臺灣博碩士論文加值系統

本論文旨在探討喬．薩柯的《巴勒斯坦》何以為呈現式的圖像敘事，並如何以「摩擦呈現」的概念彰顯創傷歷史於漫畫頁面上。薩柯詳盡的圖像式報導，給予隱形的傷痛實體、精神空間，使巴勒斯坦人的受難得以浮現於讀者眼前。漫畫媒介中，文字與圖像之間的動能及其語法特殊性，透過藝術手法，讓創傷的物質化成為可能。本論文分為四章：第一章從美國現代漫畫的濫觴來爬梳圖像敘事的歷史，藉以描摹其紀實的媒介性質。第二章將聚焦於當前學界對薩柯的「漫畫新聞學」研究，企圖批判眾學者對此詞的探討侷限，並試圖開展「漫畫新聞學」之圖文呈現技術的另類思維。第三章則回顧與本論文相關的經典創傷理論與回應，以及伊萊恩．史卡利對於疼痛、刑求的論述。本文反對創傷與見證理論常見的「遲來」、「不可表達性」之看法，認為當今政治創傷下的受害者──尤以《巴勒斯坦》為例──不僅與創傷共存，甚至主動要求紀錄他們的日常傷痕。文中以疼痛研究的主張為輔，針對史卡利的「暴力–疼痛關係」、「刑求的程序性」等說法，來探究紀實漫畫的創傷描繪如何經由圖像的序列與時/空呈現呼應此兩大概念。第四章將深入分析《巴勒斯坦》，以洪席耶在納粹大屠殺的討論中提出的「不可再現性」為鑑，檢視再現概念於紀實漫畫研究中定義的不足。本論文主張「摩擦呈現」──擁擠的圖像、文字、畫格、頁面編排導致的閱讀窒礙與理解遲滯──做為創傷較適切的表現技術。

This study examines Joe Sacco’s Palestine to understand the graphic narrative as a presentational mode of expression and investigates how the work reenacts traumatic histories on the page through my proposition of “frictive presentation.” Sacco’s intense reportage of the Palestinians provides physical and psychic spaces which render the people’s suffering visible and palpable. The word-image dynamics and the syntactical specificity of comics also bring forth the materiality of trauma via artistic expression. Chapter One will establish the workings of the graphic narrative as a documenting medium and survey the genre as a whole, explicating the ways comics utilize word and image on the page. Chapter Two will conduct a literature review beginning with Sacco scholarship and seek to expand the understanding of the term comics journalism that Sacco has used in one of his interviews. Chapter Three reviews classic trauma theories and pain studies. I will focus on the idea of belatedness and the inexpressibility of trauma in trauma theory and use examples from Sacco’s text to contest these concepts. My argument is that not only does political trauma remain a reality even today, but we also see that victims are very often forced to live out and their frustrations and compelled to speak out. I will draw on Elaine Scarry’s Pain Studies, in particular her discussion of the relation between torture and violence and torture as procedural. I argue that the violence presented in Palestine, along with the sequential nature of comics and its spatio-temporal presentation, echoes Scarry’s notion that torture is violence broken into complex processes. The last chapter will be an extensive analysis of Palestine. I will begin by discussing the stakes of representation and realism and refer to Jacques Rancière’s response to the proposition of unrepresentability regarding the violence of the Shoah. Then, this thesis will put forth the concept of presentation: Palestine, as well as other works that employ similar ways of expression, is not only reportage or factual reflections of catastrophic events, but also a process that allows us to realize and perceive what we did not experience. I propose to conceive of these characteristics in light of frictive presentation, a kind of material arrangement that creates obstruction in the reading process and helps to reveal the complexity of pain and trauma. This thesis argues that such friction offers a much more compelling rendition of suffering than the representational mode.

Table of Contents
Acknowledgements i
中文摘要 ii
English Abstract iii
Introduction 1
Chapter I: Historical Context of the Graphic Narrative 12
Chapter II: Debates in Comics Theories, Studies of Documentary Comics, and Sacco Scholarship 21
Chapter III: Trauma Theories and Pain Studies 44
Chapter IV: Palestine 57
Conclusion 79
Works Cited 84

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