感覺動漫故事：「後現代」的美學與倫理潛能

Abstract

近年來，動漫文化在世界各地蓬勃發展，已經成為不容忽視的社會文化現象。然而，過往相關探討多集中在現象上的質化或量化研究；反之，關於動漫文化的社會學意涵，以及其背後的哲學預設，卻仍有許多待解之處。\n 一般而言，我們會將動漫文化視為一種後現代的產物。然而對於動漫故事到底體現了什麼後現代的特徵、抑或是為後現代揭示了什麼樣的潛能，則尚未有詳細論述。因此，本研究重建相關的社會學及哲學理論，並通過敘事分析，以數個動漫作品為對象，試圖整體式的把握作品在當代社會座落的位置與意義，主要回答以下問題：在後現代文化中，故事如何可能？作品、作者、讀者三方如何溝通？以及動漫故事究竟揭示了什麼樣的特徵與潛能？\n 從受眾感受、角色人物、故事文本三者切入，本研究旨在證成以下三個論題：首先，反映世界現實的文本／脈絡化擴張，動漫作品的文本是碎裂式的，讀者因此不是去思考文本、而是感受文本；從而，不執著於某個特定世界，反倒是在承認多重時空的可能性的同時，也極端重視此時此刻的感覺。再者，呼應當代人類定義的模糊化，動漫作品中的角色也往往有突顯無機特徵的傾向，進而揭露出人與物之間存在相互吸引的可能。最後，擁護宏除大敘事的衰落趨勢，動漫作者並沒有意圖指導人們應該要做什麼，而毋寧是創造出一個眾人參與的空間，在當中作者與讀者雖去除主體卻仍保有自我。綜合以上，動漫文化所彰顯的，是一種在後現代社會中，人類與無機物、個人與集體可以並存的可能性。

In recent years, Anime, Comic, Game, and Novel (ACGN) culture has flourished worldwide, and becomes a notable social-cultural phenomenon. While existing researches have analyzed qualitative and quantitative data of the phenomenon, they have not explored its sociological significances and theoretical assumptions sufficiently.\n One generally regards ACGN culture as a product of postmodernity. However, there were scant discussions focusing on the specific postmodern characteristics and potentials of ACGN culture. This research first reconstructs relevant sociological and philosophical theories, and then interprets some exemplary stories by narrative analysis, in order to grasp as a whole the place and meaning of animation work in contemporary societies. We seek to answer the following questions: How does storytelling remain possible in a postmodern culture? In what ways do works, authors, and readers communicate with one another? What postmodern characteristics and potentials do animation stories reveal specifically?\n The research aims to contend the subsequent three theses from the vantage point of textual contents, characters in stories, thereby exploring the value of characters and the feeling of readers. To start with, reflecting the con/textualization of worldly reality, animation stories tend to be presented in such a fragment way that readers are interested in feeling rather than understanding those stories. In other words, animation readers recognize that multiple worlds in a series of texts are equally true worlds, and hence pay more attention on feeling every world, in the here and now rather than fixating on knowing which one is the “reality world”. Furthermore, blurring the boundary of human nature, animation characters often exhibit their inorganic features to open up the possibility of attraction between humans and things. Last but not least, endorsing the decline of grand narratives, animation authors have no intention to instruct people what they should do in life. Instead, a public space of participation is crested in which both authors and audiences could undergo de-subjectification without losing their respective selves. In conclusion, ACGN culture reveals a microcosm of possibilities in which the human and the inorganic, individuals and community, might coexist in a postmodern society.