【作者】 陶少艺；

【导师】 谭肇毅；

【作者基本信息】 广西师范大学 ， 中国近现代史， 2002， 硕士

【摘要】 抗战漫画运动是指在抗日战争期间，中国漫画家用漫画艺术形成服务于救亡图存的民族战争，以促成抗战肚利为目的而开展的宣传运动，是抗日文化救亡运动的一个重要组成部分，它将艺术创作与救亡的时代主旋律紧密结合，淋漓尽致地发挥了艺术的战斗功能，为抗战事业作出了贡献。研究抗战漫画运动既可以丰富抗战文化史的内容，又可以了解中国漫画在抗战期间的发展轨迹，因而具有较高的研究价值，为此，本文综合漫画中的抗战与抗战中的漫画，对抗战漫画运动进行宏观透视。文章分以下五个部分进行论述。 第一部分：抗战漫画运动兴起的动因。文章认为抗战漫画运动兴起的最根本的原因是日本帝国主义的侵略迫使中国人民进行自卫反抗，中国漫画家参加抗日救国，这是救亡的时代主题下的必然抉择。而20世纪初年以来的美术救国思潮对中国美术家的塑造，使忧患意识、救国热情深深地扎根于他们的美术创作之中，中国漫画诞生、成长于一次次的革命运动中，在美术救国思潮的熏陶下，对邪恶、黑暗有生来与之的反抗意识，革命优良传统是抗战漫画运动兴起的内在动力。漫画艺术极具战斗性的自身特性以及当时相对宽松的文化环境都促进了抗战漫画运动的兴起。 第二部分：抗战漫画运动综述。这部分以夹叙夹议的方式介绍、分析了抗战漫画运动的开展情况。从整体上看，抗战漫画运动的基本内容和形式主要是组织漫画社团，创作和发表漫画作品，出版漫画刊物，举办漫画展览等方面。国统区和解放区由于政治环境不同，漫画运动开展的情况也不相同。在国统区，漫画运动受国民党政府对日政策变化的影响，明显地呈现出：兴起——沉寂——重新高涨这样的发展轨迹。在解放区，漫画运动则在毛泽东的《在延安文艺座谈会上的讲话》发表之前和之后，呈现出不同的面貌：在《讲话》发表之前，漫画运动主要针对解放区内部的时弊，进行内部讽刺创作；《讲话》发表之后，漫画运动的矛头集中指向日本帝国主义和国民党顽固派。 第三部分：抗战漫画创作的理论探讨。这部分主要剖析抗战漫画运动在漫画大众化、公式化问题上的理论讨论与实践。文章认为，抗战期间开展的漫画理论研究，是适应抗战画运动的需要而开展的，是从抗日救亡的政治立场和政治要求来论述问题的。通过讨论，抗战漫画家们达成了共识，认为漫画要面向劳动大众，要通俗化、大众化但要避免庸俗化、公式化。这些理论认识对抗战漫画运动起到了具体的指导作用，确保了运动向正确方向发展。但漫画创作的实践与理论认识存在一定差距，有些漫画作品片面追求大众化、通俗化，忽略了漫画的艺术性。 第四部分：抗战漫画运动的特点。文章认为抗战漫画运动与其他门类的义艺运动的根本区别在于它是运川漫画本身同有的幽默与讽刺的因素服务于抗战事业的运动，所以抗战漫画运动最显著的特点是以幽默与讽刺进行战斗的宣传运动。抗战漫画运动还具有鲜明的目的性和强烈的战斗性、形式多样机动灵活、与抗战木刻运动携手合作等特点。这些特点既是漫画自身的特性所致，也是适应战争环境的需要造成。 第五部分：对抗战漫画运动的几点认识。这部分从抗战漫画运动对抗战事业、对漫画艺术自身的影响进行评析。文章认为，抗战漫画运动产生了巨大的社会效应，它动员了群众、打击了敌人、为赢得世界同情和支持中国的抗战作出了贡献；另外，由于漫画运动拓宽了漫画艺术覆盖的地域，培养和锻炼了大批漫画人才，提高了漫画的艺术水平，因此它对漫画艺术自身的发展也起到巨大的促进作）］】。由此从中得出启示是艺术与时代的主旋律紧密结合，才能将艺术的审美功能和艺术的社会功能高度地统一起来。更多还原

【Abstract】 The caricature movement during the War of Resistance Against Japan refers to the propaganda movement which was started by Chinese caricaturists during the war period .In this movement Chinese caricaturists took advantage of saving the nation of this art form of our survival. This movement aimed at achieving the victory of the war and made up an important part of the culture movement of saving the nature from extinction by means of our resistance against Japan .It closely associated artistic composition with the main melody of the times, saving the nation from extinction and thoroughly performed the militant function of art, and made a devotion to the resistance cause .The study of the resistance caricature movement can not only enrich the content of the culture history during the war ,but also can make us understand the developing trail of Chinese caricature during the war period .This article synthesizes both the combat described in caricatures and cartoons drawn in the war ,in this war makes an overall perspective toward the movement in the war .This thesis is divided into five parts for the discussion.The first part: the cause for the origin of caricature movement during the war. This article holds that the most fundamental cause for the origin of this movement was due to Chinese people’s undertaking self-defense resistance against the aggression launched by Japanese imperialism Chinese caricaturists joining in the resistance against Japan for saving the nation from extinction was the necessary choice made under the topic of the times, namely saving at the beginning of the 20th century made deeply rooted into their art composition. Chinese caricaturists were born and become grown in revolutionary movements, which were launched one after another. Under the nurture of the ideological trend of art saving the nation the inborn resistance consciousness against evil and darkness and revolutionary good tradition were the internal motive powers for the origin of the caricature art and relatively relaxing cultural surroundings of the times encouraged the origin of this movement.The second part: the summary of the caricature movement during the War. This part introduces and analyzes the development of this movement in the forms of narration and comment. Wholly, the basic content and forms of this caricature works publishing caricature journals and putting on caricature exhibitions etc .The development of this movement in the areas ruled by surroundings In the areas ruled by Kuomintang, this movement was affected by the policies by the national government toward Japan and obviously took on such development trails as: origin梥tillness梪psurge. In the issuing of Mao--Zedomg’s "Speech in the Yan’an Forum on Literature and Art ". Before the issuing of the "Speech", this movement -nainly directed at the current malpractice inside the liberated areas, conducting internal sarcastic composition, after the issuing of the "Speech", the spearhead was centrally directed at Japanese imperialism and Kuomintang diehards.The third part: the theoretical inquiry into the caricatures during the War. The part mainly analyzes the theoretical discussion and practice in popularity and formulism issues of the caricature movement during the War. This article holds that the theoretical research during the War was carried out to meet the need of this movement and to expound the issues from the political standpoint and request for theresistance against Japan and scaring the nation form extinction. Through the discussion, resistant caricaturists reached a common viewpoint that caricature should face the labor masses, be popularized, publicized and avoid being vulgarized and formulism. These theoretical cognitions performed concrete directive function. But there existed some disparities between the practice of caricature and its theoretical understanding. Some caricature work unilaterally hunted for popularity and publicity and neglected the artistic quality of caricature.The fourth part: the characters of the caricature movement duri更多还原