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Journal articles on the topic 'Comic modes'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Cowan, William Tynes. "Plantation comic modes." Humor – International Journal of Humor Research 14, no. 1 (2001): 1–24. http://dx.doi.org/10.1515/humr.14.1.1.

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AbstractThis essay attempts to synthesize disparate sources regarding African-American humor in the antebellum South into a comprehensive view of comic modes on the plantation. In part, the essay addresses the question of slave compliance with white demands that the slave be funny on demand. Such compliance provided slaveholders with evidence that their slaves were not only content in their social position but also happy. I try to navigate through the various arguments related to the Sambo stereotype by examining slave humor in various realms of the plantation: from the big house to the quarte

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Netedu, Loredana. "VISUAL AND VERBAL NARRATION IN THE ROMANIAN COMIC STRIPS: REWRITING CANONIC TEXTS." JOURNAL OF LINGUISTIC AND INTERCULTURAL EDUCATION 17, no. 2 (2024): 67–83. https://doi.org/10.29302/jolie.2024.17.2.6.

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Abstract “One of the few forms of art specific to the postmodern cultural paradigm” (Mitchievici 2014: 23), comics have become a global phenomenon and an important part of the contemporary global popular culture, already validated by intellectuals such as Umberto Eco, Roland Barthes or Alain Robbe-Grillet. Comics resort to several means of expression, namely “verbal, pictorial, and typographic signs” (Kaindl 2004: 190), and therefore, in order to be fully deciphered, a semiotic analysis on the verbal and visual components, as well as on the relation between text and image proves fruitful. A mu

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Żaglewski, Tomasz. "Infinite Narratives on Infinite Earths. The Evolution of Modern Superhero Films." Panoptikum, no. 22 (December 17, 2019): 158–72. http://dx.doi.org/10.26881/pan.2019.22.06.

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After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the cr

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Dernovšek, Davorin. "The Divine Sandman." ELOPE: English Language Overseas Perspectives and Enquiries 8, no. 2 (2011): 45–62. http://dx.doi.org/10.4312/elope.8.2.45-62.

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The article discusses the intricacies of Neil Gaiman’s comics work The Sandman through the lens of reception; particularly it examines how Dante Alighieri’s masterpiece The Divine Comedy echoes through this epic comic. It not only tries to bring together (or rather deconstruct) these two profound works of art from diverse eras of human expression, it also discusses how two different modes of artistic expression – comics and poetry – converge on a metalevel. It furthermore treats the general nature of comics; denoting both their connection with literature and art in general, though in this resp

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d’Alessandro, Marco. "Continuity: Inside the frame and behind the screen." Studies in Comics 14, no. 1 (2023): 93–107. http://dx.doi.org/10.1386/stic_00094_1.

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Since their appearance, digital comics have posed many challenges to the world of comic studies. Are they really comics? Should we talk about them as video games or interactive experiences? The questions are many, and they usually stumble on the – apparently – most important question: how can we define a comic? And how do we start analysing them? Scholars have multiplied paths and definitions, features and prototypes, trying to tame such a complex and ever-evolving object, with varying degrees of success. With this visual essay I will focus on – and concretely show – the aspect I believe is th

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Żaglewski, Tomasz. "Superhero as transmedium. The stylistic and narrative strategies of remediation in Batman: The Telltale Series." Tekstualia 3, no. 58 (2019): 93–110. http://dx.doi.org/10.5604/01.3001.0013.6425.

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The article analyzes the video game Batman: The Telltale Series and its „paratexts” such as comics through the lens of remediation as a basic tool of constructing a transmedia environment. Superheroes depend, to a great extent, on their „transmedia” superpowers as they constantly oscillate between various media iterations and theirs stylistic/narrative features. Superheroes should not be perceived as comic books-based inventions, but rather as entities organically connected with both transmedia visual styles and transmedia modes of storytelling.

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Palaver, Stefan. "nr="141"Spuren des Halts in Daniel Clowes’ David Boring." Jahrbuch f??r P??dagogik 2019, no. 1 (2021): 141–58. http://dx.doi.org/10.3726/jp012019k_141.

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Zusammenfassung: Nähert man sich der Frage, wie Individuen zu innerer Sicherheit gelangen, aus der Perspektive von Subjektivierungstheorien, so lassen sich diese nur in einem komplexen Wechselverhältnis von Fremd- und Selbstformungsmodi erklären. Um diese sichtbar zu machen und zu verstehen, können Artefakte der Kunst wertvolle Impulse geben, indem sie eine Verschiebung gewohnter Wahrnehmung bewirken können. Für eine subjektivierungstheoretisch verortete Erforschung individueller Generierung von innerer Sicherheit bieten sich Comics in besonderer Weise an. Aufgrund ihrer sequentiellen Erzählst

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Yefymenko, Victoria. "COMICS AS A TRANSMEDIAL PHENOMENON: FROM A PRINTED TO A DIGITAL MEDIUM." Folia linguistica et litteraria XII, no. 35 (2021): 159–74. http://dx.doi.org/10.31902/fll.35.2021.8.

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Comics have recently attracted the increased attention of theorists as a very dynamic and fast-growing genre. A characteristic feature of contemporary comics is their transmediality, i.e., exceeding the boundaries of the printed page and transforming to digital narratives. Transition to a digital medium gives a number of advantages, including the possibility of using different display modes, deeper immersion in the fictional world, greater degree of interactivity. This paper examines comics, which are adaptations of the classic fairy tale Little Red Riding Hood, identifies intertextual referen

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Pischedda, Pier Simone. "A Diachronic Analysis of the Translation of English Sound Symbolism in Italian Comics." Open Linguistics 6, no. 1 (2020): 19–37. http://dx.doi.org/10.1515/opli-2020-0002.

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AbstractPhonosymbolic elements such as ideophones and interjections test the translator’s ability in various ways. These forms would, in theory, require a complete change of form and substance of the source text but this has not always been possible because of graphical, cultural and linguistic reasons, and this led, in certain cases, to a foreignized target-text environment. Recent research has started to consider the relationship between verbal and visual modes as beneficial and not just as a mere constraint for the translator. This research aims to align itself with this approach in order t

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Telò, Mario. "ARISTOPHANES VS TYPHON: CO(S)MIC RIVALRY, VOICE AND TEMPORALITY INKNIGHTS." Ramus 43, no. 1 (2014): 25–44. http://dx.doi.org/10.1017/rmu.2014.2.

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Recent studies have analysed the essential role of interpoetic rivalry in Aristophanes' comic imagination. Zachary Biles has shown that ‘festival agonistics provide an underlying logic for the overall thematic design of individual plays’ and that ‘the plays can be treated as creative responses to the competitions.’ Aristophanes' dramatisation of comic competition has been viewed as a reflection of the struggles of political factions in late-fifth-century Athens or as an expression of a ‘rhetoric of self-promotion’ that builds the comic plot through the mutual borrowing of comic material (jokes

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Sputnitskaya, Nina Yu. "THE IMAGE OF THE PRESIDENT AND HIS CRITIQUE IN SUPERHERO COMICS IN THE HISTORICAL CONTEXT OF THE RUSSIAN-AMERICAN RELATIONS IN THE 1980S." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 2 (2024): 22–37. http://dx.doi.org/10.28995/2073-6339-2024-2-22-37.

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The aim of the study is to determine the specifics of criticism of a politician and the institution of the presidency in popular culture using the example of the critique of Ronald Reagan in the comics during his tenure. The object of the analysis is the representation of the US President in the issues of the industry leaders of print superhero comics; the subject is the mechanisms of criticism of the institution of the presidency. The research methodology is based on a semiotic and iconological analysis of the visual material; a descriptive method is used to introduce the historical context.

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Haris, Nur Annisa, Yusnita Febrianti, and Nurenzia Yannuar. "Exploring augmentation of meaning through intersemiotic complementarity in children comic book series." Indonesian Journal of Applied Linguistics 12, no. 3 (2023): 752–64. http://dx.doi.org/10.17509/ijal.v12i3.39951.

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Comic books are taking a new turn as a medium of learning. The combination of modes of visual and verbal in comics is a rich source of meanings. They are arguably one of the contributors to why comic books are considered as a form of reading materials for the purpose of language learning. With this regard, the present study is looking into a comic book series targeted for young readers, entitled ‘Little Dim Sum Warriors’. The overall aim of the study is to comprehend how the readers are likely to learn language with the comic. More specifically, the study addresses the details of the verbal-vi

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Ellis, Tesni. "Somewhere between Currere and Ficto-currere, with my Teacher The Near-Sighted Monkey." Journal of Curriculum Theorizing 39, no. 4 (2024): 26–37. https://doi.org/10.63997/jct.v39i4.1159.

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In this paper, I explore artist and teacher Lynda Barry’s practice of autobifictionalography as a kind of third practice at the intersection of currere (Pinar & Grumet, 1976/2015) and ficto-currere (McNulty, 2018, 2019). I position making autobifictionalographic comics, in which memory and imagination are intertwined, as a form of inquiry that can enable one to (re)construct the self while confronting (and even embracing) the limits of self-representation. This speculative, subversive, arts-based form of inquiry can implicate the autobiographical even as intentional gaps, traces, and incon

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Delazari, Ivan, and Jason S. Polley. "“Popping into Your Mind’s Eye”: Covert Multimodality in David Foster Wallace’s “The Soul Is Not a Smithy”." Style 56, no. 4 (2022): 413–32. http://dx.doi.org/10.5325/style.56.4.0413.

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ABSTRACT The article reads David Foster Wallace’s short story “The Soul Is Not a Smithy” (2004) as a sample of covert multimodality—implementation of several sensorial and/or semiotic modes in an apparently monomodal medium. Unlike the thoroughly theorized genre of the multimodal novel, Wallace’s narrative does not materially incorporate any visual images, remaining “purely” verbal—even hyperverbal, considering the author’s reputation for supplemental detours and deferrals. In “The Soul Is Not a Smithy,” one narrative strand is a comic strip the schoolkid protagonist pictures entirely in his h

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Marini, Anna Marta. "The Fantasmical Gothic Heterotopia in Rhode Montijo’s Pablo’s Inferno." Camino Real. Estudios de las Hispanidades Norteamericanas 13, no. 16 (2021): 85–101. https://doi.org/10.37536/cr.2021.16.2981.

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Rhode Montijo’s work is characterized by a distinctive blend of diverse elements converging in his “fantasmical world”. As comic book artist, he is the author of the limited series Pablo’s Inferno (1999-2000), narrating a little Mexican American boy’s travel through the underworld. Accompanied by fallen demi-god Quetzal, Pablo embarks in a quest to (re)discover his cultural roots and commit to them. Like most of Montijo’s work, the comic book series holds an intrinsic gothic mode exploiting the playful nature of the comic medium and interrogating Mexican American heritage, by means of absorpti

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Bozorova, Gulmira Natalya Nikolaevna Rozikova. "POSTMODERNISM, LAUGHTER AND ONTOLOGICAL POETICS." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 5 (2023): 492–94. https://doi.org/10.5281/zenodo.7939556.

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This article examines the ontology of laughter in postmodern literature. When discussing the mystery of laughter, the author himself is under the power of this mystery, building a number of key episodes and character characteristics in accordance with the rules dictated by the mythology and psychology of laughter. Modes of artistry that convey a laughable picture of the world are ironic, satirical, and comic modes of artistry.

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Ivchenko, Natalia. "Comic Function in the Animated Ecodiscourse (Case Study of “Zootopia”)." Theory and Practice in Language Studies 11, no. 9 (2021): 1080–86. http://dx.doi.org/10.17507/tpls.1109.14.

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This study focuses on the role of comic functions in exposing and challenging hidden ideologies, intentions, potential significance and other phenomena behind the animated ecological discourse of the film "Zootopia". The paper consistently considers two views on the ecology of animated discourse and comic functions that are used to uncover violation and establish an eco-friendly relation by means of language forms. The material of the English-language animated discourse of the film "Zootopia" examines cooperation of verbal and nonverbal modes, exposes problems and encourages solving them as we

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Peters, Timothy D. "Symposium: Drawing the Human." Law, Technology and Humans 2, no. 2 (2020): 114–19. http://dx.doi.org/10.5204/lthj.1766.

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What does it mean to be human today in our globalised, technologised and hypermediated world? How do our modes of cultural representation relate to, affect and effect the role of being human? This special issue of Law, Technology and Humans seeks to explore the form of the comic as one means to address these questions. Comics are a means of cultural representation and discourse that not only reflect but refract — through their deployment of word and image, of grid and gutter, of both visual and textual mediation — the very means of human interaction and intersubjectivity. Arising out of the 20

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Radley, Bryan. "The Comic Uncanny in John Banville's Eclipse." Irish University Review 49, no. 2 (2019): 322–39. http://dx.doi.org/10.3366/iur.2019.0409.

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Humour is a key facet of John Banville's aesthetic but is currently an under-researched aspect of his oeuvre. Few critics devote sustained attention to the role of comedy in Banville's prose; most pay lip service to humour before moving on to more serious business. By contrast, the Banvillean uncanny is often examined as a defining feature of the writer's later work. This article proposes that Banville's novels demonstrate the conjunction of the comic and the uncanny, exposing how they work as interrelated, mutually productive modes. This is especially true when theatricality is also in play,

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Fallianda, Fallianda, Rani Yuni Astiti, and Zulvy Alivia Hanim. "Analyzing Humor in Newspaper Comic Strips Using Verbal-Visual Analysis." Lingua Cultura 12, no. 4 (2018): 383. http://dx.doi.org/10.21512/lc.v12i4.4911.

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The researchers aimed at analyzing the meaning of humor in newspaper comic strips within a variety of incongruous combinations of multimodal rhetoric. The current research focused on how humor was produced via verbal medium only, via both verbal and visual media, as well as via visual only. The source of data was 74 political comic strips featured in Kompas newspaper. The General Theory of Verbal Humor (GTVH) was adapted as a framework of analysis. The analysis of the data confirms the following categorization: 49 humors appear only in text, 22 humor result from the interaction of text and ima

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Cuddy-Keane, Melba. "The Politics of Comic Modes in Virginia Woolf's Between the Acts." PMLA 105, no. 2 (1990): 273. http://dx.doi.org/10.2307/462562.

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Guzek, Mariusz. ""Zátopek" – komiksowa codzienność długodystansowca." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 61–80. http://dx.doi.org/10.21697/zk.2023.10.04.

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Zátopek: The Comic Version of the Everyday Life of a Long-distance Runner The comics signed by scriptwriter Jan Novák and illustrator Jaromír 99 follow a particularly well-thought-out authorial strategy. They tell the story of post-war Czechoslovakia, their protagonists are authentic figures, and their approach has little in common with the uncritical glorification so often found in (not only graphic) biographies. Created in 2016, the first of the works is dedicated to Emil Zátopek, a long-distance runner, three-time gold medalist at the Helsinki Olympics, and a man who got caught up in the po

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de Aguillar Pinho, Maria Luiza Carvalho, Angela Maria Cavalcanti da Rocha, Celso Roberto de Aguillar Pinho, and Cristiane Junqueira Giovannini. "“Monica and Friends”: the challenge to internationalize." Emerald Emerging Markets Case Studies 7, no. 2 (2017): 1–26. http://dx.doi.org/10.1108/eemcs-06-2016-0139.

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Subject area International business or International marketing. Study level/applicability The case is recommended for undergraduate and graduate courses in the fields of international business and international marketing. The aim is to show students the problems that a family business in the animation industry faces while growing and internationalizing. Specifically, the case discusses the entry mode selection and market selection challenges faced by an emerging market company in the comic book and animation industry to operate overseas and compete with entertainment giants such as Disney and

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Beck, Günter. ""EINE ENTSCHEIDUNG FÜR DAS LEBEN": THE COMIC MODE IN ABBAS KHIDER’S NOVELS." RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 2 (November 7, 2019): 4–22. http://dx.doi.org/10.29038/2617-6696.2019.2.4.22.

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The article addresses the structuring function and pivotal role of the comic in the writings of German-Iraqi author Abbas Khider, focusing primarily on his 2008 debut novel Der falsche Inder (The Village Indian) which as autopoetic fiction depicts in its cyclic narrative structure the horrible experiences of a young Iraqi man under a brutal dictatorial regime and tells of his equally disturbing experiences on his further escape route to his final destination in Germany. Seemingly, in an almost cynical contrast to this grim topicality, stands the novel’s general and cohesive humorous tone, its

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Teiko, Nii Okain. "Archetypal Posturing of Soyinka’s Stylistic Modes in the Trials of Brother Jero." International Journal of Language and Literary Studies 3, no. 4 (2021): 13–25. http://dx.doi.org/10.36892/ijlls.v3i4.689.

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Soyinka’s deep immersion in mythology coupled with his stylistic modes in the portraiture of the archetypal trickster hero, as utilized in some of his comic plays, demonstrate a genius whose creative works anchor both the collective universal literary tradition and a domesticated form that defines his uniqueness. Drawing interpretive insights from Frye’s archetypal criticism and the Jungian psychology, this essay examines how Soyinka appropriates the archetypal figure as a monumental image in the play, The Trials of Brother Jero, and how his stylistic choices in the handling of the hero craft

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Fletcher, Robert P. "Visual Thinking and the Picture Story in The History of Henry Esmond." PMLA/Publications of the Modern Language Association of America 113, no. 3 (1998): 379–94. http://dx.doi.org/10.2307/463347.

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This essay argues that Thackeray's unillustrated three-volume novel The History of Henry Esmond is shaped by modes of perception and representation nascent in the visual culture of nineteenth-century England and epitomized in the comic strip. Through one of Thackeray's own picture stories, it first describes the ekphrastic basis of his narrative imagination and then contextualizes his visual thinking by relating his journalistic reflections on images in society to recent cultural histories of visual experience. Subsequently, the essay demonstrates that Henry Esmond, a seemingly monumental hist

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Sawallisch, Nele. "“Horsin’ Around”? #MeToo, the Sadcom, and BoJack Horseman." Humanities 10, no. 4 (2021): 115. http://dx.doi.org/10.3390/h10040115.

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The animated series BoJack Horseman has garnered much critical acclaim for its mix of tragic and comic portrayals of its eponymous protagonist, washed-up actor and cynic BoJack, and his friends in the anthropomorphic Hollywoo setting. The term “sadcom” has been applied to BoJack and other series that operate on similar premises—an interesting response to larger critical investigations of the intersections of tragic and comic modes of humor that find expression, for example, in the awkward and in cringe. This article investigates how this mixture comes to bear in season 5 of the series from 201

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Bahtiar, Zulfan, Nurul Chojimah, and Ika Nurhayani. "LINGUISTIC AND VISUAL MODES CONTRIBUTION TO THE HUMOR PRODUCTION OF PUNS IN INTERNET MEMES." J-ELLiT (Journal of English Language, Literature, and Teaching) 6, no. 2 (2023): 69. http://dx.doi.org/10.17977/um046v6i22022p69-77.

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This article aims to get a better understanding of the text-picture interaction and, in particular, the pragmatic consequences of 150 online memes that feature puns, one of the linguistic humor subgenres. This article will analyze a corpus of 150 memes. Using a comic taxonomy by McCloud (1994). The internet memes then were to be categorized. The default taxonomy of categories produced the following classification of internet memes: word specific (28), picture specific (2), additive (29), and interdependent (91). The findings show rather significant disparities among the findings. Some categori

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Shirbanova, Anna A., Kseniia N. Dergunova, and Ivan A. Delazari. "“Mit vielen Kupfern”: The Second Kamchatka Expedition as multimodal discourse in the diaries of G.W. Steller and the comic strip by T.E.Bak." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 609–30. http://dx.doi.org/10.21638/spbu09.2023.313.

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The article discusses some literary incarnations of the Second Kamchatka Expedition led by V.Bering as stages of a multimodal discourse that corresponds to an important trend of literary evolution between the 18th and 21st centuries: the negotiation between the verbal and pictorial modes of representational design, particularly with respect to visual information. The study focuses on border cases of conditional literariness, in G.Genette’s terminology: nonfiction and comics. The diaries of an Expedition participant, German traveler and naturalist G.W. Steller, the illustrated editions of those

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Sachs, Leon. "Reading Colette’s Claudine À L’École Through Bergson’s Comic Lens." Women in French Studies 2024, no. 2 (2024): 55–70. https://doi.org/10.1353/wfs.2024.a946126.

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Abstract: This essay reads Colette’s Claudine à l’école through the lens of Henri Bergson’s theory of the comic. Though usually remembered as a titillating but jejune fictionalization of the author’s experience at a girls’ school in the early Third Republic, the novel is endowed with more literary and philosophical complexity than is typically acknowledged. The narrator’s dispassionate mocking of the inflexible educational practices and the habitual libidinous behavior of the Republic’s unthinking votaries contains a deeper meditation on institutional and ideological rigidities of all kinds. M

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BALKIN, SARAH. "The Killjoy Comedian: Hannah Gadsby's Nanette." Theatre Research International 45, no. 1 (2020): 72–85. http://dx.doi.org/10.1017/s0307883319000592.

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In her 2017 show Nanette, Australian comedian Hannah Gadsby announced that she was quitting comedy. In the show, Gadsby argued that as a marginalized person – a gender-nonconforming lesbian from rural Tasmania – she was doing herself a disservice when she invited audiences to laugh at her trademark self-deprecating humour. Gadsby framed her decision to quit comedy partly as a problem of persona: her practice as a comedian was to take actual, sometimes traumatic, events from her life and turn them into jokes, which she described as ‘half-told stories’. So framed, the problem with Gadsby's comic

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Dinnen, Zara. "Becoming User: Oracle, Barbara Gordon, and Representations of the User in Popular Culture." Camera Obscura 38, no. 3 (2023): 141–71. http://dx.doi.org/10.1215/02705346-10772617.

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Abstract This essay considers the figure of the “user” as an emergent subject of late twentieth-century US culture, in relation to the World Wide Web and the 1990 Americans with Disabilities Act. The user is a subject position that is historical in the sense that use relations have always determined social formations within capitalism, but it has been newly energized in contemporary modes of capitalism after digital computing, and newly weighted in contemporary renderings of the nation-state as service provider. This essay turns to a cultural moment in which a privatized user subject was comin

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Neal, D'arcee Charington. "Who is Asking?: Afro-Arthurian Legend-making in N.K. Jemisin's Far Sector." Arthuriana 33, no. 3 (2023): 86–103. http://dx.doi.org/10.1353/art.2023.a910872.

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Abstract: Whether an Arthurian knight, a Green Lantern, or a Legendborn, one cannot have a legacy without first becoming a legend. In N.K. Jemisin's graphic novel Far Sector (2020) Sojourner 'Jo' Muellein's story as both community activist and guardian echoes, reinvents, and reimagines Arthurian romances through the lens of Afrofuturism; further, this fantastical remix challenges white supremacist modes of oppressive comic tradition by foregrounding racial and gendered identities. Making a legend is not about whom society has agreed to be the answer. Instead, such ideals lie with whoever asks

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Van Heerden, Cornelius. "Newspaper cartoons as a reflection of political change during the first democratic elections in South Africa." Communicare: Journal for Communication Studies in Africa 13, no. 2 (2022): 103–20. http://dx.doi.org/10.36615/jcsa.v13i2.1998.

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The first Southern African cartoonists were probably the Stone Age Bushman whose drawings adorn rock faces in this part of the continent. Modern cartoonists may use more sophisticated equipment but their drawings, although on recyclable print, also reflect a particular part of our history. The following view of Schoonraad et al (1989:15: "A collection of cartoons covering a particular period, will present an unequalled graphic history of political and current events" They also add that the state of any nation is reflected by its newspaper cartoons Geipel 1972 argues that to the historian, cart

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Prieto Pablos, Juan Antonio. "Women in breeches and modes of masculinity in Restoration comedy." Sederi, no. 22 (2012): 69–91. http://dx.doi.org/10.34136/sederi.2012.4.

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The dramatic tradition that featured female characters dressed in men’s costume was revived after the theatres reopened in the Restoration, with the difference that this time these roles were played by actresses. It has been argued that the contemplation of the female body reinforced the erotization of the actresses for the sake of predominantly male audiences. Their performances in “breeches roles” have also been interpreted as evidence of a progressive acknowledgement of the social possibilities of female agency. My own contention is that these roles did not only raise female agency to a lev

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Brozović, Domagoj. "How to Tell a Story without Words." Acta Universitatis Sapientiae Film and Media Studies 25 (August 20, 2024): 137–58. http://dx.doi.org/10.47745/ausfm-2024-0008.

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This paper focuses on the narrativity in wordless comics, that is, in comics that do not use words or use them only scarcely. The verbal-visual duality of comics is always semiotically challenging. The absence of words in wordless comics foregrounds their visual component which carries additional narrative or aesthetic meaning for the comic as a whole. First, several contemporary narratological models are considered. Most often narratives are considered as a description of a series of situations and events, independently of the medium in which they occur. Among scholars of comic studies, the a

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Nooter, Sarah. "Disjunctive Soundscapes in Anne Carson’s The Trojan Women and H of H." Classical Antiquity 42, no. 2 (2023): 311–21. http://dx.doi.org/10.1525/ca.2023.42.2.311.

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This essay examines two distinct modes of sonic disjunction in Rosanna Bruno and Anne Carson’s The Trojan Women: A Comic and Carson’s H of H Playbook. The Trojan Women shows how noticing sounds that are dislocated from expectations exposes hard truths about reality. H of H interrogates our “regular” mode of hearing other people and implies that there is a gap in how we can know others and know ourselves. Thus, though both are graphic texts, their power and effect are nonetheless garnered also through the sounds they describe and conjure in the minds of their readers.

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Villa, Luisa. "Laughing with Young Ben: Vivian Grey, Flim-Flams!, and the Perplexities of Satirical Writing." Romanticism 28, no. 3 (2022): 277–90. http://dx.doi.org/10.3366/rom.2022.0568.

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From his unpublished juvenilia to The Young Duke (1831), Benjamin Disraeli tested his literary potential mainly through writing in the satirical, comic, or even farcical mode. One way or another, all his fictional works from 1826 to 1830 were meant to make people laugh, or at least smile, and appreciate the young author’s wit and humorous talent for irony and comic exaggeration. He sidelined this practice in the 1830s, when he mainly experimented with other narrative genres and modes of representation, eventually parading in Venetia (1837) a new sobriety of tone such as suited an aspiring Tory

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Sokol, B. J. "The “rule of three” and the “callback”: How Comic Form in The Merry Wives of Windsor 4.1 May Help To Date Its Folio Text." Ben Jonson Journal 26, no. 1 (2019): 97–112. http://dx.doi.org/10.3366/bjj.2019.0241.

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An analysis is undertaken of the comic techniques employed in Shakespeare's humorous portrayal of a private language lesson in The Merry Wives of Windsor. This reveals that this Folio-only Scene (4.1) teases and amuses by means of subtly and rhythmically combining several differing comedic modes and tactics. This combination makes its comic construction exceedingly complex. A private language lesson is also portrayed in Scene 3.4 of Shakespeare's King Henry V. There, just as in The Merry Wives 4.1, audiences meet incongruous misidentifications of only-apparently ribald bi-lingual cognates. The

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O'Donoghue, Darragh. "Whatever It Is, I'm Against It: Comedy and Jewishness in the Work of Stephen Dwoskin." Jewish Film & New Media: An International Journal 10, no. 1 (2022): 36–80. http://dx.doi.org/10.1353/jfn.2022.a914336.

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ABSTRACT: This essay reframes the infamously grave and grueling experimental filmmaker Stephen Dwoskin as a comic artist. Experimental film in the UK is usually discussed in terms of the marginal history of artists' film and video, or the form's relationship to elite contemporary art. Stephen Dwoskin was engaged with these concerns. He was, however, also a devotee of Hollywood film, like his fellow filmmakers in the New York underground, and like the group of "film enthusiasts" that founded the London Film-Makers' Co-op on its model and screened popular and generic American cinema alongside av

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Shahar, Galili. "Narrentum and Being-Jewish: Kafka and Benjamin." Naharaim 15, no. 1 (2021): 57–72. http://dx.doi.org/10.1515/naha-2021-0002.

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Abstract This essay examines the notion of Narrentum (foolishness) in Franz Kafka’s writings, reflecting Walter Benjamin’s engagement with the legacy of Kafka’s fools. The Narr, associated with playfulness, irony, and resistance, provides a comic perspective on the question of being-Jewish. Alongside its Germanic, mostly Baroque, heritage, the Narr incorporates traditional Jewish tropes, primarily rooted in Aggadic traditions. However, in Kafka’s world, the Narr embodies performative skills also linked to Yiddish theatre. In Benjamin’s readings, Kafka’s Narr is associated with the crisis of mo

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Hendawy, Mennatullah, and Ahmed Saeed. "Beauty and the Beast: The Ordinary City versus the Mediatised City—The Case of Cairo." Urbanisation 4, no. 2 (2019): 126–34. http://dx.doi.org/10.1177/2455747119890458.

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Which city is made visible to those who use public versus private means of transportation? This question triggered an investigation of two alternate routes between two points in the mega urban city of Cairo, Egypt. Combining critical visual methodologies with ethnographic methods, this photo essay reveals the simultaneous existence of two cities as experienced by different publics: the ‘ordinary city’ of those who use public transport, and the ‘mediatised city’ of the elite who use private transport. Through comic-style photo editing, the essay demonstrates how the city is organised to include

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Azman, Farah Nadia, Syamsul Bahrin Zaibon, and Norshuhada Shiratuddin. "A Revised Production Model of Learner-Generated Comic: Validation through Expert Review." MATEC Web of Conferences 150 (2018): 05044. http://dx.doi.org/10.1051/matecconf/201815005044.

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Recent advancement of authoring tools has fostered a widespread interest towards using comics as a Digital Storytelling medium. This technology integrated learning approach is known as learner-generated comic production; where learners constructively produce digital stories in a form of educational comics. However, there were concerns towards the obstacles and challenges of producing learner-generated comics. Hence, a conceptual production model of learner-generated comic was proposed to guide learners in designing and developing digital educational comics. Accordingly, as the decision making

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Christensen, Nina. "I bevægelse." Tidskrift för litteraturvetenskap 44, no. 2 (2014): 5–19. http://dx.doi.org/10.54797/tfl.v44i2.10492.

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On the Move. Picture Books and Picture Book Studies in Times of Change This article discusses three significant changes in picture books as a medium that have consequences for picture book studies: First the transformation of visual narratives from the codex format to digital platforms; second an increasing number of experiments with the analogue book as medium and material; and finally the publication of a number of books that blur the boundaries with regard to modes of expression such as the picture book, the graphic novel and comic. The discussion is based on an introduction to 30 yea

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Jones, Peter J. A. "Laughing with Sacred Things, ca. 1100–1350: A History in Four Objects." Church History 89, no. 4 (2020): 759–78. http://dx.doi.org/10.1017/s0009640721000019.

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Exploring the range of circumstances in which medieval Christians laughed with, against, at, and through religious topics, this article investigates four objects: an ivory cross, an ampulla of a saint's blood, a preaching codex, and a pilgrim's badge. While these objects are taken to illustrate a diversity of attitudes to religious humor, they are also, in light of recent work citing the productive power of medieval matter, scrutinized as agents in their own right. The article suggests two significant patterns. On the one hand, the objects point to laughter's use as a unique mode of spiritual

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Hale Wood, Katelyn. "Listening Backward: Sonic Intimacies and Cross-Racial, Queer Resonance." Performance Matters 6, no. 2 (2021): 112–25. http://dx.doi.org/10.7202/1075804ar.

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Documenting my encounters as a white queer scholar with the sonic archive of the late black American lesbian comic Jackie “Moms” Mabley, this paper explores the cross-racial/sexual politics of sonic historiography. Through what I term listening backward, I examine how sound procures queer sonic intimacies between critic and subject: the repetitive listening, soundwaves directly travelling from one voice to one person, and most pertinently, the historical and sociocultural contexts that make consumption of such exchange possible and/or fraught. This listening practice centres on relational and

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Iskandar, Muhammad, and Sonson Nurusholih. "Volt Comic Character in Scott Mccloud's Superheroes Concept." KnE Social Sciences 10, no. 3 (2025): 55–61. https://doi.org/10.18502/kss.v10i3.17896.

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In early 2012, the phenomenon of the birth of a new Indonesian superhero character named “Volt” enlivened Indonesian superhero comics. Almost 10 years since it first appeared, this comic has been able to survive amidst the competition for comics originating from the west such as DC Comics and superheroes made by Marvel. This study will analyze the comic character Volt, whose physical visual depiction is heavily influenced by Western comic visuals and is well-received by comic fans in Indonesia,although this character is originally from Indonesia. The research method used is a qualitative descr

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Putri, Maharani Ayu Nurdiana, Anggi Aulidhia Rohmah, Aretha Patricia Andriani, Nadi Suprapto, and Setyo Admoko. "Development of Physics Comic 'History of Physics Series: The Development of Atom'." Berkala Ilmiah Pendidikan Fisika 9, no. 3 (2021): 298. http://dx.doi.org/10.20527/bipf.v9i3.11187.

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The quality of education can be improved by developing learning methods, curriculum development, and learning media development. One of them is learning media in the form of comics. This research aims to develop physics comics and analyze the validity of learning media of physics comics on the historical material of atomic development. The research was conducted using the R&D research model (Research and Development) with the 4-D model (Define-Design-Develop-Disseminate). Based on the stages, obtained learning media products that were declared eligible after validation by two high school p

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Segovia, Raquel. "Transfer phenomena and intercultural movements of texts." Journal of Intercultural Communication 9, no. 1 (2009): 1–11. http://dx.doi.org/10.36923/jicc.v9i1.475.

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The complexity of contemporary international communication requires an analysis of the transfer phenomena occurring within it. This paper addresses the subject from the perspective of cultural approaches to translation by adopting the concept modes of discursive transfer, which refers to any form of text processing that can be produced within and/or across cultures and media (translation, summary, adaptation for children, comic strip or film, etc.). To illustrate the transformations that textual material can undergo, I draw on the well-known example of Harry Potter and the Philosopher’s Stone

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Kotick, Andrew. "Le Rire and the Meaning of Cartoon Art in Fin-de-Siècle France." French Politics, Culture & Society 41, no. 2 (2023): 1–25. http://dx.doi.org/10.3167/fpcs.2023.410201.

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Abstract As the foremost organ of the French satirical and illustrated press, the weekly Le Rire captivated a broad reading public in the final decade of the nineteenth century. At the crossroads of commercial entertainment and mass media, Le Rire sought to champion caricature and comic illustration as art forms worthy of serious merit and to make humor a powerful tool for political, cultural, and social commentary. This article aims to assess the periodical's impact in its time, and furthermore, contends that Le Rire was a determinative force in reshaping public mores toward comedy and satire

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