Dissertations / Theses: 'Comic, The, in art'

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Ernstsen, Martin. ""Kodok's run" : a comic story loop." Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-30.

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Sina, Véronique. "Comic." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72982.

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Mit dem Begriff Comic wird eine kontingente und veränderbare künstlerisch-mediale Form bezeichnet, in der u. a. die Kombination von Bild und Text sowie eine sequentielle Bildfolge als zentrale formal-ästhetische Charakteristika gelten können. Die Kategorie Gender besitzt in Comics eine grundlegende strukturierende Funktion, die sich sowohl in der Produktion und Rezeption als auch in den Inhalten von und der wissenschaftlichen Auseinandersetzung mit Comics niederschlägt.

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Kelly, Anthony. "Functions of the comic in seventeenth-century Dutch art." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446440/.

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This thesis examines how comic images are used in Dutch Golden Age art. No comprehensive study of this subject exists, in spite of the fact that comic themes and tropes are widely used by Dutch artists, as part of a culture which enjoyed but also valued humour for its rhetorical, instructional and therapeutic utility. Referring to recent scholarly interest in the field of comic culture, and using an interdisciplinary approach combined with iconographic analysis, comic elements in the images are examined in the context of wider comic culture including comedy, farce, rogue literature and joke books, and in relation to the tastes and the ideology of the burgher class, as well as to contemporary notions of wit or geestigheid in art. These investigations are related to major theories of the comic. Particular areas examined are the comic representation of peasants, merry companies, stereotypical characters and situations, and the archetypal relationship of the trickster and the dupe which was the essence of farce. This reveals the strength of traditional tropes and stereotypes involving folly, deception and concealment, modernised to provide a pictorial 'comedy of manners' for the burgher class, who also purchased comic images evoking differentiation and social exclusion. One conclusion is that comic themes in Dutch art should be considered within the long sixteenth century. Another is the value of the application to paintings of a social and anthropological theory of the comic as expression of symbolic social structure, experienced through behaviour codes, which sees it as always significant, being a means of communication within a group or culture, and never value-free even when no didacticism is apparent. This can help to illuminate important art-historical debates such as those involving the relationship between amusement and instruction, meaning and ambiguity, and questions of reception and spectatorship.

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Gay, Stephanye Anne. "ShieldCross an exploration of sequential art ; an honors project /." [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Gay_Stephanye_Anne.pdf.

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Hernandez, Dahnya Nicole. "Funny Pages: Comic Strips and the American Family, 1930-1960." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pitzer_theses/60.

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This thesis examines a selection of American newspaper comic strips from approximately 1930 to 1960. At the height of their runs, many strips appeared in upwards of a thousand newspapers in the United States alone, and syndicates crafted and adjusted the content of these strips according to their image of the average American. This work discusses the pop cultural significance of these strips as well as the traditional American values revealed through each of them. Three strips in particular are the focal point for this thesis: Blondie, created by Chic Young in 1930, Little Orphan Annie created by Harold Gray in 1924, and Li’l Abner created by Al Capp in 1934. The first chapter, focusing on the relationship between Blondie and Dagwood Bumstead, will discuss how power within the family hierarchy is predicated on moral character, as well as how the recurring theme of punishment develops through Dagwood’s personal failures. The second chapter will look at the idea of cultural regularity in Little Orphan Annie through an examination of Daddy Warbucks. It will also deal with themes of leadership and legacy as communicated by the relationship between Annie and Warbucks. The third and final chapter will discuss how the satirical strip Li’l Abner responded to Blondie and Little Orphan Annie in terms of its rejection of traditional family hierarchy, specifically relating to male-female relationships. Ultimately, this thesis seeks to illustrate how a selection of comic strips expressed certain moral values, and the way in which they placed the characters at the mercy of following those values.

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Connerty, Michael. "Secret identity : reassessing Jack B. Yeats as a comic strip artist." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13452/.

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The focus of this research is the critically neglected comic strip work produced by the Irish painter Jack B. Yeats for a number of British publications between c. 1893 and 1917. The thesis seeks to identify and analyse the corpus of his previously unexamined work, positioning it in relation to contemporaneous media, entertainment and popular culture, as well as to the early development of the British comic. This thesis seeks to establish the key role that Yeats played in the early development of the form, during a key phase in its evolution. The claims that the thesis makes for Yeats as an important comic strip artist are based on extensive archival research, focused on comics such as Comic Cuts, The Big Budget and The Halfpenny Comic published in London by Alfred Harmsworth, Arthur Pearson and George Newnes respectively. He went through a number of identifiable phases in terms of his graphic style, producing a very substantial volume of work over the course of his career, largely in the form of series of strips featuring recurring characters, a number of which became very popular with the reading public. Yeats has almost exclusively been discussed in terms of his fame as a fine artist, despite the fact that his comics work was widely disseminated during his lifetime. Given that the work was once well known, as part of a novel and widely circulated mass medium, it is necessary to interrogate the absence of this material from art-historical accounts of his work and reassess Yeats as a comic strip artist. In Ireland there has been a tendency to articulate Yeats in terms of national identity, and thus avoid recognition of his engagement with, and contribution to, British popular culture. Issues regarding the mutual exclusivity of the ‘high’ and ‘low’ cultural registers in which he operated has likewise resulted in the valorization of a particular area of his creative activity and the exclusion of the material acknowledged, discussed, and celebrated here. The repositioning of Yeats in relation to comic strip art has profound implications for the study of twentieth century Irish art generally, and for Yeats connoisseurship specifically, and proposes significant challenges to both, as well as making a contribution to British comics history.

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Östergren, Herman. "From Art to Comic - Visa hur en Comic Book som använder konsten för att få fram sin värld." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18857.

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Jag har studerat transmedia, dess innebörd och vad som utmärker den. Fokuserat på den delen som heter World Building Story och tagit fram några exempel på World Building Franchises. Genom att undersöka olika transmedia franchises och hur deras värld är uppbyggt. Med denna kunskap har jag skapat en egen värld i en World Building Story. Den är baserad från konstnären Simon Stålenhags retrofuturistiskt konst. Världen ska visas i en form av Comic Book och vara designad av Critical Design där läsaren får möjligheten att tolka budskapet. Det som jag har kommit fram till i undersökningen är hur man skapar en berättelse.
I have study transmedia and see what transmedia does. I have focus on element in transmedia call World Building story. What is warbling story is something I have studied and watch some World Building franchise say how they are different from each other. Three different World Building a franchise to see how to build our world. With it knowledge I will create my Own World Building Story. The world the i certion is inspired by Simon Stålhagen Retrofuturistisk art. The way I show this world with Comic Book. My Comic Book is design from Critical Design that are a small police messages. Me study is to show that transmedia be found over the world and get young people to be in the same be interested in Retrofuturistiskt art. Also is a good way to me to learn how to tell a story and create a world with this studying.

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Brown, Kella. "Comic art and humor in the workplace| An exploratory study?ZZzzzz." Thesis, Pepperdine University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3683221.

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This study is a qualitative, exploratory examination of the phenomena of humor in the workplace. The purpose is to derive a better understanding of how real people enact humor in the workplace by examining the humor depicted by and through fictional characters in comic art. The body of work of cartoonist, Scott Adams, was the primary source of data. The study relies on what the imaginary characters of Dilbert find absurd, funny, and ridiculous about an imaginary workplace, the employee-employer relationship, the content of the characters' jobs, or in the social relationships of fictional characters. It involves analyzing specific cultural artifacts, comic strips, as representations of human action.

Utilizing qualitative media analytical techniques, the study explores ethnographic materials (comic strips). A random sample from the universe of Dilbert strips was developed and theoretical sampling was used to discern the identities and personality traits of the main characters. Emergent groupings and themes were developed by repeatedly interacting with the data, reflection, extensive note taking and exploring patterns. The research question is answered from within a framework of comic art of the workplace using descriptive language that is informed by theories of humor.

The idea of presence in mediated communication is discussed and the significant themes of ridicule and disparagement theory are explicated. Key findings include the assertion that, in some cases comic plausibly serves as a proxy for reality as well as the implication that ridicule but plays a significant but inadequately understood role in social development. The researcher proposes that humor may be understood as mythopoeic language.

Recommendations for directions in future research include management and organizational studies of humor and communities of practice, learning and development, sensemaking and organizational culture. Further investigation into the relationship between ridicule and bullying could be fruitful. Qualitative media analysis has the potential to produce enormous gains in knowledge creation.

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Rickman, Lance. "Cinema and sequential art : early narrative film and the comic aesthetic." Thesis, University of Essex, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502210.

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Acres, Harley Blue. "Gender bending and comic books as art issues of appropriation, gender, and sexuality in Japanese art /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. http://www.mhsl.uab.edu/dt/2007m/acres.pdf.

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Nishita, Lily. "Ark ruffians comic book /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/33.

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Thesis (B.F.A.)--California Polytechnic State University, 2009.
Project advisor: Mary LaPorte. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.

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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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Chunhacha, Nitan. "Baby Blue: The Making of." Thesis, Konstfack, Grafisk design & illustration, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7377.

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Baby Blue is a comic book about friendship and romantic love that is told by two characters. I want to explore more on understanding a complicated feeling between romantic love and friendship love. Since relationships are very complicated and difficult to understand, I think it’s a good way to go through a journey with the main character and see how she’s dealing with her own feelings. In this report, I explained more about my process and everything you need to know about Baby Blue.

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Mantovano, Beatrice <1994&gt. "Dalla comic art al graphic novel: indagine del rapporto tra fumetto e arte contemporanea." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16820.

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Il presente elaborato si propone di analizzare il rapporto tra il mondo del fumetto e del graphic novel con quello dell’arte contemporanea. Ricostruendo primariamente le origini della comic art, viene poi indagata la sua diffusione a livello mondiale e presentata l’analisi di come tale genere venga accolto o respinto dai circoli culturali, in particolare dal mondo dell’arte contemporanea. Il lavoro è suddiviso in tre capitoli fondamentali: nel primo si ripercorrono i tempi, i luoghi e le modalità della nascita del fumetto e del successivo graphic novel, fornendo un’adeguata spiegazione delle differenze formali, contenutistiche e terminologiche di quest’ultimi, spesso confusi o equiparati. Si illustrano poi i pareri contrastanti di critici e studiosi riguardo al ruolo che la comic art ha assunto, sin dalla Pop Art con Roy Lichtenstein, negli ambienti culturali, tra chi l’ha considerata e la considera a pieno titolo Arte e chi invece la riduce a un fenomeno a sé. Nel secondo capitolo viene analizzata la diffusione del fumetto nel mondo dell’arte contemporanea, concentrandosi sulle mostre organizzate dalle istituzioni universalmente riconosciute come il MoMA di New York e la Tate Modern di Londra, ma riportando anche alcuni esempi nazionali. Si presenta poi l’analisi di due casi: quello del Musée Belge de la Bande Dessiné di Bruxelles, e del Whitney Museum of American Art di New York, l’uno il più famoso museo del fumetto in Europa, l’altro uno dei più importanti musei e istituzioni statunitensi di arte contemporanea, che ha ospitato negli ultimi anni delle mostre di grande successo sulla comic art e sui suoi protagonisti. Il terzo capitolo invece, attraverso alcune interviste fatte a professionisti ed esperti del settore, indagherà il difficile rapporto fumettisti-artisti. Viene quindi espressa non solo l’opinione che il mondo dell’arte ha sul fumetto, ma anche il pensiero delle varie personalità che collaborano alla realizzazione dei comic book e dei graphic novel riguardo la loro posizione in ambito culturale: se si considerano e ci tengono ad essere trattati come artisti a tutti gli effetti, oppure se preferiscono mantenere un ruolo di ‘outsider’, liberi dalle convenzioni e regole dell’arte canonica.

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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.

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Campbell, Maria E. "Inking Over the Glass Ceiling: The Marginalization of Female Creators and Consumers in Comics." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437938036.

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Davila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.

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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

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Smith, Philip. "The truth of a madman : the works of Art Spiegelman." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/16364.

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Art Spiegelman is one of the most important figures in the history of American comics. His work Maus (1980 and 1991) is arguably the landmark text in the field of comic book studies. Given the relatively recent reissue of his first collection Breakdowns (2008) and the publication of his interview/essay collection/scrapbook Metamaus (2011), it is likely that his work will continue to be the subject of critical interest. This thesis concerns the collections Breakdowns (1977 and 2008), Maus (1980 and 1991) and In the Shadow of No Towers (2004). It represents the first book-length extended study of Spiegelman s three major works. The central argument put forth in this thesis is that the Spiegelman oeuvre articulates and manifests a madness which its author perceives to underlie supposedly rational society. In support of this thesis I will employ critical models from the following fields: Holocaust studies, trauma theory, the anti-psychiatry movement, theories concerning the representation of madness, formalist analyses of comics, and Genette s narratological taxonomy.

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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.
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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Gabilliet, Jean-Paul. "Des comics et des hommes : histoire culturelle des comic books aux États-Unis /." Nantes : Éd. du Temps, 2004. http://catalogue.bnf.fr/ark:/12148/cb399717761.

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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.
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.
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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Schubauer, Allison. "From Screen to Paper to the Gallery Walls: Comic and Confessional Drawing in the Digital Age." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/581.

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In the last half-century, a number of artists have chosen to abandon notions of good taste, skill, and aesthetics in the field of drawing in order to investigate and critique our social and cultural landscape. Two very different approaches have been taken to accomplish this – the use of humor, borrowing from the format of comics; and confessional art, in which the artist ostensibly lays themselves bare in order to act as a mirror for the viewer. In my senior thesis project, I explored these two forms of drawing in relation to my own life and identified institutional (within the Claremont Colleges) and larger cultural threads within my work.

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Wang, Lorraine. "You’re Not a Superhero, or Even an Artist! How the “Alias” Comic Book Holds the Answers." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/800.

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Superhero comic books are not art, and middle-aged, non-white women are not superheroes. I seek to disprove both of these assumptions, and I use the "Alias" comic books from 2001-2004 for my argument.

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Lee, Moon. "Ineffable a spatial installation : thesis submitted to the Auckland University of Technology in partial fulfillment of the degree of Master of Arts in Art and Design, 2004 /." Full thesis. Abstract, 2004.

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Baldwin, Frances Novier. "The Passage of the Comic Book to the Animated Film: The Case of the Smurfs." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84167/.

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The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.

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Kuniyasu, Kurt Kazuo 1958. "Twin oaks: A Comic Opera in One Act." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc1038755/.

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Twin Oaks: A Comic Opera in One Act is a chamber opera approximately 60 minutes in length. Its accompanying ensemble is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bass clarinet, bassoon, trumpet (in C and B-flat), F horn, percussion, piano, 2 violins, viola, violoncello and double bass. It is a Number Opera with 10 numbers. There is a single case in which there is music played under the dialogue. The text is based off the W.S. Gilbert Play: Eyes and No Eyes: or The Art of Seeing.

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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.
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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Dycus, Dallas. "Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/47.

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The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.

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Garibaldi, Lino Paúl, and Lino Paúl Garibaldi. "You Too Can Be a Rebel." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625321.

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The blurred lines between the domains of art, education and art education create tensions that impact how art educators negotiate their identities (Baxter, Ortega López, Serig & Sullivan, 2008) within themselves and through a myriad of complex relationships with society and the natural world. I reflect upon the profound transformations of my theoretical and methodological framework of pedagogy emerging from my academic, artistic and professional experiences, particularly my exposure to twentieth century philosophy, post-modernism, critical pedagogy, democratic education, feminist theory and queer studies, each through the lens of social justice. I draw from the ideas of thinkers—Goodman, Lorde, Deleuze, Freire and Zolla, amongst many—who, in one way or another, embraced an integrative dialectic of difference rather than fearing or rejecting conflict, opposites and contradictions. In the twenty-first century, this exploration of the interspace has resulted in arts-based theoretical and methodological approaches to inquiry (Rolling, 2013) such as studio art as research practice (Sullivan, 2004), a/r/tography (Springgay, Irwin & Kind, 2005), and productive ambiguity (Shipe, 2015). This thesis is an arts-based autoethnography, intended to embody the dual nature of the identities and practices of artists/teachers through the creation of an artistic product. Carolyn Ellis and Arthur P. Bochner pointed to the three axes of autoethnography: the self (auto), culture (ethno) and the research process (graphy); modes of autoethnography fall along different places within these continua (Ellis & Bochner, 2000). While I place the strongest focus on my experience and culture, I also stress the relevance and rigor of the research process. Drawing inspiration from the amazing work of Nick Sousanis and Rachel Branham, I include extensive notes and references at the end of the thesis. The prologue is formatted as an illustrated novel—a blueprint for a full graphic novel version of this thesis. The rest of the manuscript is a literary autoethnography, by which I assume the identity of an autobiographical writer foremost.

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Lowry, Eddie R. "Thersites : a study in comic shame /." New York : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb35698372k.

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Coates, Jason McKrindey. "Times New Roman." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1192.

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It is difficult to say that anything will be proven in this thesis of mine. I think of it more as an account of some things that happened in my artwork over the course of graduate school and my earlier development as an artist. Some influences are listed, but certainly not all of them. Likewise, the work that is mentioned in this paper represents a sampling rather than an in-depth survey. I don't have any tables or charts.

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LANGUSI, DANIELA. "Making Them Laugh: Elements of the Comic in the Peasant Revel Scenes of Pieter Bruegel the Elder, 1550-1580." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212152287.

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Wilson, Robyn Joan. "Last Man Hanging This exegisis is submitted to the Auckland University of Technology for the degree of Bachelor in Art & Design, Honours,(Graphic Design). 2005 /." Full dissertation Abstract, 2005.

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Dissertation (BA (Hons)--Bachelor of Art and Design) -- AUT University, 2005.
Print copy accompanied by CD. Includes bibliographical references. Also held in print (99 p. : col. ill. ; 20 cm. + CD (3 in.)) in City Campus Theses Collection (T 707 WIL)

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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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Åström, Teodor. "Conic Intersections : Art Centre in Solna." Thesis, KTH, Arkitektur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-122856.

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Konformen har tidigare under arkitekturhistorien ofta använts för att skapa rum enligt en cellulär logik. Projektet ämnar ompröva användandet av konformen för att organisera rum, i det här fallet applicerat på en konsthall i Solna, genom att gå utanför enbart ett repetitivt arrangemang av vertikala koniska moduler för att uppnå en variation av skalor och riktningar som spänner från stora horisontella koniska rum till mer intima småskaliga vertikala rumsbildningar. Rummen skapas genom en adderande process där koner genomskärs med varandra och med plana element som adderas i operationen. Detta tillåter på så sätt en samexistens av två olika rumsliga logiker vilket leder till en komplex och tillåtande arkitektur som kan svara mot behoven i programmet och som även lyfter fram och förstärker formen hos byggnaden. Projektet utforskar även möjligheterna med att använda konen i egenskap av att vara en enkelkrökt yta och dess betydelse för digital modellering, ritningar och konstruktion.
The cone in architecture has often been used to shape and generate space with a cellular structural logic. This project reconsiders the use of the cone for organizing space, in this case applied on an Art Centre in Solna, going beyond the mere repetitive logic of conic modules, to allow for a variety of scales and directions, ranging from large span horizontal conic spaces to more intimate smaller scaled vertical conic rooms. The spaces are created through an additive process of intersecting cones with planar elements added into the operation, thus allowing the coexistence of two spatial logics, leading towards a manifold and allowing architecture that can handle the requirements of the program and that reinforces the perception of the shape. The project also explores the possibilities of the cone as a single curved unfoldable surface and it’s implications on digital model making, drawing and physical construction.

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Salisbury, Derek. "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books." ScholarWorks @ UVM, 2013. http://scholarworks.uvm.edu/graddis/209.

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At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture

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Adamson, Jennifer L. "Genji in Graphic Form: The Tale of Genji in Manga, and the bond between Japan’s Past and Present in Popular Art." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212071173.

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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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Costa, Bernard Martoni Mansur Corrêa da. "Sobre riscos, rostos e ratos: um olhar à visualidade em Maus, de Art Spiegelman." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3166.

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Este trabalho se debruça sobre a história em quadrinhos Maus: a história de um sobrevivente, de Art Spiegelman, buscando com esse olhar entender o código imagético adotado pelo autor na construção narrativa de seu romance gráfico. Partindo de questões mais amplas, como o histórico desse meio narrativo e sua linguagem, a presente análise contextualiza a obra dentro do universo das comics para, em seguida, aprofundar-se nas especificidades de sua construção narrativa, em particular as escolhas visuais adotadas por Spiegelman. Em uma tentativa de ampliar as possibilidades interpretativas da obra, aplicamos o conceito benjaminiano de alegoria como chave para o entendimento da representação dos judeus como ratos e seu processo de construção. Desse modo, espera-se compreender um pouco mais sobre a peculiar linguagem dos quadrinhos, em particular os recursos e processos narrativos presentes em Maus.
This essay focuses on the comic strip Maus, a survivor’s tale, by Art Spiegelman, through this scope we seek to understand the image code adopted by the author in the narrative construction of his graphic novel. Starting from broader issues, such as the history of this narrative medium and its language, this analysis contextualizes Maus within the universe of comics. After that, delves into the specifics of their narrative construction, specially the visual choices adopted by Spiegelman. In an attempt to expand the interpretive possibilities of the book, we applied Walter Benjamin’s concept of allegory as a way to understand the representation of Jews as mice and its construction process. Thus, it is expected to understand a little more about the peculiar language of comics, specially the resources and narratives processes presented in Maus.

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White, Kayla A. Ms. "Comics and Illustration from the Written; The Conversion of a Story from Prose to Graphic Depiction." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/210.

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This is a thesis that details the process of writing a short 30 page novel, and then converting the subsequent story into a graphic format via illustrations and into a comic book layout. The story itself deals in reworking our learned assumptions of good and evil, specifically in the supernatural and human possibility for both. The comic book format is an exploration of my reader’s different responses to the written and the graphic.

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Greenleaf, Jared Scott. "The Movement Of An Object Through A Field Creates A Complex Situation." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2769.

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I aim to move the viewer through a system that consists of science fiction, of world building, with themes of nature, technology, and a subtle allusion to comic book aesthetics. Removing customary sci-fi and comic book narrative in favor of concept, self-awareness, and open-ended exploration, the outcome creates a complex setting. The report herein documents the various methods used to create this multifaceted installation space, which was the focus of my selected project.

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Mitchell, Mark. "Rethinking the funnybook : comics, truth & art /." Title page and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arm6821.pdf.

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Castleberry, Garret. "Incorporating Flow for a Comic [Book] Corrective of Rhetcon." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28405/.

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In this essay, I examined the significance of graphic novels as polyvalent texts that hold the potential for creating an aesthetic sense of flow for readers and consumers. In building a justification for the rhetorical examination of comic book culture, I looked at Kenneth Burke's critique of art under capitalism in order to explore the dimensions between comic book creation, distribution, consumption, and reaction from fandom. I also examined Victor Turner's theoretical scope of flow, as an aesthetic related to ritual, communitas, and the liminoid. I analyzed the graphic novels Green Lantern: Rebirth and Y: The Last Man as case studies toward the rhetorical significance of retroactive continuity and the somatic potential of comic books to serve as equipment for living. These conclusions lay groundwork for multiple directions of future research.

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Hansaward, Natcharee. "THE DAY I MET THAT CAT : The comic about colorism, one-sided standard and visual communication power in Thailand." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6907.

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This report explores the methodology themes and meanings embeded in the society that I am portraying in my comic 'THE DAY I MET THAT CAT'. This includes concept such as identity, colorism, races and cultures, human interaction with animals and the power of the visual.

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Watts, Mark Leonard. "The imagined life of an Otaku collector, or to be a Cosplay star." Click here to access this resource online, 2008. http://hdl.handle.net/10292/744.

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This project explores my relationship with elements of Japanese culture. Central to the project will be the Japanese practice of cosplay (dressing in costume), otaku (geek) subculture and their influences in the worlds of Japanese manga comic books and animated films. It will focus on the importance of kawaii (cute) in Japanese culture. The artworks will explore notions of identity and the ‘space between’. I shall do this through the gathering of Japanese objects which will be fused with my own image. I shall use photography, print and digital manipulation finishing in a sculptural installation referencing pop culture and commercial display. This project will constitute 80% practical work to be presented in a final exhibition piece accompanied by 20% written exegesis.

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Traupman, Carol A. "I dimenticati : Italian comic opera in the mid-nineteenth century /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400428151.

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Edholm, Rosalie. "Portrait: A Graphic Novel and Artist's Book." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/24.

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At this exact moment, graphic novels are enjoying a heyday of popularity, profusion and attention. As the graphic novel medium matures and detaches itself from the “non-serious” reputation of comics, it is becoming clear that graphic novels are a powerful and effective art form, using the both verbal and the visual to relay their narratives. Portrait, the short graphic novel that is my senior art project, is intended to emphasize the artist’s book character of the graphic novel, and serve as an example of how a graphic novel’s artist’s book characteristics allow communication of the artist’s message effectively.

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Pontes, Gabriel Moreira Caldas Lopes. "Nona-bela-arte – as histórias-em-quadrinhos como bela-arte." Programa de Pós-Graduação em Artes visuais da UFBA, 2009. http://www.repositorio.ufba.br/ri/handle/ri/9835.

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Como ponto de partida, este estudo propõe-se a uma revisão de paradigmas consagrados a respeito da HQ, também caracterizar HQ e HQ Moderna, estabelecer as diferenças entre os três grandes gêneros de HQ: a HQ na linha de montagem, a HQ de autor (nos seus dois casos) e o fenômeno intermediário, a HQ das grandes companhias, neste processo ressaltando a que alto nível estético a Nona-Arte pode ascender. Em seguida, demonstrar quão freqüente e rico é o diálogo mantido entre a Nona-Arte e as Belas- Artes e quão plástico-pictórica a HQ pode ser. Como conclusão, são lançadas as bases para a criação de um novo gênero de HQ, com a ênfase ultra-acentuada na plasticidade e de forte caráter alegórico, a Nona-Bela-Arte.
Salvador

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Staben, Julia L. "The Cartoon Effect: Rethinking Comic Violence in the Animated Children's Cartoon." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532695541735552.

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Fisher, Darren Clint. "Autofictographics: Exploring Truth and Identity in Autobiographical Comics." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366969.

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This exegesis documents my investigation into autobiographical sequential art narratives, surveying both the studio work of my doctoral candidature and key contextual research I undertook, and articulating the interrelations between theory and practice in this field. The prime contention of this research is that autobiography is inherently fictive, as it relies on fallible memory and fractured personas in order to convey narrative. Furthermore, the medium of sequential art as a vehicle for autobiographical narratives brings with it slippery interactions between image, word, and meaning, which are subject to variations of interpretation across different readers. Through my research, I have observed the indistinct lines that separate truth and fiction, both within genre and medium, while exploring methods of authorship that adhere to principles of an emotional rather than a literal truth. In this exegesis, I seek to define methods by which an author can put this ambiguity of ‘truth’ to constructive use through their informed manipulation of the sequential art medium, with the aim of actively and authentically communicating experiences of the past to readers. The exegesis moves between a third-person theoretical stance and a first-person point of view, reflecting the separation of self that is fundamental to autobiographical narrative. It is through this separation that the ‘I’ of today is able to reflect upon the ‘I’ of the past. This separation also serves as a function the doctoral exegesis itself, where personal work is examined within an academic context.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Dissertations / Theses on the topic 'Comic, The, in art'

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