La explosión Marvel: Historia de Marvel en los 70
by Jose Joaquin Rodriguez Moreno
Dolmen Editorial, 2012. 239 pags.
ISBN: 978-84-15201-76-2.
ESPAÑOL: El presente libro analiza las transformaciones que se produjeron en Marvel Comics entre 1968 y 1980, que... more
ESPAÑOL: El presente libro analiza las transformaciones que se produjeron en Marvel Comics entre 1968 y 1980, que convirtieron a la editorial en la principal compañía de cómics estadounidense. A lo largo del libro se analiza el contexto de la época, el sistema de producción, la censura, el público y el mensaje de los cómics.
ENGLISH: This books studies Marvel Comics' changes between 1968 and 1980, that resulted in his transformation in the first american comic books publisher. This book studies historial context, production system, censorship, fandom and meaning in comics.
Comics intermedial
ed. (in alphabetical order) by Christian Bachmann, Lars Banhold and Véronique Sina (forthcoming)
The Invisible Comics
An overview on alternative comics in Serbia in the period 1980-2010. Edited by Lazar Bodroza; introduction: Aleksandra Sekulic and Radovan Popovic; Published by National Library of Serbia in 2010
Download (.pdf) Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel
by DJ Dycus
Without a doubt Chris Ware is one of the preeminent creators of comics today. He is a brilliant figure in a generation... more
Without a doubt Chris Ware is one of the preeminent creators of comics today. He is a brilliant figure in a generation of extraordinarily talented people. Granted, there are a lot of innovators in the field right now, but no one else in the last seventy years has explored the capabilities of the genre to the same extent as has Ware. His genius, in part, comes from his interest in and understanding of the past accomplishments of figures such as George Herriman and Winsor McCay. One might even say that much of his work is somewhat archaeological in nature: he is interested in a reclamation of the past. Rather than merely excavating the achievements of past masters for the sake of history, however, Ware is also fortifying, expanding, and enriching comics so that it might flourish in the present.
This work begins with a broad examination of the nature of comics. First by briefly discussing the cognitive operations involved in processing this hybrid medium, then by surveying the generic branches of comics, and then by offering an historic examination of its contemporary development, which goes back as far as the sixteenth century. Next is an analysis of comics in relation to literature, film, and the visual arts. Comics utilizes elements from all of these, but it also offers a unique narrative experience.
This book primarily focuses upon Ware’s magnum opus to date, Jimmy Corrigan. It contextualizes his work within developments in comics over the last fifty years, as well as comparing him to other prominent figures such as Will Eisner, Art Spiegelman, Daniel Clowes, Alan Moore, Neil Gaiman, Lynda Barry, and Frank Miller.
The Art of Comics: A Philosophical Approch (Wiley-Blackwell 2012)
by Aaron Meskin
Edited by Aaron Meskin and Roy T Cook with a foreword by Warren Ellis.
From the publisher: The Art of Comics is the first-ever collection of essays published in English devoted to the... more
From the publisher: The Art of Comics is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art.
* The first-ever anthology to address the philosophical issues raised by the art of comics
* Provides an extensive and thorough introduction to the field, and to comics more generally
* Responds to the increasing philosophical interest in comic art
*I ncludes a preface by the renowned comics author Warren Ellis
* Many of the chapters are illustrated, and the book carries a stunning cover by the rising young comics star David Heatley
Nevidljivi strip - Alternativni strip u Srbiji 1980-2010
Published by National Library of Serbia in 2010, edited by: Lazar Bodroza, introduction: Aleksandra Sekulic, Radovan Popovic
Stelle e strips: la stampa a fumetti italiana tra americanismo e antiamericanismo (1935-1955)
by Juri Meda
Macerata, EUM, 2007
pp. 282
ISBN: 8860560667 9788860560667
English version of Rocket Blues
English adaptation of the philosophical comic "Rocket Blues"
Read more here: http://rocket-blues.blogspot.com
I... more
Read more here: http://rocket-blues.blogspot.com
I have adapted this philosophical space opera with US and German popular culture references into English for publication.
The Complete Barnaby, Vol. 1
by Philip Nel
Co-edited with Eric Reynolds. Foreword by Chris Ware. Introduction by Jeet Heer. Art direction by Daniel Clowes. Afterword and Notes by Philip Nel. Forthcoming from Fantagraphics, 2012.
Before authoring one of the most beloved children's book series of all time — Harold and the Purple Crayon... more Before authoring one of the most beloved children's book series of all time — Harold and the Purple Crayon — cartoonist Crockett Johnson created the comic strip Barnaby for over ten years (1942-1952). Its subtle ironies and playful allusions never won a broad following, but the adventures of 5-year-old Barnaby and his fairy godfather Jackeen J. O'Malley was and is a critical favorite. This first volume (of a total of five) collects the years 1942 and 1943.
Jokes of Repression. A guest-edited cluster of essays.
by Serguei Alex. Oushakine (Сергей Ушакин)
East European Politics & Society, November 2011; 25 (4).
http://eep.sagepub.com/content/25/4.toc
Serguei Alex. Oushakine
Introduction: Jokes of Repression
East European Politics & Societies November... more
Serguei Alex. Oushakine
Introduction: Jokes of Repression
East European Politics & Societies November 2011 25: 655-657
Neringa Klumbytė
Political Intimacy: Power, Laughter, and Coexistence in Late Soviet Lithuania
East European Politics & Societies November 2011 25: 658-677,
Bill Martin
Slatan Dudow’s Christine (1963/1974) and the Social Comedy of Character
East European Politics & Societies November 2011 25: 678-703
Maria Ioniţă
Hunting Lizards in Romania: Oblique Speech and Humor in Ioan Groşan’s 2084: A Space Epic and Planet of the Mediocres
East European Politics & Societies November 2011 25: 704-719
Alena Ledeneva
Open Secrets and Knowing Smiles
East European Politics & Societies November 2011 25: 720-736
Costica Bradatan
To Die Laughing
East European Politics & Societies November 2011 25: 737-758
Transnational Perspectives on Graphic Narratives: Comics at the Crossroads
by Shane Denson
Editors: Shane Denson, Christina Meyer, Daniel Stein (forthcoming with Continuum)
Scholarship on graphic narratives has rarely looked beyond the confines of national borders. While a growing body of... more
Scholarship on graphic narratives has rarely looked beyond the confines of national borders. While a growing body of studies has turned to different national traditions (Anglo-American comics, Franco-Belgian bande dessinée, Japanese manga, etc.), most critics still treat graphic narratives from different cultures as relatively self-contained phenomena. In fact, scholarship in the emerging field of Comics Studies offers very little analysis of what Shelly Fisher Fishkin has called “the broad array of cultural crossroads shaping the work of border-crossing authors, artists, and cultural forms that straddle multiple regional and national traditions.” (“Crossroads of Cultures: The Transnational Turn in American Studies—Presidential Address to the American Studies Association, November 12, 2004,” American Quarterly 57.1 (2005): 32.)
The overall aim of this collection is to close the gaps in (at least) two major fields of research: 1) in American Studies, broadly defined, where graphic narratives are increasingly accepted as a hybrid, visual-verbal literature that is worthy of critical analysis but where they are frequently placed in an exclusively American context despite the opening of the field towards transcultural and transnational research; and 2) in Comics Studies, which is currently one of the liveliest and most dynamic young fields of critical inquiry but which has, by and large, marginalized the transcultural and transnational dimensions of graphic narratives.
The essays in this collection read graphic narratives as texts that are virtually predisposed towards crossing cultural and national boundaries because their unique visual-verbal interface translates more readily – though not without transformative distortions – across cultures than mono-medial forms of literature, non-narrative artworks, and even film. Our understanding of these texts and their history thus foregrounds the transnational flux of authors and graphic styles as well as the transcultural work that individual works and genres have performed for more than a century. As Paul Williams and James Lyons write: “There are good reasons to understand North American comics in a transnational context: the institutional transaction of texts, creators, and capital across national borders has contributed to observable productive tensions in the comic texts themselves.” (The Rise of the American Comics Artist: Creators and Contexts, Jackson: UP of Mississippi, 2010, xiii.) Following this challenge to consider the transnational exchange of creative energies and their transcultural effects, the first aim which all of the essays in our collection pursue is to engage in the study of American graphic narratives as texts that question and potentially transcend the ideological limitations of national borders.
A second aim of this volume is to situate American graphic narratives in a truly interdisciplinary space in which literary studies, cultural studies, media studies, as well as political and sociological approaches may contribute to redefining the fields of American literature as a truly transnational field of inquiry in which graphic narratives are a major, and increasingly prominent, element. Instead of following uni-directional approaches, all of the essays in this volume follow a notion of multi-directional relationality that has shaped the field of American graphic narratives from its inception (from Japanese woodcuts to early American newspaper comics; from the Eastern European origins of Superman’s inventors to the British authors and artists drawing most contemporary superhero characters) and that has always been at the center of this inherently transcultural and transnational literature.
Crockett Johnson and Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children’s Literature
by Philip Nel
Forthcoming from University Press of Mississippi, 2012.
Crockett Johnson (born David Johnson Leisk, 1906–1975) and Ruth Krauss (1901–1993) were a husband-and-wife team that... more
Crockett Johnson (born David Johnson Leisk, 1906–1975) and Ruth Krauss (1901–1993) were a husband-and-wife team that created such popular children’s books as The Carrot Seed and How to Make an Earthquake Separately, Johnson created the enduring children’s classic Harold and the Purple Crayon and the groundbreaking comic strip Barnaby. Krauss wrote over two dozen children’s books illustrated by others, and pioneered the use of spontaneous, loose-tongued kids in children’s literature. Together, Johnson and Krauss’s style—whimsical writing, clear and minimalist drawing, and a child’s point-of-view—is among the most revered and influential in children’s literature and cartooning, inspiring the work of Maurice Sendak, Charles M. Schulz, Chris Van Allsburg, and Jon Scieszka.
This critical biography examines their lives and careers, including their separate achievements when not collaborating. Using correspondence, sketches, contemporary newspaper and magazine accounts, archived and personal interviews, the book draws a compelling portrait of a couple whose output encompassed children’s literature, comics, graphic design, and the fine arts. Their mentorship of now-famous illustrator Maurice Sendak (Where the Wild Things Are) is examined at length, as is their work's appeal to adult contemporaries such as Duke Ellington and Dorothy Parker. Defiantly leftist in an era of McCarthyism and Cold War paranoia, Johnson and Krauss risked collaborations that often contained subtly rendered liberal themes. Indeed, they were under FBI surveillance for years. Their legacy of considerable success invites readers to dream and to imagine, drawing paths that take them anywhere they want to go.
Zanettin, F. (ed.) 2008 Comics in Translation, Manchester: St Jerome Publishing
... academically stimulating collection of studies ... made highly valuable by presenting unique findings in a somewhat neglected area of translation research. The major advantage of the book is that it focuses on several languages and describes research data very meticulously and in a way that allows for the adaptation of both the research results and the research methods introduced. (Mátyás Bánhegyi, Across Languages and Cultures)
Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively... more
Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'.
Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit.
The volume features illustrations from the works discussed and an extensive annotated bibliography.
Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.
Masters exegesis: Teaching Teachers: Learning through graphic literacy
RMIT University, Melbourne
Master of Communication Design exegesis
2009
In this issue, master of communication design candidate Roberto Bruzzese gives us an inside look at his exegesis:
Teaching teachers: learning through graphic literacy.
Here is a preview of what he got into!
This exegesis documents my exploration of pedagogical awareness in graphic design education and how graphic literacy can facilitate this awareness. Through a reflective practice of reading, designing, teaching and conversation, I have uncovered my perceptions and conceptions as a teacher and discovered how some pedagogical principles can help the teaching and learning environment. I have used this knowledge to create an awareness of these principles through the comic language.
Con la china in testa. Fumetto e memoria culturale per una lettura di Maus e Palestina
libreriauniversitaria.it, 2009
Indice:
Premessa
1 Il fumetto come mediatore della memoria culturale
1.1 Dal fumetto alla memoria
1.2 Testimonianze attraverso il fumetto
1.3 Racconto storico/racconto di finzione
1.4 Il fumetto come testo artistico
2 Dentro l’analisi
2.1 Premessa all’analisi
2.2 Maus
2.3 Il passaggio del testimone: due racconti, un incassamento
2.4 Attraverso lo spazio e il tempo
2.5 Tra un PN e l’altro
2.6 Dentro il racconto
2.7 Come animali
2.8 Palestina
2.9 L’arrivo
2.10 Il viaggio
2.11 Il soggiorno
2.12 Il trasferimento delle passioni
2.13 Conclusioni all’analisi: l’aspetto innovativo
3 Sul concetto di memoria culturale alla luce del pensiero di Lotman
3.1 La cultura come semiosfera
3.2 Tra testo e realtà
3.3 Il testo artistico
3.4 L’arte come riflesso della realtà e come campo di libertà
3.5 Tra testo e autore
3.6 La memoria culturale
Per concludere
Riferimenti bibliografici
Può un fumetto veicolare la memoria di eventi drammatici? Possono i momenti tragici della storia dell’uomo e la stessa... more Può un fumetto veicolare la memoria di eventi drammatici? Possono i momenti tragici della storia dell’uomo e la stessa memoria culturale essere raccontati in forma di nuvole? Maus racconta la Shoah, Palestina parla del conflitto arabo-israeliano, attraverso coinvolgenti espedienti narrativi. In Maus e Palestina non manca nulla. Torture, martiri, lotte, ribellioni, morte. Ma anche vita, quella familiare al lettore, quella apparentemente ordinaria, quella della quotidianità e non solo. E in tutta questa sofferenza Maus e Palestina ci riservano una sorpresa, quella dell’uso del discorso ironico. L’analisi semiotica ci ha permesso di avvicinarci il più possibile a questi fumetti per cercare le risposte a queste domande. L’ipotesi è quella del fumetto come luogo di ri-valorizzazione della memoria culturale, la speranza è che dall’unione di due grandi passioni possa emergere il senso che ha modellato l’intero lavoro.
Superheroes of the Round Table: Comics Connections to Medieval and Renaissance Literature
by Jason Tondro
October 2011, McFarland
From the book's website:
Few scholars nursed on the literary canon would dispute that knowledge of Western... more
From the book's website:
Few scholars nursed on the literary canon would dispute that knowledge of Western literature benefits readers and writers of the superhero genre. This analysis of superhero comics as Romance literature shows that the reverse is true--knowledge of the superhero romance has something to teach critics of traditional literature. Establishing the comic genre as a cousin to Arthurian myth, Spenser, and Shakespeare, it uses comics to inform readings of The Faerie Queene, The Tempest, Malory’s Morte and more, while employing authors like Ben Johnson to help explain comics by Alan Moore, Jack Kirby, and Grant Morrison and characters like Iron Man, the Hulk, the X-Men, and the Justice League. Scholars of comics, medieval and Renaissance literature alike will find it appealing.
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Tajemnice Poznania. Prasowy film rysunkowy z lat 1948-1949
by Rafał Wójcik
Tajemnice Poznania. Prasowy film rysunkowy z lat 1948-1949.
Poznań: Centrala i Biblioteka Uniwersytecka, 2011.
Red. Rafał Wójcik i Michał Słomka.
Książka zawiera reprint serii komiksowej, która ukazywała się w latach 1948-1949 w popołudniowym dzienniku "Express Poznański".
Autorem ilustracji jest Henryk Derwich, autor tekstu i scenariusza pozostaje nieznany.
Książka zawiera dwa studia krytyczne:
Adam Rusek, Dumka na trzy serca, konspiratorów i skarb (s. 6-13).
[Tekst o seriach komiksowych, ukazujących się w prasie polskiej tuz po drugiej wojnie światowej].
Justyna Czaja, Kochankowie, konspiratorzy i hitlerowcy w "niezłomnym bastionie polskości na zachodzie" - wojenny komiks prasowy "Tajemnice Poznania" (s. 64-77).
[Analiza krytyczno-literaturoznawcza "Tajemnic Poznania"].