過漫畫文本，塑造作者與讀者間的互動關係，也建立起漫畫與社會文化間的認同與連結。 | zh_TW |
| dc.description.abstract | As a media of telling stories, comics can be used to satirize political affairs and reflect the feelings of the people. The creators express their own opinions and ideas of society through the comics by pictures and texts. The readers can link with reality through reading. Many Scholars believe that to let Taiwanese comics competitive among the markets, we must to create Taiwan’s native comic books. “Native”, however, it doesn’t mean unique painting style. Instead, the content need to be “localization” and to raise reader’s identity. Second, religious belief is deeply ingrained of traditional culture in Taiwan and the most familiar social life. Mazu is the most representative and most highlighted god in Taiwan's folk beliefs. Mazu, as the most important belief in Taiwan’s folk, is even called “Tianshang Shengmu (Holy Mother Empress of the Heaven)”. Because of the feature of mother and the image of loving mother, Mazu is the belief that people will project their feeling of dependency from Mother. Nevertheless, the book, "the apocalypse of darkness warfare", has against cultural taboos: repackaging Taiwan’s traditional beliefs and adapting the image of gods. It was attacked by people who think Mazu was stigmatized and did not respect the traditional belief culture. However, it still can’t stop the love and support from readers. On the premise of Taiwan comics, chose "the apocalypse of darkness warfare" to be subjects as its network population. From reader’s point of view, cultural identity has been classified “cognition”, “emotion” and “behavior” by analysis of depth interview and cultural studies. Study found out that to highlight the characteristic of the people whom is described, creators will adapt the content based on the image of gods and public perception. Then exaggerate some important point, but still easy to distinguish. By this way, reader can have more identification and religious belief can be close to our life with warm and interesting way. The cultural perception of belief comics brought is general identified thinking. As for “sacredness”, respondent won’t feel identification crisis and won’t falter resection of gods even though the external image has been changed. Instead, they agree to lean the great and long-tern history of Taiwan’s traditional belief by the element of comic: besides to be the object people respected, also being the hero of the era and inspiration in mind through the combination and explanation with traditional belief culture and comic. There are different looking of god’s belief in different social culture; different interpretation changes the belief. As long as people respect god, via comic with the element of modern social culture, such as scene, food and beverage, fashionable wording, social issues and so on, readers can be resonated with and remember the tradition and belief that have been forgot; meanwhile, folk belief can be deeply built. Furthermore, new image can be appeared by innovation through social media. Let the entertainment of comic be with function to deliver the information; build the interaction between writers and readers, establish the identification and link between comic and social culture through the text. | en_US |
| dc.description.sponsorship | 大眾傳播研究所 | zh_TW |
| dc.identifier | G060237009F | |
| dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060237009F%22.& | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/109824 | |
| dc.language | 中文 | |
| dc.subject | 冥戰錄 | zh_TW |
| dc.subject | 漫畫 | zh_TW |
| dc.subject | 讀者 | zh_TW |
| dc.subject | 宗教信仰 | zh_TW |
| dc.subject | Apocalypse of Darkness Warfare | en_US |
| dc.subject | Comic books | en_US |
| dc.subject | Reader | en_US |
| dc.subject | Religious belief | en_US |
| dc.title | 台灣信仰文化漫畫—《冥戰錄》之圖像研究 | zh_TW |
| dc.title | Comic of Taiwan religion culture- A Study of “Apocalypse of Darkness Warfare” | en_US |
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