敘事與觀看：《點石齋畫報》的圖文構成研究

Narration and Viewing: The Picture-and-Text Construction in the Dianshizhai Pictorial

廖紀雁(Chi-Yen Liao)

指導教授 ： 毛文芳

國立中正大學/文學院/中國文學系/碩士(2014年)

摘要

本論文是以「敘事與觀看：《點石齋畫報》的圖文構成研究」為題目，從「敘事」與「觀看」這兩個角度出發，企圖對於《點石齋畫報》的圖文內容進行剖析，以釐清其圖文構成的情況。
本論文共分成七章，除了第一章的緒論以及第七章的結論外，總共可分為兩大部分。第一部分為第二章和第三章，主要是對《點石齋畫報》的基本背景作探討。首先對於生成環境進行爬梳，指出經濟的繁榮、娛樂業的興起、華洋文化共處的情形以及印刷術的進步，都促成了《點石齋畫報》的誕生，因此《點石齋畫報》可說是在許多因素交錯下所產生的新聞傳播產物。其次就《點石齋畫報》的刊行情況進行說明，並針對《點石齋畫報》的辦報策略加以討論，藉此了解《點石齋畫報》得以長期刊載的原因。最後筆者探討《點石齋畫報》的媒介特性，並依據畫報著重「圖像」與「新聞性」的特點，界定出《點石齋畫報》為「中國第一份時事手繪畫報」的地位。
第二部分是本論文的討論核心，分別是第四章、第五章、第六章。其中第四章首先指出新聞來源的限制以及對圖像寫實性的要求，使得《點石齋畫報》的繪者運用各種圖像資料與想像來繪製新聞圖像，甚至更進一步以繪者對新聞場景的理解與想像為基礎，對圖像資料進行改編。另外，筆者認為《點石齋畫報》對於新聞真實性的界定範圍其實很寬鬆，不僅允許自身對新聞訊息進行改編、誇大，甚至可隨著讀者閱讀欲望的改變，編造出符合讀者的民族情感、寫實卻不真實的報導圖文。第五章探討《點石齋畫報》由「圖像」、「文字」與「閒章」三者所組合而成的敘事模式，指出圖像打破了空間的限制，並藉由買賣形成商業化的觀看文化；文字經由與圖像的配合，產生加強、對比和延伸等效果，達到更為豐富的圖文觀看；閒章部分筆者則歸納出「順向」與「輻射」兩種觀看，並結合中國評點學的概念，指出《點石齋畫報》其實透過閒章的運用，對新聞內容進行了評點。第六章的議題集中在「新聞訊息」與「看客」的概念上，首先剖析《點石齋畫報》在「時間」、「人物」這兩方面的呈現模式，指出其在新聞訊息上經常採用泛寫的策略，並以此構成以事件為中心的觀看方式。其次，筆者引用魯迅所提出的「看客」概念，討論「看客」在圖像敘事上所構成的「聚焦」作用。最後，筆者進一步運用空間敘事的觀點，說明《點石齋畫報》如何利用「框」的區隔效果，形成「看與被看」的多重觀看狀態。
經由本論文的討論，筆者希望釐清《點石齋畫報》這個晚清的新式傳播媒介在圖文構成上呈現怎麼樣的獨特之處，藉此了解《點石齋畫報》作為晚清畫報的先驅，為後來的畫報奠定了怎麼樣的圖文構成基礎。

關鍵字

觀看 ； 敘事 ； 《點石齋畫報》 ； 圖文構成

並列摘要

The current study, entitled as “Narration and Viewing: The Picture-and-Text Construction in the Dianshizhai Pictorial”, attempted to analyze the contents regarding pictures and texts in the Dianshizhai Pictorial based on the perspectives of narration and viewing, so that its picture-and-text construction could be realized.
The thesis was divided into seven chapters. Except for Chapter One (i.e., Introduction) and Chapter Seven (i.e., Conclusions), the thesis mainly contained two parts. The first part included Chapter Two and Chapter Three, in which the background of the Dianshizhai Pictorial was investigated. The arrangement and sorting of its environment have revealed that economic prosperity, the rise of entertainment industry, the coexistence of Western and Eastern cultures, and the advancement of printing led to the birth of the Dianshizhai Pictorial. Therefore, the Dianshizhai Pictorial was regarded as a subsequent mass medium resulted from many interweaving factors. Then, the publication of the Dianshizhai Pictorial was elaborated, and strategies for running the Dianshizhai Pictorial were discussed, with the aim to better comprehending the underlying reasons of its long-term publication. At last, the medium characteristics of the Dianshizhai Pictorial were discussed. Based on its emphasis on pictures and newsworthiness, the Dianshizhai Pictorial was defined as the first pictorial of current news in China.
The second part, including Chapter Four, Five, and Six, was the core of the thesis. Chapter Four pointed out the limitations on news sources and the requirement for picture realism, making the painter of the Dianshizhai Pictorial to utilize various picture information and imagination to draw relevant news pictures. In addition, the painter might adapt the picture information based on the painter’s understanding and imagination of relevant news settings. In addition, the researcher in the thesis thought that the definition of news authenticity of the Dianshizhai Pictorial ranged loosely. It allowed the painter to adapt and exaggerate the news information and to change with readers’ reading desire, creating national feelings, realistic yet unreal pictures and texts catering to readers. Chapter Five discussed the narrative pattern of the Dianshizhai Pictorial, which combined pictures, texts, and seals (Sian-Jhang). Pictures broke the limitations on space, and formed a commercial viewing culture via transactions. The combination of texts and pictures led to reinforcement, contrast, and extension, providing a richer picture-and-text viewing effect. In terms of seals, the research in the thesis induced two viewing (i.e., following and diffusion). Combined with Chinese Critique, seals in the Dianshizhai Pictorial made critique and comments on news contents. Chapter Six centered on concepts of news information and viewers. Firstly, the presentation pattern of time and characters in the Dianshizhai Pictorial was scrutinized, suggesting that extensive writing was frequently employed in describing news information and constructed subsequent event-centric viewing approach. Secondly, the ‘viewer’ concept developed by Lu Xun was cited to discuss the ‘focus’ effect that ‘viewers’ have on image narrative. Finally, details were given on how ‘frames’ were used as separators in the pictorial to create the multiple viewing of ‘to see and to be seen’ from the perspective of spatial narrative.
Through the discussions in the thesis, the researcher hoped to make clear the uniqueness of the picture-and-text construction in the Dianshizhai Pictorial in late Qing Dynasty, so as to understand the specific picture-and-text construction that the Dianshizhai Pictorial, as a pioneer of the pictorials in late Qing Dynasty, has established and its effect on subsequent pictorials.

並列關鍵字

Viewing ； Narration ； the Dianshizhai Pictorial ； the Picture-and-Text Construction

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