蕭言中漫畫幽默風格與認知理解研究——兼論其藝術層次的創作思維轉變

本研究以臺灣漫畫家蕭言中為主要研究對象。蕭言中為中生代臺灣漫畫家中的代表性人物之一，也是「臺灣漫畫四大才子」其中一人，主要專注於創作單幅漫畫，被譽為「單幅漫畫創作第一人」。蕭言中除了在漫畫領域著作等身外，於音樂、舞臺劇、節目主持等跨領域活動也成就頗豐，被稱為「最不務正業的漫畫家」。而自2013年，蕭言中的創作思維開始轉變，不再堅持手繪，也不再創作如過往的單幅漫畫，以手指在iPad平板上開始對黑白線條的鑽研，將漫畫創作提昇到藝術的層次，使自己從「漫畫家」成為「藝術家」，其作品在華人世界與海外都有極高的評價。無論是在「漫畫創作」、「跨界活動」或是「藝術創作」等面向，蕭言中都具有豐富之研究價值。　　因此，筆者在第一章第一節中，先就本研究之「研究動機」與「研究目的」進行論述，將蕭言中四種重要身份之內涵、重要創作與發展脈絡清楚梳理；接著在第二節針對蕭言中相關研究文獻，以及與本研究相關之「本研究中『漫畫』定義與定位問題」、「單幅漫畫幽默敘事與認知理解」理論文獻，進行系統性的回顧；並於第三節說明本研究之研究範圍、視野、方法與限制；最後在第四節則針對本研究中主要參考之理論進行重點陳述。　　在第二章，筆者在第一節先將蕭言中生平分期，並說明各分期之特色與創作風格；並於第二節就第一節之六段生平分期，分別詳細爬梳蕭言中生平、創作與跨界活動歷程；在第三節，則針對蕭言中「發表作品」之主要媒體與時代背景，以及蕭言中於2003年「將創作重心移轉至中國大陸」之因素與時代背景進行深入論述。　　在第三章，筆者針對蕭言中之「跨界活動」深入探討，因此在第一節首先針對安撫少年時蕭言中內心，使蕭言中能安心創作、跨界的關鍵──梭羅的《湖濱散記》之內容與蕭言中之心境進行論述；接著在第二節，筆者就促使蕭言中進行跨界活動之「『愛玩』的好奇心」，爬梳蕭言中在其間的心態與心境變化；在第三節與第四節，筆者分別就蕭言中所有跨界活動中，佔有最重要地位的「音樂」、「舞臺劇」進行論述，並梳理蕭言中在以上兩個跨領域之活動歷程，以及蕭言中與在該領域所接觸、並受深度影響之代表人物：歌手陳昇與劇作家李國修之互動與合作；最後在第五節，筆者總結蕭言中的跨界經歷、心境轉變，與跨界活動對蕭言中在「創作刺激」、「創作靈感」與「創作思考」等面向的影響。　　在第四章，筆者建構於本研究中，用以分析蕭言中單幅漫畫之理論模型；於是在第一節，筆者融合第一章第四節之主要參考理論，建構「單幅漫畫幽默敘事之認知歷程」理論，並於第二節、第三節融合前述之主要參考理論，分別就傳統政治、諷刺、評議單幅漫畫，以及蕭言中幽默單幅漫畫，建構「創作敘事文法與認知歷程」、「視覺脈絡與感官認知歷程」、「敘事接受與邏輯概念」等文本分析之理論模型。由於蕭言中的漫畫文本，為本研究所希望聚焦深入探討的主要研究材料，因此在第三節中，筆者也另外針對蕭言中漫畫創作之「獨特敘事手法與創作技巧」、「幽默笑點之群類性」、「幽默程度之衡量指標」進行深入論述；最後在第四節中，論及漫畫圖文創作之「創作歷程」與「創作思維」之構成。　　在第五章，筆者以第二章之生平分期為基礎，架構蕭言中作品之五段分期；並以第四章所建構之「漫畫文本分析理論模型」，依照前述之蕭言中作品分期，依序針對蕭言中的漫畫創作內容與幽默程度，進行系統性的分析；並參照第二章所論述的蕭言中生平、第三章所論述的蕭言中跨界歷程，梳理造成蕭言中漫畫創作之風格、內容、創作思維之轉變，與幽默程度高低的可能因素。　　在第六章，筆者論及蕭言中「線條藝術」之作品，因此在第一節就中國傳統藝術中「氣、韻」之概念與線條審美系統進行論述；在第二、第三、第四、第五節、第六節，分別就蕭言中各系列之「線條藝術」創作分析其作品風格、藝術性表現與創作思維。　　最後，筆者在第七章中，在第一節總結本研究在「蕭言中漫畫創作之呈現與思維」、「蕭言中跨界活動對其漫畫創作之影響」、「蕭言中『線條藝術創作』之開創性與指標性」等面向之研究成果、研究發現與研究價值；在第二節，則論及本研究之後續研究、發展之建議。

關鍵字

蕭言中；單幅漫畫；幽默風格；圖文幽默認知歷程

並列摘要

This research takes Taiwan cartoonist Loïc Hsiao as the main research object. Loïc Hsiao is one of the representative figures of Taiwanese cartoonists in the Mesozoic era, and one of the "Four Talents of Taiwanese Comics". In addition to his works in the field of comics, Loïc Hsiao has also achieved a lot in cross-disciplinary activities such as music, stage plays, and program hosting. He is called "the most unprofessional cartoonist". Since 2013, Loïc Hsiao's creative thinking has begun to change. He no longer insists on hand-painting, nor does he create single comics like in the past. He started to study black and white lines with his fingers on the iPad tablet, and elevated comic creation to the level of art. He has transformed himself from a "caricaturist" to an "artist", and his works are highly praised both in the Chinese world and overseas. Whether in "comic creation", "cross-border activities" or "art creation", Loïc Hsiao has rich research value. Therefore, in Chapter 1, the author first discusses the "research motivation" and "research purpose" of this research, and clearly sorts out the connotation, important creation and development context of the four important identities in Xiao Yan; This section systematically reviews the relevant research literature of Loïc Hsiao, as well as the theoretical literature on "The Definition and Positioning of "Cartoon" in this Research" and "Single Comics Humor Narrative and Cognitive Understanding" related to this research; Explain the research scope, vision, methods and limitations of this research; finally, the fourth section focuses on the main reference theories in this research. In the second chapter, the author first divides Loïc Hsiao's life into stages in the first section, and explains the characteristics and creative styles of each stage; The course of cross-border activities; in the third section, the main media and the background of Loïc Hsiao's "published works", as well as the factors and background of Loïc Hsiao's "shifting the focus of creation to mainland China" in 2003, are discussed in depth. In the third chapter, the author discusses Loïc Hsiao's "cross-border activities" in depth. Therefore, in the first section, I first focus on the key to appease Loïc Hsiao's heart when he was a teenager, so that Loïc Hsiao can create with peace of mind and cross the border. The content and Loïc Hsiao's state of mind are discussed; then, in the second section, the author discusses Loïc Hsiao's "playful curiosity", which prompted Loïc Hsiao to carry out cross-border activities, and combs Loïc Hsiao's mentality and mood changes during the period; in the third and fourth sections In this section, the author discusses the most important "music" and "stage plays" among all Loïc Hsiao's cross-border activities, and sorts out Loïc Hsiao's activities in the above two fields, as well as Loïc Hsiao's contact with him in this field, Representatives who have been deeply influenced: the interaction and cooperation between singer Chen Sheng and playwright Li Guoxiu; finally, in the fifth section, the author summarizes Loïc Hsiao's cross-border experience, mood changes, and cross-border activities on Loïc Hsiao's "creative stimulation", "" Influence from aspects such as creative inspiration” and “creative thinking”. In Chapter 4, the author constructs this research to analyze the theoretical model of Loïc Hsiao's single-picture comics; therefore, in Section 1, the author combines the main reference theories in Section 4 of Chapter 1 to construct a "single-picture comic humorous narrative model". In the second and third sections, the main reference theories mentioned above are combined to construct the "Creative Narrative Grammar and Cognitive Process", respectively on traditional politics, satire, and commentary single comics, as well as Loïc Hsiao's humorous single comics. Theoretical models for text analysis such as "Visual Context and Sensory Cognitive Process", "narrative reception and logical concepts". Since Loïc Hsiao's comic texts are the main research materials that this research hopes to focus on in-depth discussion, in the third section, the author also focuses on the "unique narrative techniques and creative techniques" and "humorous humorous points" of Loïc Hsiao's comic creation. Sex” and “Measurement Indicators of Humor”; finally, in the fourth section, the “creative process” and “creative thinking” of comic graphic creation are discussed. In Chapter 5, the author constructs five stages of Loïc Hsiao's works based on the life stages of Chapter 2; and based on the "Theoretical Model of Comic Text Analysis" constructed in Chapter 4, according to the stages of Loïc Hsiao's works mentioned above, in turn Loïc Hsiao's comic creation content and humor level are systematically analyzed; and with reference to Loïc Hsiao's life discussed in Chapter 2 and Loïc Hsiao's cross-border process discussed in Chapter 3, the style, content and creative thinking of Loïc Hsiao's comic creation are sorted out. Shifts, and possible factors for the level of humor. In Chapter 6, the author discusses the works of "line art" in Loïc Hsiao, so in the first section, the concept of "qi and rhythm" in traditional Chinese art and the aesthetic system of line are discussed; in the second, third, Sections 4, 5 and 6 respectively analyze the style, artistic expression and creative thinking of Loïc Hsiao's various series of "line art" creations. Finally, in Chapter 7, the author summarizes the research in the first section of " Loïc Hsiao's presentation and thinking of comic creation", "The influence of Loïc Hsiao's cross-border activities on his comic creation", and " Loïc Hsiao's pioneering "line art creation" In the second section, it discusses the follow-up research and suggestions for the development of this research.