淺野一二Ｏ的漫畫「晚安，布布」與其歧異意符

Abstract

本論文著重探討現代日式漫畫中的視覺要素。以淺野一二Ｏ的漫畫「晚安，布布」為研究文本，本論文將對於其呈現在三層架構中的混和式風格與迥異性功能做分析，並研究主角布布所引發的代表性議題。 第一章由漫畫媒體與其風格的介紹開始。自從手塚治虫於1947年所出版的「新寶島」以來，漫畫奠定了深受電影技巧所影響的新穎風格。數十年之後的今天，漫畫的多元性在科技進步與文化基礎的累積下急遽成長。「晚安，布布」充分的利用了漫畫媒體的優勢，在文字與圖像的組合裡提供了獨特的文本互動關係。 第二章集中討論主角布布外貌上的風格轉變。布布的呈現圖像游離在三種不同的風格之中，而這些奇異的外貌全都是其身分的隱藏。漫畫理論家史考特‧麥克勞德對於外貌的風格原理提出了簡單風格提供描述空間，而寫實風格則提供了客觀資訊。布布的風格與轉變充分利用了這些特質，我將使用布布的抽象外貌與寫實圖像來分析其轉變過程的效果。 第三章檢視「晚安，布布」裡錯綜複雜的敘事安排如何影響讀者的主體位置。本章節集中在布布的名字與對話框上。這兩項要素的轉變是為了操作敘事資訊揭露程度，而最終的揭露將使這些要素失能並讓讀者面對自己與布布的投射關係。本章結尾將以兩個角色作為主體位置上的圖像呈現說明。 本論文探究圖文組合中文本互動關係的閱讀可能性，「晚安，布布」中所呈現的是一種僅能以漫畫媒體來體現的特殊閱讀經驗。

The thesis is an exploration of the visual elements in modern manga. Focusing on Asano Inio’s manga Oyasumi Punpun, my thesis intends to analyze the deviations of functional style in the three-layer structure of hybrid-style in this manga and the questions of representation raised by the figure of the protagonist, Punpun. Chapter one begins with an introduction of manga and its style. Since the publication of Tezuka Osamu’s Shin-Takarajima in 1947, manga has established a revolutionary style noticeably inspired by cinema called “story-manga”. The extended length and application of the cinematic techniques on storyboarding allow manga artists to create a sophisticated plot with a sense of motion on pages. Within few decades, a diversity of manga in style and content appears due to the technological improvement in creating and development of manga culture. As one of many manga that utilize the advantage of this medium, Oyasumi Punpun expresses the possibilities of the combination of images and words, which cause the unique reader-text interaction. Chapter two focuses on the variations in the image of the protagonist Punpun. Punpun’s images oscillate between three styles applied in this manga, and all of these appearances are disguises showed only to the reader. Following the style principle of appearance from comic theorist Scott McCloud, simple style provides space for description, while the realistic style provides objective information. The changes of styles in Punpun appearances exploit the characteristics of these styles. I will use two examples of Punpun’s appearances in simple style and photorealism to analyze the change of effects. Chapter three examines how the narrative intricacies in Oyasumi Punpun verify the subject position of the reader. This chapter will first focus on Punpun’s names and dialogue boxes. The changes of them served to regulate narrative information. All these elements demise after the final revelation of the protagonist, and the reader is able to encounter his/her accumulated projection in the signifier Punpun. At the end of this chapter, I will use two figures from the story to explain how they represent the subject positions the reader and Punpun to other characters. This thesis explores the possible reading consequences of reader-text interaction activated by the combination of images and words. Oyasumi Punpun presents certain effects of reading experiences that can be only achieved by the arrangement of visual elements in manga medium.