試論日本漫畫的圖像修辭──以井上雄彥《灌籃高手》為例

On the Pictorial Rhetoric of the Japanese Manga: Slam Dunk’s Case

漫畫是一種圖文交錯的新形態文類（genre），有如紙上電影一般，以序列圖像鋪陳故事情節。順隨著「圖像轉向」的洪流，漫畫文本越來越廣受學界重視，研究範疇橫跨不同的學科—造型藝術。然而，文學及語言學領域的研究者，至今仍未對此種新興文類給予應有的關注，鮮少追問：「如何以漫畫敘述故事？」、「漫畫語篇如何吸引讀者？」本文將漫畫定位為「圖文整合的敘事語篇」，以日本漫畫（manga）的圖像修辭為研究主題，選擇廣受歡迎的運動漫畫—井上雄彥《灌籃高手》（SLAMDUNK）為分析對象，根據社會符號學、系統功能語言學及多模態語篇分析（multimodal discouse analysis）的理論與方法，試著思考下列問題：漫畫語篇的構成要件及其語義功能為何？漫畫家如何透過圖像演述故事？漫畫如何為讀者營造深刻的觀看體驗？冀望透過本文分析，一則有助於瞭解如何以圖像形式與表意功能之間的對應，解釋漫畫如何讓讀者產生共鳴與認同；一則有助於拓展研究視野，跳脫修辭學的傳統疆界—口語、文字範疇，駛入圖像的新世界。

Manga is a new genre interwoven with pictures and texts which, like a movie on the paper, subsequently narrates the storyline with pictures. With the pictorial turn, the manga texts are receiving more and more academic attention, and the research category covers a great variety of disciplines, such as the plastic arts. However, the researchers in the fields such as literature and linguistics have not yet paid sufficient attention to the new emergent genre that it should deserve, and seldom do they ask, How can we narrate the story by manga? How do the manga discourses attract the readers? The paper seeks to situate manga as the narrative discourse of the integration between picture and text, with a thematic discussion of the Japanese manga, Slam Dunk, a popular sports manga made by Takehiko Inoue. This manga serves as the object of the research with the social semiotic perspective, systemic functional linguistics, and multimodal discourse analysis, attempting to think the following questions: What are the constituents of the manga discourse and what are their semantic functions? How does the manga artist demonstrate the story through pictures? How does manga create a deep experience of seeing? The textual analysis helps elucidate how the pictorial form and semantic function correspond to each other on the one hand, and explain how the manga allows the readers to strike a responsive chord and recognition in the hearts of its readers? On the other hand, it helps expand the research horizon and shift the traditional boundary of rhetoric—oral speaking and linguistic rules—into a new world of picture.