Journal articles: 'Comic theory'

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Peterle, Giada. "Comic book cartographies: a cartocentred reading of City of Glass, the graphic novel." cultural geographies 24, no. 1 (June 23, 2016): 43–68. http://dx.doi.org/10.1177/1474474016643972.

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This article responds to the call for a deeper theoretical and methodological exchange between the disciplines involved in geohumanities research and proposes comic books as an environment for interdisciplinary, geo/cartographical and literary critical research practice. The analysis considers the emerging field of ‘comic book geographies’ and suggests a further opening to ‘comic book cartographies’. Hence, by referring to the ‘spatiocentred’ approaches emerging in literary theory and criticism, I propose a ‘geocritical’ and ‘cartocentred’ reading of comics to explore the ‘cartographies of the comic book’. I individuate the peculiar map-like features of comics’ spatial grammar to interpret the comic book as both a cartographer and a map. Moreover, taking into account the recent shift in cartographic theory towards an ‘emergent cartography’, I propose an ‘ontogenetic’ understanding of comics as maps. Through both their representational and non-representational map-like features, comics are intended ‘as always mappings’, providing the author/reader with a truly mapping experience. The analysis of the exemplary case study of City of Glass, the graphic novel transposition of Auster’s novel by Paul Karasik and David Mazzucchelli, counts as a first attempt to propose a ‘cartocentred’ reading of the cartographies inserted within and emerging from a comic book. This article suggests that a ‘cartocritical’ reading of comics could provide comic studies, cultural geography and literary theory with new insights, as well as cartographic theory with an unexplored laboratory to keep on ‘rethinking maps’ from an ‘emergent’ perspective.

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Khoiriyah, Saidatul, and Adhelia Karunia Sukma. "Science Fun: Theory of Light." Studies in Philosophy of Science and Education 1, no. 2 (April 13, 2020): 56–58. http://dx.doi.org/10.46627/sipose.v1i2.12.

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Schröer, Marie. "Illustrierte Persönlichkeiten. : Biografie im Comic." Zeitschrift für Germanistik 32, no. 2 (January 1, 2022): 352–74. http://dx.doi.org/10.3726/92171_352.

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Abstract Die Verhandlung biografischer Inhalte im Comic wird immer beliebter und sorgt für wachsende Aufmerksamkeit des Feuilletons für das Medium. Im Beitrag wird skizziert, wie welche Persönlichkeiten in Wort und Bild portraitiert werden; zudem werden Unterkategorien der Comic-Biografie herausgearbeitet. Die Sichtung einer Vielzahl aktueller Comics ermöglicht es, erste Antworten auf zwei einander ergänzende Fragen zu finden: Inwiefern profitiert der Comic von der Biografie; und inwiefern profitiert die Biografie vom Comic?Bio-Comics (or comic biographies) are becoming increasingly popular and are widely discussed in the media. The article outlines which and how personalities are portrayed in words and pictures and discusses possible subcategories. The review of a large number of current biographical comics makes it possible to find initial answers to two complementary questions: To what extent does the comic benefit from the biography; and to what extent does the biography benefit from the comic?

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Neo, Tiffany, and Alex Mitchell. "Expanding comics theory to account for interactivity: A preliminary study." Studies in Comics 10, no. 2 (November 1, 2019): 189–213. http://dx.doi.org/10.1386/stic_00002_1.

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Abstract Comics are a medium distinct from and yet tied to other forms of storytelling. A rich body of theory exists on the nature of the medium, its narrative techniques and the visual language unique to it. In light of the increasing interest in digital interactive technologies, however, there is a need to examine how the current theoretical understanding of comics is complicated by interactivity, as has been studied for other media such as text-based stories and games. This article outlines an exploratory study that introduced interactions, reminiscent of the Quick-Time Events found in games, into a four-panel comic. The results of this study, based on exposure to experimental prototypes, followed by retrospective protocol analysis and qualitative interviews, begin to shed light on various theoretical implications of including interactivity. These include empirical support that the notion of comics as an interconnected multiframe remains valid in the context of interactivity; the relative hierarchy between the iconic image and interactive elements; functions of interactivity within the comic form; the role of challenge; and the role of fluency and learning. These findings highlight possible ways in which the inclusion of interactivity expands current theory regarding the comic form, serving as openings for future theory-building.

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Wahyudi, Luqman, and Sri Hesti Heriwati. "Social Criticism about the 2019 Election Campaign in the Comic Strip Gump n Hell." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (May 5, 2021): 56–66. http://dx.doi.org/10.33153/dewaruci.v16i1.3231.

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Comic strips are a top-rated entertainment product. Supported by growing information technology, comic strips today are very accessible to almost all people. In addition to serving as a medium of entertainment, comic strips are often used as a means of opinion and convey criticism creatively from the comic artist. One of the comic strips that are vocal in expressing social criticism is Gump n Hell comic strip by Errik Irwan Wibowo. This comic strip depicts political events that occur, then publishes the comics through social media. This research is qualitative descriptive research using Charles Sanders Peirce's semiotic theory to determine the meaning of social criticism in the comic strip Gump n Hell. The researcher took three Gump n Hell comic strip samples relating to the moment of the 2019 General Election to analyzed the meaning. From the study results, there was an implicit meaning in the comic strip, namely criticizing and satirizing specific political figures related to the phenomenon. Criticism in comics is represented subtly or indirectly through pop culture icons that become representations or parodies of exact political figures and wrapped in narratives according to political phenomena.

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Desiriah, Eka, Nurul Afifah, and Jelita Puspita Ningrum Choirunnisa. "Science Fun: Theory of Optics." Studies in Philosophy of Science and Education 1, no. 3 (December 8, 2020): 113–17. http://dx.doi.org/10.46627/sipose.v1i3.27.

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We, as budding researchers, try to present science in the form of comics. We present the theory of optics by Christiaan Huygens and Sir Isaac Newton in a short comic strip. As we know, the Huygens principle explains that each wavefront can be considered to produce new wavelets or waves with the same wavelength as the previous one. A wavelet can be likened to a wave generated by a rock dropped into the water. The Huygens principle can be used to explain the diffraction of light in small slits. When passing through a small gap, the wavefront will create an infinite number of new wavelets so that the waves do not just flow straight, but spread out. By doing so, Huygens discovered his telescope. In this paper, we then illustrate his telescope through a simple comic.

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Hague, Ian, Nancy Pedri, José Alaniz, Stefano Ascari, and Silke Horstkotte. "Book Reviews." European Comic Art 7, no. 1 (March 1, 2014): 112–26. http://dx.doi.org/10.3167/eca.2014.070106.

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Daniel Stein and Jan-Noël Thon, eds, From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic NarrativeBarbara Postema, Making Sense of Fragments: Narrative Structure in ComicsShane Denson, Christina Meyer and Daniel Stein, eds., Transnational Perspectives on Graphic Narratives: Comics at the CrossroadsMélanie Van Der Hoorn, Bricks and Balloons: Architecture in Comic Strip FormThomas Hausmanninger, Verschwörung und Religion: Aspekte der Postsäkularität in den franco-belgischen Comics [Conspiracy and Religion: Aspects of Post-Secularity in Franco-Belgian Comics]

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Aleixo, Paul A., Daniel Matkin, and Laura Kilby. "What do teachers think about the educational role of comic books?: A qualitative analysis." Studies in Comics 11, no. 2 (November 1, 2020): 387–404. http://dx.doi.org/10.1386/stic_00037_1.

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An exploratory, qualitative, study into the views of teachers on the use of comic books in education was carried out. Three secondary school teachers with varying experiences of comic books were interviewed using an open-ended format. Results of a thematic analysis indicated three clear areas of thinking around comic books: firstly, comic books are considered to be a medium of children’s entertainment, and not associated with educational practice; secondly, when the medium is employed in education, it should primarily be used with students that require extra support and thirdly, comic books represent a ‘missed opportunity in education’ and have not achieved their full potential due to a lack of comic book resources for use in the classroom. All three concepts are discussed in light of research evidence supporting the use of comics in educational contexts and concerns are highlighted that suggest these themes might represent a barrier to the future use of comics in these areas. Further qualitative and quantitative research to expand these initial findings is also suggested.

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Salam, Babus, Iwan Joko Prasetyo, and Daniel Susilo. "IInterpretasi Dan Makna Kritik Sosial Dalam “Komik Strip Untuk Umum (Kostum)” Periode 1 Desember – 31 Desember 2017." LONTAR: Jurnal Ilmu Komunikasi 6, no. 2 (December 26, 2018): 96. http://dx.doi.org/10.30656/lontar.v6i2.949.

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Theres many ways can be done to appreciate the voices of messages and criticisms through creative ways, one of them through comics. One of the Indonesian comic artists who used comics as a medium of social criticism was Haryadhi through his "Komik Strip Untuk Umum (KOSTUM)” creation. KOSTUM Comics record the events that are happening and pour them into comic strips spread through social media. This research is a qualitative descriptive type using Roland Barthes' semiotics theory with two-stage significance (two orders of signification). From the results of the study, researchers found the implicit meaning that is to criticize and satirize the behavior of Indonesian people in a subtle way. Criticism expressed to comics is directed directly at the actors but is delicately wrapped with humorous portrayals through their characters. From the KOSTUM comics examined can be concluded that the social criticism described in the comic is an expression of the condition of the community related to the values that are used as a guideline for living in community groups.Keywords: Comics, Social Criticism, Semiotics, Roland Barthes

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Et.al, Mohd Ekram AlHafis bin Hashim. "Applying Fuzzy Delphi Method (FDM) to obtaining the Expert Consensus in Aesthetic Experience (AX) and User Experience (UX) Elements in Augmented Reality Comic (AR Comic)." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 802–7. http://dx.doi.org/10.17762/turcomat.v12i3.787.

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This paper discusses the application of Fuzzy Delphi Method (FDM) to obtain the expert consensus inAesthetic Experience (AX) and User Experience (UX) elements for Augmented Reality Comic (AR Comic). Theoretically, AR and comics are two distinctive fields that represent the technology and art. The former is Human Computer Interaction (HCI) for AR and the later is an art form for comic. Consequently, the UX elements are commonly used by scholars to measure AR, while the AX elements are used for evaluate comics. The purpose of this study is to formulate a new elements in AR comic.Thus,both AX and UX elements are subsequently being merged and the consensus from expertsfrom both fields are required. The FDM was selected in this study based on the ability of this method to obtain the constructs and the elements objectively with suggestion and reflection from the selected experts. Expected results from expert consensus are the combination of both elements as a new framework of AR comic.

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Muhartoyo, Muhartoyo, and Sistofa Sistofa. "Conversational Implicature of Peanuts Comic Strip Based on Grice’s Maxim Theory." Humaniora 4, no. 1 (April 30, 2013): 102. http://dx.doi.org/10.21512/humaniora.v4i1.3422.

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This article discusses about conversational implicature that occurs in Peanuts comic strips. The objectives of this study are to find out the implied meaning in the conversation between Charlie Brown with Lucy van Pelt and Lucy van Pelt with Linus van Pelt to evaluate the existence of maxim flouting and maxim violating in those conversations in relation to the four maxims such as quantity, quality, relation, and manner. Likewise, this study attempts to find out the reason for using conversational implicature in a comic strip. The writers uses a qualitative method with library research concerning to Grice’s maxim theory to analyze the conversational implicature. Based on the analysis, it can be concluded that all the comics that comprise 14 comics generate conversational implicature since all the characters breach rules of maxim. The result of this analysis shows that flouting maxim of manner has the highest occurrence of conversational implicature and the least occurrences belong to flouting maxim of relation and violating maxim of quantity. Moreover, the writers concludes that to make a successful communication ideally the speaker and the hearer to cooperate in the conversation by saying explicitly so the hearer can grasp the meaning as the goal of communication is to deliver a message to the hearer.

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Olin, Lauren. "The Comic Stance." Philosophy of Humor Yearbook 1, no. 1 (September 1, 2020): 49–72. http://dx.doi.org/10.1515/phhumyb-2020-0007.

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Abstract Despite sustained philosophical attention, no theory of humor claims general acceptance. Drawing on the resources provided by intentional systems theory, this article first outlines an approach to investigating humor based on the idea of a comic stance, then sketches the Dismissal Theory of Humor (DTH) that has resulted from pursuing that approach. According to the DTH, humor manifests in cases where the future-directed significance of anticipatory failures is dismissed. Mirth, on this view, is the reward people get for declining to update predictive representational schemata in ways that maximize their futureoriented value. The theory aims to provide a plausible account of the role of humor in human mental and social life, but it also aims to be empirically vulnerable, and to generate testable predictions about how the comic stance may actually be undergirded by cognitive architectures.

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Foret, Martin. "Gelächter im stummen Kode." Zeitschrift für Semiotik 37, no. 1-2 (July 16, 2018): 159–76. http://dx.doi.org/10.14464/semiotik.v37i1-2.341.

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Der Artikel untersucht die Darstellung von Lachen und Lächeln im Comic. Eingangs wird eine semiotische Abgrenzung des Comics als eigenständiger Kode vorgeschlagen, der im einkanaligen Medium operiert und eine rezeptive Synästhesie simuliert. Die Wurzeln der Darstellung des Lächelns im Bildkode werden bei den Karikaturisten des 18. und 19. Jahrhunderts verortet, die auch Bildsequenzen schufen, welche später die Tradition der Bildergeschichten und Comics einleiteten. Anschließend wird die akustische Dimension des Lachens fokussiert. Sie wird im Comic-Kode durch typographische Mittel repräsentiert, die auch andere Arten nonverbalen vokalen Verhaltens darstellen und Bedeutungen von verbalen Äußerungen präzisieren und modifizieren können. Die untersuchte Thematik wird anhand von Comicbeispielen demonstriert, die unterschiedlichen Comicgenres und -stilen (von der ligne claire bis zur realistischen Darstellung) angehören. Abschließend werden die Ergebnisse im Kontext der Erforschung von Emotionsdarstellungen im Comic diskutiert.

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Muñoz Muñoz, Selene, and Marta Martínez Márquez. "Ogea Pozo, M.M.; Rodriguez Rodriguez, F. (eds.) Insights into audiovisual and comic translation. Changing Perspectives on films, comics and videogames. Córdoba: UCOPress, Translation and Interpreting Series, III, 2019, 213 pp. ISBN 978-84-9927-469-0." Hikma 19, no. 1 (May 25, 2020): 279–83. http://dx.doi.org/10.21071/hikma.v19i1.12645.

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Benjamin La Farge. "Comic Romance." Philosophy and Literature 33, no. 1 (2009): 18–35. http://dx.doi.org/10.1353/phl.0.0034.

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Shofi, Muhammad Nurun, and Bram Denafri. "Onomatope dalam Komik Nusa Five Volume 1 karya Sweta Kartika." Jurnal Bahasa dan Sastra 9, no. 2 (May 31, 2021): 164. http://dx.doi.org/10.24036/jbs.v9i2.111563.

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This study aims to describe the onomatopoeic form in the Comic Nusa Lima volume 1 by Sweta Kartika. The theory used is the onomatopoeic form theory proposed by Sudaryanto (1989) and the onomatopoeic meaning theory proposed by Ulman (2011). This research is descriptive research. Data collection using the observation method. The technique used in the data collection stage is a non-participant technique. Researchers observed and recorded data in the form of words containing onomatopoeic elements contained in the comic Nusa Five by Sweta Kartika. The data analysis method used in this research is the equivalent method and the method of agih. The results of this study found that the onomatopoeic form of the root word was divided into one syllable and bisilabel. In the reduplication category, the researchers found full repetitions and three repetitions (trilingga). The results of this study concluded that the use of onomatopoeia in the form of reduplication was dominant in Nusa Five Comics.

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Reid, Stephanie Francesca, and Lindsey Moses. "Rewriting deficit storylines: the positioning of one fourth-grader as comics expert." English Teaching: Practice & Critique 20, no. 3 (March 11, 2021): 298–312. http://dx.doi.org/10.1108/etpc-07-2020-0075.

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Purpose This study took place in an elementary English language arts classroom during a comics writers workshop unit and focused on one fourth-grade author. This paper aims to explain how a fourth-grade student receiving special education services positions himself and is positioned by others as an expert during a unit on comics. When students’ knowledge about multimodal composition is recognized and valued, the classroom community can become a place where students can author themselves into positions of power and authority. Design/methodology/approach Informed by sociocultural theory, social semiotics and positioning theory, the authors conducted a qualitative study to analyze the focal participant’s published comic, classroom interactions and interview data using open and in vivo coding systems. Findings The findings documented how the focal participant was positioned as an expert by others and how he positioned himself as an expert. The findings also explore how this fourth-grade comics expert left an authorial residue that extended beyond the boundaries of this particular comics unit, impacting his teachers and future iterations of the comics workshop. Originality/value Scholars have theorized multimodal approaches to reading and writing pedagogy as an equitable enterprise that values meaning-makers using a wide variety of semiotic resources. This study shows how incorporating an explicit multimodal composition opportunity allowed one fourth-grade author space to craft a comic and re-author traditional classroom positions of power.

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Hening, Irish, and Suma Riella Rusdiarti. "Villain Figure’s Ambivalence in the Comic Gundala: Destiny." Jurnal Lingua Idea 11, no. 2 (December 29, 2020): 127. http://dx.doi.org/10.20884/1.jli.2020.11.2.3451.

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In the comics with superhero genre, the reader will see a villain figure as the opponent of superhero. In September 2019, Bumilangit in collaboration with Gramedia Pustaka published the comic Gundala: Destiny as the complementary media adaptation to the movie Gundala: This Country Needs Patriots which was also published in the same year. This comic presents the figure of Sancaka against Pengkor. Unlike the movie, the main point of narration in the comic is from the perspective of Pengkor as the villain. The comic’s narrative shows the story of Pengkor's childhood until he became a mafia who is feared and respected by many people. With his power, Pengkor has both socially or politically dominance. His power also works with his 10 adopted children as the victims of his subordination. However, Pengkor’s actions to create power over his children were carried out without coercion and repression. In this way, his adopted children obeyed and glorified Pengkor with the nickname 'Father'. By using the structural theory of Tzvetan Todorov and the hegemony of power from Antonio Gramsci, this study aims to dismantle the ambivalent power attitude of Pengkor as the villain figure in the comic Gundala: Destiny.

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Doyle, Brian. "Just a Comic." World Literature Today 80, no. 3 (2006): 10. http://dx.doi.org/10.2307/40159072.

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Fisher, Nick. "COMIC GASTRONOMY." Classical Review 52, no. 2 (September 2002): 246–48. http://dx.doi.org/10.1093/cr/52.2.246.

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Hamilton, Richard. "Comic Acts." Classical Quarterly 41, no. 2 (December 1991): 346–55. http://dx.doi.org/10.1017/s0009838800004523.

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A. H. Sommerstein has recently directed our attention away from the belaboured topic of the essential and original structure of Old Comedy to the more productive question of how the extant plays of Aristophanes are shaped. He begins with the question of the source of ‘the five-act principle, standard in Menandrian comedy’ (140). Correctly looking to the chorus as the key element in articulating a play's form, Sommerstein finds that the five-act format already dominates the shape of Old Comedy, although he argues that the number of acts ranges from four to seven and that only in the fourth century do the acts become about the same length. His analysis is largely correct, I think, but it is in danger of being ignored because his criteria are not objective and have not been applied systematically. Thus, B. Zimmermann has more recently described the structure of Aristophanic comedy as free

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Adams. "Agitation with—and of—Burke's Comic Theory." Philosophy & Rhetoric 50, no. 3 (2017): 315. http://dx.doi.org/10.5325/philrhet.50.3.0315.

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Febrianti, Mariska. "DEIXIS FOUND IN KAMIO YOUKO’S HANA YORI DANGO IN ENGLISH VERSION." JOALL (Journal of Applied Linguistics & Literature) 2, no. 2 (December 10, 2017): 25–34. http://dx.doi.org/10.33369/joall.v2i2.5952.

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Deixis cannot be separated to language itself because deixis is a part of language. One of language forms in our environment are comics. It is the popular literary works that teenager read besides novel and short story. The objectives of this research can be further detailed as the following; (1) To find kinds of deixis that are in Kamio Yuoko’s Hana Yori Dango. (2) To know the situation of deixis are in Kamio Youko’s Hana Yori Dango. The design of this research is descriptive qualitative research. It describes deixis found in Hana Yori Dango comic. This research uses the descriptive qualitative research. The result of this research are; (1) The kinds of English deixis found in Hana Yori Dango comic are; eighty five person deixis, twelve place deixis, thirteen time deixis, thirteen social deixis, and seventeen discourse deixis. So, it can be concluded the the dominan deixis which is used in Hana Yori Dango comic is person deixis and the minor deixis is place deixis and (2) The dominant situation in Hana Yori Dango comic is utterance situation related to person and social deixis in finding. So, the theory of deixis analysis from Jaszczolt (2002, p.191) is sticked with the result of deixis found in Hana Yori Dango comic. In this study, the kinds of deixis most commonly found is person deixis. It indicates that the author extremely want to show the figures in the story of comic. It can be seen from the portion of conversation made by the author is simple and short utterance and also related to some elements in comic itself.

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Schirato, Anthony. "Comic Politics and Politics of the Comic: Walter Abish'sAlphabetical Africa." Critique: Studies in Contemporary Fiction 33, no. 2 (January 1992): 133–44. http://dx.doi.org/10.1080/00111619.1992.9935228.

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Wallner, Lars. "Kid friendly? Constructions of comics literacy in the classroom." Language and Literature: International Journal of Stylistics 29, no. 1 (February 2020): 76–94. http://dx.doi.org/10.1177/0963947020910626.

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This article explores how teachers and pupils construct and negotiate discourses around comic books as part of interaction in the classroom from a New Literacy Studies perspective. The combination of imagery and text, the essence of comics, makes them relevant tools for exploring how literacy is constructed in social interaction in the classroom. The analysis is based on video material from two different Swedish schools, one class in Grade 3 and one class in Grade 8. Nine interactional sequences were initially found, and these have been analysed using a qualitative discursive psychological approach, investigating how assessments are utilized to perform social actions – how participants use assessments of comics as easy or difficult reading, or assessments of themselves or others as being or not being comic book readers – to make something happen in interaction. The results show that participants utilize discourses of personal, visual and textual literacy to construct a comics literacy in which image and text are both construed as important for, as well as a difficulty in, reading comics. This demonstrates constructions of comics literacy and readership, how personal experiences of reading comics are important and the importance of broadening the view of comics as school literature.

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Asimakoulas, Dimitris. "Aristophanes in Comic Books: Adaptation as Metabase." Meta 61, no. 3 (March 23, 2017): 553–77. http://dx.doi.org/10.7202/1039219ar.

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Translation studies researchers have for a long time critically engaged with the idea of translation being a mode of creative rewriting across media and cultural or temporal divides. Adaptation studies experts use a similar premise to study products, processes and reception of adaptations for specific locales. This article combines such perspectives in order to shed light on an under-researched area of comic adaptation: this is the metabase, or transfer, of Aristophanic comedies to the comic book format in Greek and their subsequent translation into English for an e-book edition (Metaichmio Publications 2012). The paper suggests a model for the close reading of creative transfer based on Lefèvre’s (2011; 2012) typology of formal properties of comics and Attardo’s (2002) General Theory of Verbal Humour. As is shown, visual rhythm and text-image relations create a rich environment for anachronism, parody, comic characterisation and ideological comments, all of which serve a condensed plot. The English translation rewrites cultural/ideological references, amplifies obscenity and emphasizes narrator visibility, always taking into consideration the mise en scène.

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Naudillon, Françoise, and Matt Reeck. "Popular Art Forms in the DRC." Journal of World Literature 6, no. 2 (June 22, 2021): 197–215. http://dx.doi.org/10.1163/24056480-00602005.

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Abstract Popular literary forms have experienced a remarkable vitality in the Democratic Republic of the Congo. While it is difficult to define popular literature, it is necessary to recognize within Francophone literature the existence of types of texts that escape the attention of both discursive and institutional practices of legitimization, texts that are consigned to the margins of the dominant literary canon. In fact, these texts transgress the conventions of these literary “sub-genres,” such as detective novels, dime novels, exoticist novels, novels of manners, as well as graphic novels or comics. The success of Zamenga Batukezanga (1933–2000), still the most widely read and recognized writer in the DRC, as well as the recent rise of comic book writer Jérémie Nsingi, the author of many fanzines and small-run comic strips, reflect how these genres reconstruct canons and illustrate the emergence of a popular social imaginary.

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Ševčík, Miloš. "Both artistic and comic." European Journal of Humour Research 9, no. 4 (December 30, 2021): 74–90. http://dx.doi.org/10.7592/ejhr2021.9.4.576.

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This study examines Louis Cazamian’s considerations on the nature of humour, which were influenced by Bergson’s theory of the comic as a contrast between life and automatism and Bergson’s idea of humour as a specific type of comic linguistic transposition. In this context, the paper draws attention to the critical function of humour in Cazamian’s understanding based on his embracing of Bergson’s conception of laughter as a critique of the automation of life. However, Cazamian’s speculating diverges from Bergson’s thoughts on humour and leads to the creation of an elaborated theory. Cazamian states that humour has an artistic status and attributes characteristics to it that Bergson attributes to works of art. In contrast to Bergson, who emphasises the distinction between art and the comic, Cazamian deems humour’s critical aspect to accord with its artistic status. While humour is attributed artistic status because it suggests the multifaceted or elusive character of reality, humour’s comic character entails ridiculing the inability or unwillingness to respect that reality has a comic character.

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Syska, Rafał. "Comics in museums. Paradoxes of the presence and absence of comics in museum exhibition practices." Kultura Popularna 60, no. 2 (January 31, 2020): 148–61. http://dx.doi.org/10.5604/01.3001.0013.7341.

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The article analyzes the phenomenon of exhibitions dedicated to comic books, which are displayed in museum and gallery spaces. It presents the theory of contemporary narrative exhibitions. Using some tools of the latest research on the art of exhibition, the author analyzes the status of a comic book in a museum landscape. He reflects on the diversity of the comic book’s presence in everyday practices, the other nature of comic's experience by a visitor, and a link between comic books and other media, especially film. He describes the role of the viewer, who becomes the object in relations with a comic book transformed into a subject as a museum artifact.

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Savitri, Ayu Ida. "STRIP KOMIK SEBAGAI WADAH PERISTIWA BUDAYA." Sabda : Jurnal Kajian Kebudayaan 11, no. 1 (October 1, 2016): 25. http://dx.doi.org/10.14710/sabda.v11i1.13220.

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Comic Strip is “a short series of amusing drawings with a small amount of writing which is usually published in a newspaper” (Cambridge 2003: 239). It usually contains stories of what happened at the moment of the comic strips published in the newspaper. That is why, although it cannot be considered as a historical document, it can be considered as a medium of factual events happening at the moment of the newspaper published, delivered in an entertaining packaging. One of those factual events is cultural event related to the culture of the people where the newspaper published. Those events can be considered as cultural one by revealing the readers’ interpretation of the comic strips by using semiotic and pragmatic theories to see whether the events is considered as part of their culture or not. As comic strip consists of pictures and utterances, the analysis can be done by using Semiotics theory to analyse its picture (visual element) and Pragmatics theory to analyse its utterance (verbal element). Firstly, the informant reveals the conversational implicature of the utterances. The result is then analysed by using the Relevance Theory from Sperber and Wilson (1986: 1996) to describe the utterances’ meaning, how they get it, and why they get it that way. Secondly, the informant interprets the comic strip (the picture along with the utterance’s analysis). The result is then analysed by using the Signifying Order Theory by Danesi and Perron (1999) to describe the comic strip’s meaning, how they get it, and why they get it that way.

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Jankowski, Jakub, and Piotr Stańczyk. "“Visualidade” educacional na Guiné-Bissau à luz da teoria de banda desenhada, ou seja, uma revisão trans/pós-colonial das ideias didáticas/pedagógicas no âmbito da lusofonia." Studia Romanica Posnaniensia 46, no. 3 (December 9, 2019): 63–93. http://dx.doi.org/10.14746/strop.2019.463.005.

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The main purpose of the article is to present analysis of comic book Nô Pintcha which – as we state – is the exceptional example of visual representation of theory of education from period of early independence of former portuguese colonies in Africa. Nô Pintcha was published in 1978 during the summit of ministers of education and educators from Angola, Cape Verde, Guinea Bissau, Mozambique and São Tomé. Authors of Nô Pintcha considered comic book as a apendix to the basic literacy campaign in Guinea Bissau. Theory of education which was used during literacy campaign had origins of emancipatory popular education of Paulo Freire. Thus the analysis presented in this paper lies parallely in looking for the Nô Pintcha in perspective of comic book theory as well in looking for traces Freire’s theory.

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Zaimah, Husnuz. "DEVELOPMENT OF COMICS LEARNING MEDIA FOR BUYING AND SELLING PRACTICES ON SOCIAL ARITHMETIC." Southeast Asian Mathematics Education Journal 10, no. 1 (September 30, 2020): 1–11. http://dx.doi.org/10.46517/seamej.v10i1.88.

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Husnuz Zaimah zaimah335@gmail.comMathematics teacher of MTsN 2 Mojokerto, East JavaAbstract: Social Arithmetic discusses buying and selling material. To achieve the description of the practice of buying and selling can be easily understood by students through the use of comic media. The purpose of this research is to develop learning media in the form of comics about buying and selling practices on MTsN 2 Mojokerto Social Arithmetic material. The development procedure was adapted from the theory developed by Borg & Gall (1983) through 9 stages, namely (1) conducting research and information gathering, (2) conducting planning, (3) developing initial product formats, (4) design validation, (5) ) revising design validation, (6) major field trials, (7) revising products, (8) conducting operational field tests, (9) conducting product effectiveness tests; (10) Revision of the final product. The results of the comic media analysis of learning buying and selling practices show the validation score of the material expert is 96% and the media expert is 93.6%. Trial of 17 students 82.30% and 34 students 92.31%. From the effectiveness test the average value of the control class is 48.5 while the trial class is 76.91. T-test significance test showed 0.01. The data above shows that the learning comics media of buying and selling practices is said to be feasible to be used in the learning process of Social Arithmetic material Keywords: development, comic media, buying and selling practices

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Suryadilaga, Muhammad Alfatih. "SYARAH HADIS SAHIH BUKHARI DAN MUSLM DALAM KOMIK : Studi atas Deskripsi 99 Pesan Nabi: Komik Hadis Bukhari Muslim (Edisi Lengkap)." ESENSIA: Jurnal Ilmu-Ilmu Ushuluddin 16, no. 2 (October 1, 2015): 153. http://dx.doi.org/10.14421/esensia.v16i2.994.

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yarah traditions become a necessity for Muslims ummah. This is because Islamic teachings contained in its tradition. The innovation over tradition are constantly evolving . One of them is the understanding of the hadith in Sahih Bukhari and Muslim in comic form. The new media is different from other that developed before, namely the audio media as can be seen in TVRI and youtube and other media such as teaching in Islamic boarding schools and PTKIN in Indonesia. This study is interesting because the religious comics becomes new trends in Indonesia which is sourced from the two most authentic books of hadith as such. At least , the expanding range of the reader not only of those people who has expert in the science of hadith or tradition in Islamic boarding schools and in PTKIN, but rather to the realm of children and adolescents. in addition, to the realm of the comic this tradition can also be read anyone at any time . In theory of knowledge , comic tradition that developed was an attempt to apply the message contained in the redaction of hadits (matan hadis). Therefore it’s the idea of chosen the traditions that can be applied into the daily life. Supported by appropriate illustrations and narrative of present context, the comics tradition is one of the effort of understanding the tradition in the Indonesian context.

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Wan Teh, Wan Hasmah, and Nurul Syazwani Mohd Dahlan. "The Clash of Rural and Urban Values in the Comic Books Budak Kampung and Mat Som." Malay Literature 33, no. 2 (December 1, 2020): 212–42. http://dx.doi.org/10.37052/ml33(2)no4.

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Lat, whose real name is Mohammad Nor Khalid, is a distinguished and versatile figure among cartoonists in Malaysia. His comic books tend to record sociocultural issues in Malaysia and often show the realities of Malaysian life, especially that of the rural Malay community. Comics are not just reading material for entertainment but are also an important medium for conveying ideas, criticisms and insights as well as having the ability to expose various disparities in local communities. This paper will look into the clash of rural and urban values in two of Lat's comic books entitled Budak Kampung (1979) and Mat Som (1989). The objective of this paper is to analyse the clash of values between rural and urban communities and explain the use of comic elements in conveying meanings in both comics. This paper will use the theory of sociology of literature developed by Alan Swingewood (1972), which is a sociocultural approach to the production of literary works. The findings of this study show that Lat's childhood experiences influenced the creation ofÂ Budak Kampung, while his young adulthood experiences influenced the creation of Mat Som. The clash of rural and urban values are tremendously significant in both works, as depicted by the entry of tin mining companies, selling of land, choosing a spouse, clothing styles and way of thinking.

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McFarland, Ronald E. "David Wagoner's Comic Westerns." Critique: Studies in Contemporary Fiction 28, no. 1 (October 1986): 5–18. http://dx.doi.org/10.1080/00111619.1986.9937826.

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Jyoti. "Image, Text and Malaria: Creative Production of a Comic Book." Society and Culture in South Asia 4, no. 1 (November 13, 2017): 64–93. http://dx.doi.org/10.1177/2393861717730940.

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The comics medium is a powerful tool for communication. It employs the language of both text and images. The placement, interrelationship and transition of panels, speech balloons, gutters, lines, script and picture plane are some of the elements that evoke a sense of time and place in comics. The success of comics as an effective medium depends on experiences common to both the creator and audience. In the light of this understanding of the language of comics, and theorisation regarding the ‘production’ of culture, this article analyses the creation procedure of a comic book made to communicate health messages among schoolchildren under a health project run by the directorate of Vector Borne Disease Control Programme in India. Designing Communications 2 2 Name changed. I have used pseudo names for all the private institutes and professionals. , a private agency contracted by the government for its public health programmes, became the site for this production process. The production involved various ‘actants’ 3 3 A. J. Greimas (1983) developed the actantial model where he talked about six actants or facets that define a narrative algorithm. These actants include the subject, the object, the sender, the receiver, the helper and the opponent. This model was further used by Bruno Latour and others in the development of actor–network theory (widely known as ANT) where the focus shifted from action to systems or networks. from the field. It was also constrained by the limits set by the ‘genre’, hence a specific art world. I call the production of such a comic book a ‘creative production’ because it involves a dynamic interplay between the artists’ creativity and the bureaucratic boundaries of the profession of advertising. Following Howard Becker’s idea that artistic production is collective, I describe the detailed contribution of major actors involved in the process of comic book production.

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Czerwiec, MK. "The Good Death." Departures in Critical Qualitative Research 10, no. 3 (2021): 29–30. http://dx.doi.org/10.1525/dcqr.2021.10.3.29.

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Hidayah, Reni Lailina. "Makna Referensial Pada Komik Bahasa Arab Nawâdhîr Jûhâ Li al-Athfâl." Alibbaa': Jurnal Pendidikan Bahasa Arab 2, no. 1 (February 19, 2021): 1–23. http://dx.doi.org/10.19105/alb.v2i1.4130.

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This qualitative descriptive study aims to describe the referential meaning contained in the Arabic comic Nawadhir Juha li al-Athfal, and to explain the referential meaning in the Arabic comic Nawadhir Juha li al-Athfal. The data in this study are in the form of writings that can be extracted from the referential meaning of the Arabic comic Nawadhir Juha li al-Athfal. The data collected in this study used the reading and note technique method with the data analysis technique using the intralingual and extra lingual matching methods. The matching method is followed by the basic technique of Sorting Determining Elements. The theory used is the theory of meaning Ferdinand De Saussure. The results of the analysis in this study are that there are eighteen referential meanings in the comic Nawadhir Juha li al-Athfal.

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Hidayah, Reni Lailina. "Makna Referensial Pada Komik Bahasa Arab Nawâdhîr Jûhâ Li al-Athfâl." Alibbaa': Jurnal Pendidikan Bahasa Arab 2, no. 1 (February 19, 2021): 1–23. http://dx.doi.org/10.19105/ajpba.v2i1.4130.

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This qualitative descriptive study aims to describe the referential meaning contained in the Arabic comic Nawadhir Juha li al-Athfal, and to explain the referential meaning in the Arabic comic Nawadhir Juha li al-Athfal. The data in this study are in the form of writings that can be extracted from the referential meaning of the Arabic comic Nawadhir Juha li al-Athfal. The data collected in this study used the reading and note technique method with the data analysis technique using the intralingual and extra lingual matching methods. The matching method is followed by the basic technique of Sorting Determining Elements. The theory used is the theory of meaning Ferdinand De Saussure. The results of the analysis in this study are that there are eighteen referential meanings in the comic Nawadhir Juha li al-Athfal.

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40

Nesselrath, Heinz-Günther. "GREEK COMIC FRAGMENTS." Classical Review 50, no. 1 (April 2000): 12–15. http://dx.doi.org/10.1093/cr/50.1.12.

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TAYLOR, SAMUEL S. B. "“VIS COMICA” AND COMIC VICES: CATHARSIS AND MORALITY IN COMEDY." Forum for Modern Language Studies XXIV, no. 4 (1988): 321–31. http://dx.doi.org/10.1093/fmls/xxiv.4.321.

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Roth, Ulrike. "Comic Shackles." Mnemosyne 65, no. 4-5 (2012): 746–49. http://dx.doi.org/10.1163/156852512x585250.

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Firdaus, Muhammad Rifqi, Mei Hardiah, and Indah Damayanti. "An Analysis of Onomatopoeia in Peanut Comic By Charles M. Schulz." Journal of English Education and Teaching 5, no. 2 (June 4, 2021): 248–56. http://dx.doi.org/10.33369/jeet.5.2.248-256.

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The aim of this research is to find out the type of onomatopoeia that used in the comic, the meaning of the onomatopoeic word, and the syllabic structure of the onomatopoeic word. The object of this research is a Peanut comic by Charles M. Schulz. The theory used in this research is based on Ullman’s theory. The result showed that there were two types of onomatopoeias found in the comic, the primary and secondary onomatopoeias. From 71 words, the dominant type found was the secondary onomatopoeia. It was also found that some forms of onomatopoeia have the same word with different meaning, depended on the subject and object that produces the sound. Some words come up more than once according to the storyline in the comic. The form of syllabic structure that the mostly used is Consonant-Consonant-Vocal-Consonant or CCVC, there were 20 out of a total 71 onomatopoeia that have the CCVC form.

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O'Malley, Andrew. "‘The Innocence Project’ – An Online Exhibition and Archive on Children and Comics in the 1940s and 1950s." International Research in Children's Literature 10, no. 1 (July 2017): 20–38. http://dx.doi.org/10.3366/ircl.2017.0216.

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The 1940s and 1950s saw a widespread outcry over children's reading of comic books, most pronouncedly the often violent, gory and erotic crime and horror genres. Concern and outrage over the assumed effects of the ubiquitous magazines on young minds was expressed in a deluge of newspaper editorials, magazine articles, professional and academic journals, and elsewhere. A grassroots movement to restrict children's access to comics led to a Senate Subcommittee hearing in the US investigating links to juvenile delinquency and to legislation in several countries prohibiting the sale of certain comics to minors. Using Omeka publishing and exhibition software, this digital humanities project takes the form of an online exhibition and digital archive and considers the ways in which the comics crisis was structured around the idea of childhood innocence

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Quigley, Austin E., and Elin Diamond. "Pinter's Comic Play." Theatre Journal 38, no. 4 (December 1986): 513. http://dx.doi.org/10.2307/3208314.

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Hoppenstand, Gary. "Editorial: Comic Parody." Journal of Popular Culture 46, no. 1 (February 2013): 1–2. http://dx.doi.org/10.1111/jpcu.12012.

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Telò, Mario. "ARISTOPHANES VS TYPHON: CO(S)MIC RIVALRY, VOICE AND TEMPORALITY INKNIGHTS." Ramus 43, no. 1 (June 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, running gags). This paper suggests thatKnightspresents interpoetic rivalry as a conflict of embodied aesthetic modes. In this play, Aristophanes' tendentious definition of his comic self against his predecessor Cratinus results in opposed ways of conceptualising the sonic quality of dramatic performance and its material effects on the audience. The nexus of voice and temporality, which, as I argue, shapes the play's agonistic plot, equates the intergenerational duelling of Aristophanes' and Cratinus' political counterparts (the Sausage Seller and the older Paphlagon, respectively) to a contrast of somatic experiences grounded in sound.

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Santoro, Vito. "Graphic journalism: il fumetto come racconto del mondo." HISTORIA MAGISTRA, no. 9 (September 2012): 118–26. http://dx.doi.org/10.3280/hm2012-009011.

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The graphic journalism is a form of journalism that takes advantage of the potential of narrative and visual power of comics. More than a theory, a trend or a school, it is a practice adopted by the authors. The graphic reporter is always ready to gather as much evidence as possible on the object of his search. This is what happens in the work of Joe Sacco, Aleksandar Zograf and Igort: their graphic novels describe unknown places, situations and areas. In Italy the publisher BeccoGiallo has created a particular kind of comics, called civil comic. BeccoGiallo's graphic novels talk about true crime stories, biographies and reportage about the world of migrants.

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Waheed, Saira. "Dynamics of anisotropic cosmic models with different matter sources in extended scalar-tensor theory." International Journal of Geometric Methods in Modern Physics 16, no. 12 (December 2019): 1950190. http://dx.doi.org/10.1142/s0219887819501901.

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In this work, we develop some interesting models of cosmos exhibiting anisotropic properties in the extended scalar-tensor theory. In the first place, we consider the LRS Bianchi type I (BI) geometry filled with matter contents as magnetized bulk viscous cloud of strings. We developed analytic solutions and explore the cosmological significance of some interesting physical measures like cosmic volume, directional Hubble parameter, deceleration parameter, viscosity factor, particle energy density, shear and expansion scalars, and string tension density. Moreover, modified holographic Ricci dark energy is introduced in anisotropic scenario to discuss the dynamics of anisotropic comic models. In order to construct the exact cosmic solutions, we take hybrid law of scale factor as well as some viable ansatz for scalar field and its scalar potential. The physical viability of model parameters is discussed through graphical analysis. Physical analysis of both models show that our results are in agreement with the current observations and hence are cosmologically viable and promising.

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Monk, Craig, Roy Gottfried, Ken Monaghan, and R. J. Schork. "Joyce's Comic Portrait." Modern Language Review 97, no. 3 (July 2002): 694. http://dx.doi.org/10.2307/3737519.

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Journal articles on the topic 'Comic theory'

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