Relevant bibliographies by topics / Comic book themes

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Comic book themes'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Comic book themes"

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Aleixo, Paul A., Daniel Matkin, and Laura Kilby. "What do teachers think about the educational role of comic books?: A qualitative analysis." Studies in Comics 11, no. 2 (2020): 387–404. http://dx.doi.org/10.1386/stic_00037_1.

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An exploratory, qualitative, study into the views of teachers on the use of comic books in education was carried out. Three secondary school teachers with varying experiences of comic books were interviewed using an open-ended format. Results of a thematic analysis indicated three clear areas of thinking around comic books: firstly, comic books are considered to be a medium of children’s entertainment, and not associated with educational practice; secondly, when the medium is employed in education, it should primarily be used with students that require extra support and thirdly, comic books represent a ‘missed opportunity in education’ and have not achieved their full potential due to a lack of comic book resources for use in the classroom. All three concepts are discussed in light of research evidence supporting the use of comics in educational contexts and concerns are highlighted that suggest these themes might represent a barrier to the future use of comics in these areas. Further qualitative and quantitative research to expand these initial findings is also suggested.
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Hunt, Whitney. "Negotiating new racism: ‘It’s not racist or sexist. It’s just the way it is’." Media, Culture & Society 41, no. 1 (2018): 86–103. http://dx.doi.org/10.1177/0163443718798907.

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Comic books are being adapted into film and television series, encouraging underrepresented voices to become more prominent in comic book culture. White men continue to dominate the culture as creators and principle characters. Yet, women and people of color are consuming comic books and films at increasing rates prompting fans to use social media outlets and online forums to engage in conversations about race in pop culture. Employing a qualitative content analysis of an online forum tailored to comic book culture, this research investigates how fans negotiate their continued fandom of comics amid claims that the industry is discriminatory toward people of color. Findings reveal forum discussion is adopting framings of new racism when accounting for a lack of diversity in comic book films. Specifically, this research shows how fans rely on White racial framings throughout discussion. Central themes indicate most forum participants suggest only overt discrimination implies that race matters and minimize the effects of historical processes. Moreover, few fans challenge traditional representations normalizing White dominance. This study contributes to research on new racism and the prevalence of White racial framings in contemporary American society.
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Kirsh, Steven J., and Paul V. Olczak. "Violent Comic Books and Judgments of Relational Aggression." Violence and Victims 17, no. 3 (2002): 373–80. http://dx.doi.org/10.1891/vivi.17.3.373.33661.

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This study investigated the effects of reading extremely violent versus mildly violent comic books on the interpretation of relational provocation situations. One hundred and seventeen introductory psychology students read either an extremely violent comic book or a mildly violent comic book. After reading the comic books, participants read five hypothetical stories in which a child, caused a relationally aggressive event to occur to another child, but the intent of the provocateur was ambiguous. After each story, participants were asked a series of questions about the provocateur’s intent; potential retaliation toward the provocateur; and the provocateur’s emotional state. Responses were coded in terms of amount of negative and violent content. Results indicated that participants reading the extremely violent comic books ascribed more hostile intent to the provocateur, suggested more retaliation toward the provocateur, and attributed a more negative emotional state to the provocateur than participants reading the mildly violent comic book. These data suggest that social information processing of relationally aggressive situations is influenced by violent comic books, even if the comic books do not contain themes of relational aggression.
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Andersen, Tem Frank. "Browsing the Origins of Comic Book Superheroes: Exploring WatchMojo.com as producers of video channel content." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 6, no. 1 (2017): 45–62. http://dx.doi.org/10.7146/ntik.v6i1.98956.

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This article tries to explore and explain the significance of comic book superheroes and their origin stories. The article presents an analysis of two selected case examples from the social video sharing site WatchMojo.com. The analysis focuses on four aspects or themes: Comic book hermeneutics, types of origin, subjectivization of superheroes, and user reactions. These analytical themes are based on an approach combining cultural semiotics, comic book superhero studies, studies in participatory culture, cultural studies and media user studies. The analysis provide some evidence to the claim, that superhero origin stories are of significance because its content is relevant to a dedicated number of internet users, and the video content both calls for and creates user reactions. Furthermore this interplay enacts the practice of categorizing and revitalizing as two important mechanisms vital for understanding this particular Internet video content.
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Dorobińska, Magdalena. "The Refl ection of Life – Marjan Satrapi‘s Auotbiographical Persepolis at the Crossroads of Cultures." Tekstualia 4, no. 51 (2017): 139–46. http://dx.doi.org/10.5604/01.3001.0013.3548.

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In the autobiographical comic book Persepolis, Marjane Satrapi combines the themes of coming of age and the search for identity with a depiction of the Islamic revolution that led to a radical cultural change in Iran. The choice of a comic as a medium for conveying the memories of youth emphasizes the inseparability of the cultures of the East and the West, between which the heroine is suspended. The intercultural dimension of Satrapi‘s work is manifested through the form of the story, the outline of the cultural confl ict in Iran in the 20th century, and the cultural shock after the heroine‘ s arrival in Europe.
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Cartledge, Tony W. "Can anything good come out of Susa? Preaching from the scroll of Esther." Review & Expositor 118, no. 2 (2021): 214–23. http://dx.doi.org/10.1177/00346373211017331.

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Finding sermon material in a story that never mentions God among its cast of comic book characters is a considerable challenge. Obscene wealth and selfish pride fall, but they are victim to violence and vengeance. Still, the perceptive preacher may find productive themes related to the critique of power associated with empire, sexism, and ethnic supremacy on the one hand, along with challenges to faithful living, the pursuit of justice, and the importance of memory—even in the apparent absence of God.
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Nowak, Olga. "Ku czytelnikowi zaangażowanemu. Hiszpański teatr i komiks w procesie kształtowania krytycznego odbiorcy kultury." Politeja 16, no. 3(60) (2020): 67–83. http://dx.doi.org/10.12797/politeja.16.2019.60.05.

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Towards an Engaged Reader: The Spanish Theatre and Comic in the Process of Educating Critical Cultural Observers
 Political, social and historical engagement has always been one of the preferred ways of being for writers and intellectuals. Over the past few decades, we have been able to observe how social engagement of artists and writers seems to express itself through two forms that stay at the frontier of literature: theatre and comic. Although the Spanish theatre was conscious of the importance of its social commitment back in the mid-70s of the last century, it wasn’t until several decades later when the comic book for adults engaged in the moral task of acknowledging and dealing with the collective trauma of the Spanish Civil War and the Franco’s regime. Both have then become, in fact, testimony genres. The objective of this paper is to demonstrate the richness of learning experience that can be generated from bringing these two genres into the Spanish literature classrooms. The Author analyses the themes and functions of both: comic and theatre, understood here as a dramatic text as well as dramatic performance, and suggests that they share a number of similarities when it comes to their subjects and poetics. By resorting to the visual code, theatre and comic are able to provoke an immediate affective reaction, thus simultaneously opening a space for commentary and reception. Consequently, the confluent impact of image and representation can contribute to the creation of a conscious reader capable of engaging in deft social criticism, especially in the case of an alien cultural environment.
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Ravyse, Werner Siegfried, A. Seugnet Blignaut, and Chrisna R. Botha-Ravyse. "Codebook Co-Development to Understand Fidelity and Initiate Artificial Intelligence in Serious Games." International Journal of Game-Based Learning 10, no. 1 (2020): 37–53. http://dx.doi.org/10.4018/ijgbl.2020010103.

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This study aimed to identify and rank the serious game fidelity themes that should be considered for retaining both the learning potential and predicted market growth of serious games. The authors also investigated existing links between fidelity and AI. The methodology unraveled serious game fidelity through the co-development of a theory- and data-driven codebook, applying the constant comparison method for data analysis. The theory-driven codes stemmed from literature while the data-driven codes emerged from a heuristic user interface evaluation of a comic book style game, named ExMan. This article identifies five fidelity themes, with functional fidelity as most important, and postulates that functional fidelity is most suited to AI integration. This study delivers a fidelity-for-serious-games codebook and concludes that observing the suggested fidelity hierarchy could safeguard that neither digital game-based learning is watered down, nor the lustre of digital gameplay dulled. Furthermore, the authors hold that AI for serious games should be given a high design priority.
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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.

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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Fadeeva, Tatiana E., and Aleksandra D. Staruseva-Persheeva. "Experimental Narrative Strategies in Comics." Observatory of Culture 16, no. 5 (2019): 476–87. http://dx.doi.org/10.25281/2072-3156-2019-16-5-476-487.

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The article is devoted to modern comics, which are considered as a kind of “laboratory” for experiments in the field of visual narratives, focusing on the construction and dynamics of their spatial-temporal continuum. The entire perceptual “space” of comics is significative (Fresnault-Derruelle); all elements of this space constitute the narrative. It is not only about the “space” of a book or a magazine; contemporary comics are intensely exploring new media, a key feature of which is interactivity. The article examines both the “classic” way of presenting visual material (comics in the form of book, “codex”), and the web-comics, which are similar to scrolls in their form, and have a new (compared to books) potential for interactivity. The article provides a systema­tic comparison of the ways of chronotope organizing in comics and screen arts (cinema, video art, media projects, etc.), and draws an analogy between the behavioral models of a comic book reader and a gamer going through the plot of a video game. One of the main theses of the article is the following: even though there are significant differences between the formats of comic books and web comics, there is a basic commonality in the nature of their impact on the rea­der. The images on the pages of comics and the spacings between them create an illusion of time through the mechanism of “closure” (S. McCloud). Therefore, the real interaction between space and time is pos­sible only with an active participation of the viewers who add their corporeality to this equation, matching it with the visual and textual register. In this way, in the process of the “assembling” perception of co­mics, the corporeal and the intellectual merge.
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Dissertations / Theses on the topic "Comic book themes"

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Lucas, Justin. "Beneath the cape and cowl: Batman and the revitalization of comic book films." Ohio University Honors Tutorial College / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1244074493.

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Kuboi, Toshihiro. "Element Detection in Japanese Comic Book Panels." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1289.

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Comic books are a unique and increasingly popular form of entertainment combining visual and textual elements of communication. This work pertains to making comic books more accessible. Specifically, this paper explains how we detect elements such as speech bubbles present in Japanese comic book panels. Some applications of the work presented in this paper are automatic detection of text and its transformation into audio or into other languages. Automatic detection of elements can also allow reasoning and analysis at a deeper semantic level than what’s possible today. Our approach uses an expert system and a machine learning system. The expert system process information from images and inspires feature sets which help train the machine learning system. The expert system detects speech bubbles based on heuristics. The machine learning system uses machine learning algorithms. Specifically, Naive Bayes, Maximum Entropy, and support vector machine are used to detect speech bubbles. The algorithms are trained in a fully-supervised way and a semi-supervised way. Both the expert system and the machine learning system achieved high accuracy. We are able to train the machine learning algorithms to detect speech bubbles just as accurately as the expert system. We also applied the same approach to eye detection of characters in the panels, and are able to detect majority of the eyes but with low precision. However, we are able to improve the performance of our eye detection system significantly by combining the SVM and either the Naive Bayes or the AdaBoost classifiers.
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Du, Plessis Carla (Carla Susan). "Reconsidering the conventions employed in comix and comix strips." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21211.

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Chenault, Wesley. "Working the Margins: Women in the Comic Book Industry." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04232007-124907/.

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Thesis (M.A.)--Georgia State University, 2007.<br>Title from file title page. Marian Meyers, committee chair; Layli Phillips, Amira Jarmakani, committee members. Description based on contents viewed June 3, 2008. Includes bibliographical references (p. 120-123).
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Van, Staden Leonora. "Bitterkomix en Stripshow : pornografie en satire in Afrikaanse ondergrondse strippe." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1330.

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Pevey, Aaron. "From Superman to superbland the Man of Steel's popular decline among postmodern youth /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04172007-133407/.

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Thesis (M.A.)--Georgia State University, 2007.<br>Title from file title page. Chris Kocela, committee chair; Paul Schmidt, Michael Galchinsky, committee members. Electronic text (95 p. : ill. 9some col.)) : digital, PDF file. Description based on contents viewed Nov. 16, 2007. Includes bibliographical references (p. 78-81).
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McCoy, Kuleen O. "The funnies are a serious business : how local newspaper editors make decisions concerning diverse and controversial comic strips /." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08222009-040404/.

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Birch, Robert A. C. "Myth in the heroic comic-book : a reading of archetypes from The number one game and its models." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1781.

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Thesis (MPhil (Visual Arts))--Stellenbosch University, 2008.<br>This thesis considers the author's project submission, a comic-book entitled The Number One Game, as production of a local heroic myth. The author will show how this project attempts to engage with mythic and archetypal material to produce an entertaining narrative that has relevance to contemporary Cape Town. The narrative adapts previous incarnations of the hero, with reference to theories of archetypes and mythic patterning devices that are derived from the concept of the “mono-myth”. Joseph Campbell's conception of myth as expressing internal psychic processes will be compared to Roland Barthes' reading of myth as a special inflection of speech that forms a semiotic “metalanguage”. The comic-book is a specific form of the language of comics, a combination of image and text that is highly structured and that can produce a rich graphic text. Using the Judge Dredd and Batman comic-books as models it will be shown how The Number One Game adapts traditions of representation, such as in genre references, to local perspective to create a novel interplay of archetypes. It will be shown that this interplay in the author's project work and the rich potential of the comic-book as a site for mythic speech makes the mythic a useful paradigm for considering the expression of ideology in the heroic comic-book.
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Leland, Jennie. "The Phoenix Always Rises: The Evolution of Superheroines in Feminist Culture." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/LelandJ2007.pdf.

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Opperman, Susan. "Transmuting the mundane into transcendence : migrations of myth and its connection to contemporary comic books." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6823.

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Thesis (MPhil)--University of Stellenbosch, 2011.<br>ENGLISH ABSTRACT: This thesis investigates the human capacity of modifying established myth in the light of new circumstances. It focuses on the changing status of myth and mythical cosmologies in Western culture as advances in telematics and techno-culture has led to the abundant proliferation of mythic content in modern society. The rise of scientific, secular and rational tendencies in the Occident has resulted in the demystification and negation of some myths and the cultural realities they once supported. Mythical symbols, however, do exhibit a certain degree of independence from their original set ontologies, growing and transforming continuously within contemporary culture as they are communicated to all social spheres. A particular focus is placed on the demystification of myth and its ability to be appropriated within other discourses, most notably fiction. As such, myth tends to exhibit certain migratory and conservational qualities that this study investigates. This serves as background for this thesis that is primarily located within the broader theoretical argument of myth as a system of world-representation in society, the main point of discussion is the re-appropriation of myth within the narrower field of visual signification, specifically the comics medium, as exemplified in the works of Neil Gaiman and Conrad Botes, as well as in my own work.<br>AFRIKAANSE OPSOMMING: Die tesis ondersoek die menslike kapasiteit om gevestigde mites te wysig in die lig van nuwe omstandighede. Dit fokus op die veranderlike status van mites en mitiese kosmologieë in die Westerse kultuur, aangesien vooruitgang in die telematiek en tegnokultuur gelei het tot ’n ryk proliferasie van mitiese inhoud in die moderne samelewing. Die opkoms van wetenskaplike, sekulêre en rasionele tendense in die Weste het die demistifikasie en negasie van sommige mites en kulturele realiteite wat hulle eens ondersteun het, tot gevolg gehad. Mitiese simbole vertoon egter ’n sekere graad van onafhanklikheid van hul oorspronklike vasgestelde ontologieë en groei wild binne die kontemporêre kultuur, aangesien hulle deurlopend gekommunikeer word aan verskillende sosiale sfere. Daar word veral gefokus op die demistifikasie van die mite en sy vermoë om geapproprieer te word binne ander diskoerse, veral in fiksie. As sodanig is mites geneig tot migrasie en die vertoon van konserverende kwaliteite, soos ondersoek in hierdie studie. Alhoewel die tesis eerstens gelokaliseer is binne die breër teoretiese argumentasie rondom mite as ’n sisteem van wêreldrepresentasie in die samelewing, is die kern van diskussie die re-appropriasie van die mite binne die smaller veld van visuele betekenisgewing, spesifiek in strippe as medium, soos uitgelig in die werke van Neil Gaiman en Conrad Botes, asook in my eie werk.
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Books on the topic "Comic book themes"

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editor, Nybakken Scott, and DC Comics Inc, eds. Cover story: The DC Comics art of Brian Bolland. DC Comics, 2011.

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Garth, Ennis, and Dillon Steve, eds. Preacher, dead or alive: Covers by Glenn Fabry. DC Comics, 2000.

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Libby, Hruska, and Museum of Modern Art (New York, N.Y.), eds. Comic abstraction: Image-breaking, image-making. Museum of Modern Art, 2007.

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The comics come alive: A guide to comic-strip characters in live-action productions. Scarecrow Press, 1991.

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Graphic novels: A genre guide to comic books, manga, and more. Libraries Unlimited, 2007.

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Mignola, Mike. Hellboy: The first 20 years. Edited by Allie Scott. Dark Horse Comics, 2014.

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Bowden, Jonathan. Pulp fascism: Right-wing themes in comics, graphic novels, & popular literature. Counter-Currents Publishing Ltd., 2013.

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Critical survey of graphic novels: History, theme, and technique. Salem Press, 2013.

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Bertieri, Claudio. Fumetti all'italiana: Le fiabe a quadretti 1908-1945. Comic art, 1989.

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Autobiographical comics: Life writing in pictures. University Press of Mississippi, 2012.

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Book chapters on the topic "Comic book themes"

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Brown, Simon. "Tales from The Crate: Creepshow, EC and ‘Comic Book Style’." In Creepshow. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325918.003.0005.

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This chapter examines how George A. Romero's Creepshow (1982) integrates EC's comic book visual style. At the same time as Romero and Stephen King were building upon EC's moral themes by introducing their own preoccupations, what they were also attempting was to create a film that integrated horror cinema and the visual look of EC comics. Interviewed in 1982, Romeo claimed that although it was ‘the irreverence and that graphic nature of the comics’ that attracted him to EC, the influence of EC in Creepshow ‘is not so much visual’. It is possible therefore that it was King who was initially the greater advocate for including comic book stylizations, since they were ‘very specifically planned and spelled out in the shooting script’. Although the influence of EC visuals was apparently of lesser importance to Romero initially, in its conception Creepshow was designed to ape the style of the comics to which it was an homage, and Romero certainly embraced this in the shooting, deliberately introducing moments that foreground a comic book visual style, including animated sequences, an expressionist use of colour at key moments, and the replication of the experience of reading a comic book through the use of panels within frames, gutters, and comic book style shot transitions.
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Barbour, Chad A. "From the Nineteenth to the Twentieth Century." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0004.

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Chapter three follows the lineage of frontier and Western fantasies from the nineteenth century to the twentieth via the comic book adaptations of novels like The Last of the Mohicans and comic depictions of frontier figures like Boone and Girty. Following in the line of late-nineteenth century dime novels and early twentieth century film, comic books inherited many of the tropes and conventions of the Western and frontier genres, including those of the white Indian and playing Indian. Multiple adaptations of The Last of the Mohicans, from the 1940s to the 2000s, testify to that story's persistent appeal. In the 1950s, a flurry of Boone comics demonstrates his popularity as an American hero while engaging in many of the themes and cultural implications that are essential to this book's focus.
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Fraser, Benjamin. "Conclusion." In Visible Cities, Global Comics. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825032.003.0007.

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To bring Visible Cities: Urban Images and Form in Global Comics to a close, it is worthwhile to return to how I outlined this project in the introduction. This book was not meant to be an exhaustive treatment of global cities in comics. Neither was it meant to be broadly representative of themes addressed in the comics medium as a whole. It did not attempt to tell an encyclopedic history of the ninth art, or to catalogue the way in which cities are represented in comic. First and foremost it has been an urban contribution to the interdisciplinary landscape of comics studies....
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Silton, Nava R., Patrick Riley, and Amanda Anzovino. "Kindness Makes a Difference." In Advances in Medical Education, Research, and Ethics. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2940-9.ch006.

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High quality interventions, which employ an extended contact model, wherein stories, roleplaying, and other appealing informational media are used to promote more positive intergroup attitudes, tend to be effective at enhancing the attitudes, intentions, and interests of typical children toward their peers with differences. The following four studies assess the efficacy of The Realabilities comic book series and the Addy &amp; Uno off-Broadway musical, which promote kindness, empathy, and a stop-bullying platform while teaching about disabilities and/or mental health disorders. The studies include 1) a qualitative study of 19 fourth grade students from an elementary school in Paramus, NJ, who viewed the Addy &amp; Uno off-Broadway musical and participated in the full Realabilities educational comic book series intervention; 2) a qualitative study of 20 high school students with diverse disabilities, who participated in the full Realabilities comic book series intervention; 3) a quantitative study of 76 students from a high school in Long Island City, NY, who read the first mental health-based Realabilities comic book; and finally, 4) a quantitative study of 66 students from a high school in Long Island City, NY, who read the first and second mental-health based Realabilities comics. The researchers used a coding system to find principal themes in the qualitative data and used modified versions of the adjective checklist (ACL) and shared activities questionnaire (SAQ), along with a knowledge measure, to assess quantitative changes from pre to post-testing of the comic book series. Study findings help support the efficacy of an extended contact model and suggest that programs like these may serve as useful antidotes to counter negative attitudes of children and adolescents towards disabilities and mental health disorders, respectively.
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Silton, Nava R., Patrick Riley, and Amanda Anzovino. "Kindness Makes a Difference." In Research Anthology on Mental Health Stigma, Education, and Treatment. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8544-3.ch013.

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High quality interventions, which employ an extended contact model, wherein stories, roleplaying, and other appealing informational media are used to promote more positive intergroup attitudes, tend to be effective at enhancing the attitudes, intentions, and interests of typical children toward their peers with differences. The following four studies assess the efficacy of The Realabilities comic book series and the Addy &amp; Uno off-Broadway musical, which promote kindness, empathy, and a stop-bullying platform while teaching about disabilities and/or mental health disorders. The studies include 1) a qualitative study of 19 fourth grade students from an elementary school in Paramus, NJ, who viewed the Addy &amp; Uno off-Broadway musical and participated in the full Realabilities educational comic book series intervention; 2) a qualitative study of 20 high school students with diverse disabilities, who participated in the full Realabilities comic book series intervention; 3) a quantitative study of 76 students from a high school in Long Island City, NY, who read the first mental health-based Realabilities comic book; and finally, 4) a quantitative study of 66 students from a high school in Long Island City, NY, who read the first and second mental-health based Realabilities comics. The researchers used a coding system to find principal themes in the qualitative data and used modified versions of the adjective checklist (ACL) and shared activities questionnaire (SAQ), along with a knowledge measure, to assess quantitative changes from pre to post-testing of the comic book series. Study findings help support the efficacy of an extended contact model and suggest that programs like these may serve as useful antidotes to counter negative attitudes of children and adolescents towards disabilities and mental health disorders, respectively.
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Barbour, Chad A. "When Superheroes Play Indian." In From Daniel Boone to Captain America. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806840.003.0006.

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Chapter five continues the discussion of playing Indian in comic books, with the focus on superheroes in particular. In the late 1940s and early 1950s, Plastic Man, Captain Marvel, Superman, and Batman play Indian. This chapter then examines Green Arrow’s Indian masquerade and its interaction with the social consciousness of Dennis O'Neil's Green Lantern. This chapter then considers Captain America as Indian and the repercussions of playing Indian for his role as national superhero and representative of U.S. identity. In Neil Gaiman’s 1602 (2003-04) and Tony Bedard’s one-shot story, What If? Featuring Captain America (2006), these reimagined visions of the Captain America mythos appropriate and perform Indianness in order to possess virile masculinity and physical strength. Furthermore, this appropriation of Indianness to produce heroic masculinity accompanies the comics’ conventions of superheroism. The white superhero as Indian encapsulates the major themes of this study and provides a fitting resolution for this book.
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7

Destrée, Pierre, and Franco V. Trivigno. "Introduction." In Laughter, Humor, and Comedy in Ancient Philosophy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190460549.003.0001.

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This introduction motivates the volume’s main themes by arguing that the seriousness with which ancient philosophers treated laughter, humor, and comedy is not, but ought to be, reflected in scholarly attention to these issues. In addition, ancient philosophers often wrote in ways that borrowed comedic devices and techniques from comic poetry and drama, and contemporary scholarship needs to be sensitive to these devices in order to understand their use by these figures. The volume is organized around three themes or set of questions. The first part of the book contains four chapters on the psychology of laughter. The second part contains three chapters on the ethical and social norms governing laughter and humor. The third part contains six chapters on the philosophical uses of humor and comedic technique.
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Munson, Kim A. "Introduction." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0001.

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This introduction to the book Comic Art in Museums by art historian Kim A. Munson explores the history, controversies, and trends that have shaped comic art exhibitions, important publications, and key museums, galleries, and collecting institutions. Munson explains how the six sections of the book map out the history of influential shows of original comic art from newly rediscovered shows of the 1930’s to contemporary blockbusters like High and Low: Modern Art, Popular Culture and Masters of American Comics, as well as the critical dialogue surrounding these exhibitions. This introduction also contains a brief discussion on shows of fine art influenced by comics, such as Splat, Boom, Pow! The Influence of Comics on Contemporary Art. Includes exhibition photos: Marvel (Seattle), Krazy Kat (Madrid), Rube Goldberg (San Francisco), Mangasia (Nantes).
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Hanley, Tim. "The Evolution of Female Readership." In Gender and the Superhero Narrative. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496818805.003.0010.

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The comic book industry is currently experiencing a renaissance of female readers across all genres, including superhero books. By every conceivable metric, women have engaged in superhero fandom in ever-increasing levels over the past decade. However, historical demographic breakdowns for the readership of superhero comics are essentially non-existent. There is one way to construct our own data, however. In the early 1960s, letter columns became a regular feature in superhero comic books, and remained a constant in the genre through the 1990s. This chapter uses letters pages as a way of estimating the level of, and investigating the nature of, female readership of superhero comics.
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Cremins, Brian. "Wertham’s Little Goblins." In Captain Marvel and the Art of Nostalgia. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496808769.003.0006.

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After Fawcett’s legal settlement with National in 1953, the original Captain Marvel did not return to comic books until 1973. In the meantime, comic book fans and amateur historians began writing about the character in the 1960s. This chapter traces Captain Marvel’s afterlife in these fanzines, publications that helped to establish the foundation for comics studies in the United States. The chapter also includes an overview of recent developments in the field of memory and nostalgia studies. These recent studies of the history of nostalgia in medicine, psychology, and the arts are essential for an understanding of how childhood memories have shaped comics studies as a discipline.
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