题名

Visual Metaphor as a Weapon:Conflict Imagery in NorthernIreland Political Cartoons (1900-2009)

并列篇名

以視覺隱喻為利器：論北愛爾蘭政治漫畫中之爭鬥圖像（1900－2009）

DOI

10.6793/JNTCA.201110.0010

作者

馬丁˙福克(Dr. Martin Forker)；張妙珍(Dr. Miao-Jen Chang)

关键词

政治漫畫 ； 視覺隱喻 ； 戰爭圖像 ； 利器 ； 二元對立 ； political cartoons ； visual metaphor ； conflict imagery ； weapon ； binary oppositions

期刊名称

藝術學報

卷期/出版年月

89期（2011 / 10 / 01）

页次

1 - 29

内容语文

英文
中文摘要

本論文探討政治漫畫家在他們的「漫畫家軍械庫」中如何以「視覺隱喻」作為中利器（Gombrich, 1963）。文中所分析之漫畫圖像計從西元1900年到2009年，以影響北愛蘭的初期到近期爭鬥發展中主要政治人物和議題為主。研究結果顯示政治漫畫為爭鬥圖像的一種形式（Loftus, 1982）。以視覺隱喻做為利器用來操縱愛爾蘭和英國輿論，並且強化彼此族群本身對愛爾蘭歷史之衝突。許多視覺隱喻描述北愛爾蘭新教徒和英國人優於民族主義的天主教徒。此外，每幅漫畫中包含各種二元對立的例子﹒一種極錯綜複雜的北愛爾蘭爭鬥。同時也發現有越來越多圖像反映出爭鬥理論，例如民族優越感、心理敝人肖像、樹立敵人之心理需求、神聖化和魔鬼化、以及非人性化。顯然地，將視覺隱喻做為利器具有多種效益，可挑戰既有權威、可藉由摘除意欲目標之面具來揭示其真實面貌、或讓大家不看表面之意而探索更深層意義。本文所選之漫畫圖像揭露出視覺隱喻作為利器之多樣性。圖像巧妙配置不僅顯現出政治漫畫近乎危險黑暗魔力（Coupe, 1962 p.65），而且也強調漫畫家軍械庫中以視覺隱喻作為利器之非凡能力。
英文摘要

This study set out to explore how political cartoonists use visual metaphor as a 'weapon' in their 'cartoonists' armoury (Gombrich, 1963). It analyzed cartoons from 1900-2009 which depicted leading political figures and important political issues which affected the development of a nascent Northern Ireland and in the recent Northern Ireland conflict. The findings show that political cartoons are a form of 'conflict imagery' (Loftus, 1982). The findings also reveal that visual metaphor as a weapon was employed to generate and manipulate public opinion in Ireland and in Britain and to reinforce each conflict group's own version of Irish history. Furthermore, many visual metaphors expressed Ulster Protestant and Britsh superiority over Nationalist Catholics. Additionally, each cartoon contained various examples of binary oppositions which underscored the very complex nature of the Northern Ireland conflict theories: ethnocentrism, the psychological enemy image, the psychological need to establish enemies, sanctification and demonization, and dehumanization. It is apparent that visual metaphor as a weapon is effective in many ways. For example, supporting the established model of authority, by challenging or threatening it or by removing the 'mask' of the intended object to reveal its true face, or by allowing us to look beyond the literal and to generate deeper levels of meaning. This is revealed in the great diversity of visual metaphors as weapons in the selected cartoons. Such an ingenious array of imagery not only shows that political cartoons are ”dark and dangerously close to magic” (Coupe, 1962, p.65) but also underscores the extraordinary power of visual metaphor as a weapon in the cartoonist's armoury.
主题分类 人文學 > 藝術
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