摘要
在将"漫画"概念引入近代中国时,被推为中国"漫画之父"的丰子恺充分调动自己的主体性,赋予了其新的意义,也获得了更多的创作可能。然而,在日益狭隘的接受语境中,"漫画"不断向西方的"标准定义"靠拢,失去了最初的弹性。丰子恺的漫画"观念渐渐由"正宗"变成"异类",他的漫画创作也受到了压抑。从跨文化研究的角度详细追踪这一历史过程,或有助于进一步反思所谓翻译"对等"观念,揭示文化跨界传播时可能存在的创造与遮蔽。
Feng Zikai took full advantage of his subjectivity when he introduced the concept of Manhua to Modern China.He endowed new significations to this concept,and gained more possibilities of creation as well.However,in a narrowing acceptive context,Manhua gradually moved to the normative definitions of caricature and cartoon in the West,and lost its flexibility.The work of Feng Zikai was oppressed by concept at the end.This article traces the process in detail.Basing on this case,the author also reflects on the so called translation equivalence,and reveals the potential creations and defilades when culture spreads across the boundaries.
出处
《清华大学学报（哲学社会科学版）》
CSSCI
北大核心
2012年第3期115-124,158,共10页
Journal of Tsinghua University(Philosophy and Social Sciences)
