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Hergé started drawing his comics series ''The Adventures of Tintin'' in 1929 for ''Le Petit Vingtième'', the children's section of the Belgian newspaper ''Le Vingtième Siècle'', run by the Abbé Norbert Wallez, an avid supporter of social Catholicism, a right-wing movement. During World War II, Tintin appeared in the Brussels daily pro-German ''Le Soir''; after the war he appeared in his own ''Tintin'' magazine (founded by a member of the Resistance, Raymond Leblanc) until Hergé's death in 1983. As a young artist Hergé was influenced by his mentors, specifically the Abbé Wallez, who encouraged Hergé to use Tintin as a tool for Catholic propaganda to influence Belgian children. This shows in his earlier works within the Tintin series. As a result, European stereotypes pervade Hergé's early catalogue. A breakthrough came in 1934, when the cartoonist was introduced to Zhang Chongren, a Chinese student, who explained Chinese politics, culture, language, art, and philosophy to him, which Hergé used to great effect in ''The Blue Lotus''. From this point onward, the artist developed ideologically, amidst the collapse of his country and the Second World War, and so did the series: the general trend of the postwar stories is to become more progressive and universalist. == First albums == The first Tintin book, ''Tintin in the Land of the Soviets'', was crafted on the orders of Hergé's superiors, to be anti-Soviet propaganda of limited outlook. Nonetheless, Hergé worked willingly: "I was sincerely convinced of being on the right path", he said later. His only source was ''Moscou sans voiles'' ("Moscow without veils"), a book written in 1928 by Joseph Douillet, former consul of Belgium in the USSR. In this book, appearing not much more than a decade after the October Revolution, Douillet denounced the communist system for producing poverty, famine, and terror. The secret police maintained order and the propaganda deceived foreigners. Nonetheless, the anti-totalitarian theme of this first book would persist throughout the series. Hergé wanted the second book to take place in the United States, which fascinated him. Wallez disagreed: he distrusted the USA, the country of Protestantism, liberalism, of easy money, and of gangsters. Instead, he asked Hergé to draw a book about the Belgian Congo: the colony needed white workers at the time.〔Benoît Peeters, ''Tintin and the World of Hergé'', 1988, p. 29-30〕 ''Tintin in the Congo'' reflected the dominant colonialist ideology at that time. As put by Hergé in a later interview, "This was in 1930. All I knew about the Congo was what people were saying about it at the time: 'The Negroes are big children, it's fortunate for them that we're there, etc'".〔Numa Sadoul, ''Entretiens avec Hergé'', Casterman, 1989, p. 74〕 The paternalistic description of the indigenous people of Belgian Congo was more naive than racist, and Hergé developed an important theme of Tintin in this book: international trafficking.〔Benoît Peeters, ''Tintin and the World of Hergé'', 1988, p. 31〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ideology of Tintin」の詳細全文を読む スポンサード リンク
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