【摘要】 今天的历史研究已经上升到历史文化的系统观照,从而形成历史文化的三个维度:认知的、政治的和审美的。在由大众传媒所组成的舆论结构中,漫画批评的社会功能,不仅仅是把历史断面和社会生态投掷到一个个所指当中,瞬间性的视点实际上蕴含着让"做"服从于"看"的引导,由此呈现出一个开放的视角或一个历史的标点。廖冰兄在抗日战争期间和战后初期的漫画创作通过图像和文字的双重书写,不仅描绘出一个时代的物质环境,并在漫画视点和受众视点相重叠的瞬间,成为一种家国情怀、社会激情和革命理念的视觉修辞学。更多还原

【Abstract】 Today’s historical research has risen to a systematic observation of the historical culture,thus forming three dimensions of historical culture: cognitive,political and aesthetic. In the public opinion structure composed by the mass media,the social function of cartoon criticism is not only to project historical sections and social ecology into a signified,the regard of instantaneity actually implies that "doing"is subject to "looking",hereby exposing an open viewpoint or a historical punctuation. Through a double transcription of images and letters in the anti-Japanese war and the following years,Liao Bingxiong not only described a physical environment of an era but also at the moment when were overlapping the viewpoints of both cartoon and readers formed a visual rhetoric of social passion,revolution ideas,and nationalist sentiments.更多还原