政府政策与动画外文翻译.docVIP

本科毕业论文（设计） 外 文 翻 译 原文： Government policy and comics The article discusses the role of government policy in the societal process of producing definitions for ‘art’ and in becoming established as an artistic field. The discussion is based on an empirical case which demonstrates the complex role of public policy in defining a certain area as one of the arts and as eligible for government support for the arts. The analysis makes use of the concepts of artistic classification systems introduced by Paul DiMaggio and artistic fields by Pierre Bourdieu. It traces the encounters of the Finnish field of comics and government policy during a time span from the 1950s to the present day. The case of comics shows the development of one area of cultural production from a suspected criminal case to a state supported field of art, and demonstrates the various roles different areas and measures of government policy can take in the development of an emerging artistic field. Under suspicion When comics first appeared within the realm of government policy, it was not in connection with cultural policy but with legal policy. The issue was not whether comics could be defined as a form of art, but whether the production and distribution of comics should be defined as a crime. In the background of the issue was a campaign against comics launched in the USA. Fredrick Wertham’s book Seduction of the Innocent (1954) became a handbook for the campaign against comics, which expanded to Europe as well. According to Wertham, comics were harmful to children and increased, among other things, juvenile delinquency. In the USA,the campaign resulted in an agreement to voluntary self-censorship by the publishers. The principles of this censorship were documented under the name Comics Code.4 The cause of events can be characterized as a moral panic, in the sense defined by Cohen (1980). In Great Britain, a similar campaign led to an Act of Parliament, which made publication and distribution of ‘horror