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Dallacqua, Ashley Kaye. "Engaged in Graphic Novels with Fifth Graders." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1290088200.
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Grice, Karly Marie. "A (Graphic) Novel Idea for Social Justice: Comics, Critical Theory, and A Contextual Graphic Narratology." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503329869170118.
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Willms, Jennifer [Verfasser], Dietrich [Gutachter] Grünewald, and Andreas [Gutachter] Ackermann. "Jüdische Aspekte in Will Eisners Graphic Novels / Jennifer Willms ; Gutachter: Dietrich Grünewald, Andreas Ackermann." Koblenz, 2019. http://d-nb.info/1185487271/34.
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Takahashi, Thiago Seiji. "A potencialidade dos quadrinhos na educação corporativa: gibis impressos, digitais e Graphic Novels." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-14012016-100117/.
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As histórias em quadrinhos foram definidas como arte sequencial e costumam ser popularmente associadas como um veículo de comunicação voltadas para o entretenimento. No entanto existem histórias em quadrinhos que são destinadas ao uso na educação, na transmissão de informações e na construção de conhecimentos específicos para o aperfeiçoamento profissional e humano. Este projeto teve como objetivo analisar a potencialidade dos quadrinhos na educação corporativa no Brasil, com recorte em São Paulo. Para atingir esse objetivo, o trabalho abordou algumas definições básicas sobre histórias em quadrinhos, suas características e alguns eventos importantes durante a sua evolução histórica. Realizou-se também um levantamento das produções e publicações de quadrinhos corporativos em São Paulo identificando os principais autores e as editoras desse segmento. Para averiguar a potencialidade dos quadrinhos na educação corporativa, este estudo foi sustentado por duas premissas: a primeira se referiu ao reconhecimento dos quadrinhos como linguagem autônoma e a segunda foi constatar a existência de profissionais especializados em atender o mercado de produção dos quadrinhos corporativos no Brasil. Além disso, foram verificados os métodos de produção, distribuição e utilização dos quadrinhos nos programas de educação de algumas corporações. A hipótese principal deste estudo foi que o uso estratégico dos quadrinhos pode contribuir positivamente para a comunicação no ambiente corporativo. Os resultados demonstraram que os quadrinhos têm sido utilizados por grandes corporações como SEBRAE, ABNT, Metrô SP, Petrobrás, Telefonica, O Boticário, SENAI, Votorantim e outros. Existe no Brasil uma produção regular e bem organizada de quadrinhos corporativos realizada por estúdios, autores e editoras especializadas. Essas produções ocorrem, pelo menos, desde 1994. A maior parte desses quadrinhos foram distribuídos dentro de empresas ou em ambientes mais restritos. No entanto, também houve algumas publicações que foram distribuídas e comercializadas em livrarias publicados no formato Graphic Novel. Verificou-se também que alguns quadrinhos corporativos têm sido publicados em suportes digitais, como foi observado no caso do convênio entre o SEBRAE e a ABNT. De acordo com os resultados coletados nesse estudo, a potencialidade do uso dos quadrinhos na educação corporativa foi associada, principalmente, em auxiliar nos processos da conscientização, compreensão e memorização de ideias e informações. A sua aplicação estratégica através de tiras e cartuns também facilitou e beneficiou a apresentação de ideias ou conceitos durante aulas/palestras e em textos de natureza mais complexa. O uso dos quadrinhos também possuiu o efeito de conseguir romper com o excesso de formalidade na comunicação com os funcionários em algumas empresas, ampliando o seu interesse e envolvimento com os programas de educação. Além disso, alguns elementos usados nos quadrinhos como a concepção de personagens e o humor gráfico também se mostraram como elementos de grande potencial para auxiliar o desenvolvimento de programas de educação corporativa.Comics were defined as sequential art and commonly associated as a communication vehicle aimed for entertainment. However some comics are used to transmit information, give support to education programs and help to improve the knowledge building about specific themes related to the human and professional development. The main objective of this project was to analyze the potential use of comics in corporate education in Brazil, focused in São Paulo state. To reach this object, this study described some basic definitions of comics, their characteristics and some important events occurred during its historical evolution. Moreover, a bibliography survey of comics productions and publications of corporate comics in São Paulo was also done and the main authors and publishers of this segment were identified. To investigate the potential use of comics in corporate education, this study was supported by two premises: the first one referred to the recognition of comics as an autonomous language and the second was to verify the existence of specialized professionals who support the production of corporate comics in Brazil. In addition, methods of production, distribution and utilization of comics in some corporate education programs had been also checked. The main hypothesis of this study was the strategic use of comics can contribute positively to improve the communication activities in the corporate environment. The results showed that comics had been used by important corporations like SEBRAE, ABNT, Metrô SP, Petrobrás, Telefonica, O Boticário, SENAI, Votorantim and others. In Brazil, there is a regular and well-organized production of corporate comics which is made by studios, authors and specialized publishers. These productions have occurred at least since 1994. The majority of these comics were distributed within companies or in restricted environments. On the other hand, there were also some publications which were distributed and sold in bookstores published in Graphic Novel format. Interestingly, some corporate comics had been published in digital media, as it was verified in the case of covenant between SEBRAE and ABNT. According to the results, the potential use of comics in corporate education was associated mainly to assist the processes of awareness, understanding and memorization of ideas and information. The strategic application of comics through comic strips and cartoons also facilitated the comprehension of ideas or concepts showed in classes/lectures and in texts with specific contents that were difficult to understand. The use of comics also showed the effect of breaking with excessive formality in communication between instructors and employees in some companies, resulting in the increase of employee\'s interests in the activities of the education programs. Furthermore, some elements used in the comics like the design of characters and graphic humor also showed a great potential as elements to assist the development of corporate education programs.
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Takakjian, Cara Elizabeth. "The Italian Graphic Novel: Reading Ourselves, Reading History." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11002.
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This study seeks to unravel the intricate connection between a selection of graphic novels, the moments in which they were created, and the process of weaving an Italian cultural history. It analyzes graphic novels and comics from three periods in Italian contemporary history – 1968, 1977 and 2001 – and asks how the hybrid image-text language of graphic novels might provide a unique insight into the relationship between the individual and history in contemporary Italy. More specifically, it looks at how the comic medium not only reflects or represents historical events, but effectively re-writes and re-traces them, allowing us to re-think History. Ultimately, this work reveals how the graphic novel medium has been used as an instrument in the process of weaving an Italian cultural history since 1968. Comics not only reflect the time in which they are created, either explicitly or implicitly, but also work as cultural agents in the formation and re-telling of history. Whether they attempt to speak to and for a generation seeking change and a new reality of freedom, are a means of aggressive socio- political criticism in a moment of apathy and disillusion, or a space to reflect on and work through personal and historical trauma, graphic novels are shaped by, and help to shape, our vision of ourselves and our society.Romance Languages and Literatures
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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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Orihuela-Gruber, Daniella. "Political cartoons and graphic novels a study of political and social commentary in comics /." Click here to view, 2009. http://digitalcommons.calpoly.edu/joursp/7/.
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Thesis (B.S.)--California Polytechnic State University, 2009.Project advisor: Patrick Munroe. Title from PDF title page; viewed on Apr. 19, 2010. Includes bibliographical references. Also available on microfiche.
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Capan, Emily. "COMICS AS VEHICLES FOR UNDERSTANDING SYNTHESIS: A RETROSPECTIVE STUDY." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2448.
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The purpose of this project is to argue the effectiveness of utilizing comics as a learning tool in the first-year composition classroom to help students better understand synthesis. The two main features of comics that help teach synthesis are comic panels and comic closure. Library research was conducted to give insight into the history and terminology of comics, the value of comics in the classroom and in the field of rhetoric and composition, the practicality of using visual rhetoric and literacy in the classroom, and synthesis in the first-year composition classroom. I furthered my research by conducting a retrospective account of my own synthesis comic that I created during my graduate program. I analyzed how creating the synthesis comic helped me to better understand synthesis. I also analyzed how I was better able to effectively execute synthesis specifically through the genre conventions of panels and comic closure. Based on insights from my retrospective account, I will illustrate how the scaffolding exercise of creating a synthesis comic can be an effective tool in the first-year composition classroom. Additionally, I will offer suggestions for further research on the significance of this scaffolding exercise. Comics are becoming more widely valued in academia at large, as well as valued specifically in the field of rhetoric and composition. It is my hope that this thesis will contribute positively to this trend.
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Phelps, Valarie L. "Pedagogy of Graphic Novels." TopSCHOLAR®, 2011. http://digitalcommons.wku.edu/theses/1065.
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Graphic texts, or graphic novels, have spent many years on shelves with comic books about superheroes and adventurers. They officially gained notoriety in 1992 with Art Spiegelman’s Maus, and at this time, critics and scholars began to take notice. However, graphic novels have not been fully adapted by academia. Graphic novels have the ability to offer new levels of instruction and learning in upper-level classrooms.The following is a study in the multitude of uses of graphic text in academia. Chapter 1 looks at the history of graphic text to understand the present and future of graphic novels. Chapter 2 focuses on literacy issues to develop a basis for the use of graphic novels in the classroom. Chapter 3 offers a method of using graphic novels to broaden a students’ understanding of plays. Chapter 4 moves on to a study of graphic novels as works of literature. Through this look of historical data and an analysis and discussion of the modern form of graphic novels, we will come to the conclusion that graphic novels can be useful assets in the classroom when they are taken from the shelf of comic books and used to their full potential.
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Adams, Jeff. "Documentary graphic novels and social realism." Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2003. http://d-nb.info/990541126/04.
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Smith, Alex B. "The Absent Archive: Race, Gender, and Sexuality in AIDS Comics." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583853673718781.
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Stephens, Wendy Steadman. "The Influence of Engagement with Graphic Narrative Text Formats on Student Attitudes Towards the School Library." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700038/.
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Comics, graphic novels, and manga differ appreciably from textual narrative formats, and materials with increasingly visual elements have found their way into progressive and student-centered library collections. But many educators and librarians still resist inclusion of graphic narratives in school libraries and devalue the reading practice of students who prefer more visual texts. Using the framework of radical change, which posits that both text conventions and reader expectations for text are increasingly multimodal as they possess characteristics of evolving digital media, this study considered the relationship of the characteristics of text individual students prefer, particularly those they select from the school library, and their attitudes towards aspects of reading practice as evidenced through the Adolescent Motivation to Read Profile instrument. Survey data was supplemented with circulation history from the library management system to inform a correlational study punctuating attitudinal differences based on reader preferences. Findings include high school students who engage with graphic narrative text formats reporting more favorable views of libraries and reading. There is a demonstrable distinction in attitudes between students who prefer more visual text when compared with peers with more traditional print affinities. Student engaging with graphic narrative texts also report more frequent engagement with text overall. These demonstrated relationships should help to legitimize the inclusion of more graphic narrative text formats in school library collections.
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Anderson, Terpstra Kristin. "Spreading the word : fan translations of manga in a global context." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3423.
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Manga, or Japanese comic books, are one of the newest popular media imports from Japan to garner a sizable following in the U.S. Shortly before the establishment of an American manga publishing industry and the investment in resources to publish manga legally, fans calling themselves scanslators or scanlators (scan + translators) began translating Japanese manga themselves and distributing it to other fans through the Internet. This dissertation focuses on the manga importation process from several different angles, comparing within each the struggles and similarities between the actions and motives of scanslators and publishers. Comparing and contrasting the practices and norms of scanslators with those of the American manga publishing industry, this case study will provide insight into the ways that fans of transnational texts are involved in a system of global media flows whose paths are determined by legal, cultural, economic, and political forces.
This work focuses on three stages in the manga importation process: selection, translation, and distribution. This study is based on the textual analysis of trade journal articles and web sites, informed by interviews with scanslators and manga industry workers. I conducted interviews over a six-month period in 2008, focusing on two groups, the publishing company Tokyopop and the scanslation group "Paradise." I carried out follow-up interviews a year later. I supplemented these interviews with interviews from freelance manga translators. I demonstrate principles influencing the flow of other kinds of media across borders. Manga serves as a prime example of the rise and transformation of a genre in the book market, and more broadly as a form of media. This case also serves as a snapshot of a moment of change within the publishing industries as they move towards increased digitization.
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Lombard-Cook, Kathleen. "Interrogating and analysing narrative structure through comic books." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23507.
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How can the structures of graphic narratives help us to interrogate, analyse, and ultimately ground stories of ourselves and our world? By not relying solely on verbal or visual language, but the complex interplay between multiple signification strategies, comics open up possibilities for transcending the limits of any single linguistic mode and more fully enunciating the complex layers of superimposed truths that make up our lived experiences. In this doctoral project, I utilize media-specific analysis of graphic narratives and interrogate the multi-modal communication strategies inherent in comics. The result is a multidisciplinary construction of the structural and semiotic modes of comics as an enactment of contemporary narrative ideals that privilege reader-centric, subjective constructions of meaning. My submission consists of four chapters of written research, to be submitted at the end of January, and a collection of autobiographical narrative works that will form an exhibition which will be shown at the time of the viva in April. The presentation of the textual material is an inseparable component of the content, and a piece of practical work in itself. The chapters can be read in any sequence; for the purposes of this abstract, I will discuss them in alphabetical order. My practice work challenges the traditional use of comics-specific affordances, such as panel borders, gutter, use of space as time, and other verbo-visual techniques by remediating them outwith book and digital book-like objects we associate with graphic narratives. Each chapter in the dissertation is its own book-object that enacts the content as well as relates to the larger body of practice work. Childhood Memoirs—Autobiographical Approaches The use of multiple signification strategies allows for communication that transcends the limits of textual or verbal language and can allow a creator to enunciate what may be unspeakable or incomprehensible, such as moments of trauma. I pay special attention to how subjectivity is presented in graphic memoirs within this context, as the drawn nature of comics allows for shifts in the status of the author/narrator that are unique to the medium. Comics as a Synthetic Medium—A Very Short Introduction The ‘introductory’ chapter contextualizes my research and comics studies more generally within non-binary, non-hierarchical concepts of rhizomatic knowledge structures that utilize the concept of text in the Barthesian sense as a mode of communication rather than solely lexicographic writing. In comics, text and imagery can actively oppose each other, creating a space where new meaning can be synthesized from this tension. This is Derrida’s deconstruction, Benjamin’s inclusion of cultural production in literature, or Barthes’ writerly text. Each utterance on a comics page may convey multiple levels of independent meaning, making it unique among narrative media. By examining the semiotic and structural theories presented by Barthes and Derrida, as well as Benjamin, Deleuze, Witgenstein and others, I develop the case for a comics-specific theory of trans-medial, subjective, deconstructed communication. Mapping the Journey—The Cartography of Autobiography In this chapter, I analyse the mythology of the supposed inductive system of representation in mapping and explore how including a secondary visual semiological system, that of the map, within the primary system of comics impacts reader perception of truth through verifiability. I also explore the intersection of non-representational theory within geography and authentication within autographics. Media Specificity of Non-traditional Graphic Narratives The focus of this chapter is on the impact of disseminatory (re)mediation on the medium of graphic narratives. I assert that neither digital nor print is superior to the other, but deliver different experiences to the reader. Through close analysis of the formal qualities inherent in digital and physical representation of comic content, I articulate the qualities unique to each distribution strategy and theorize ways that creators can take advantage of the media at their disposal. The practical element of my submission takes the form of a collection of objects that utilize a variety of graphic narrative structures outwith traditional comics forms in order to explore facets of my childhood memories. The exhibition will be constituted of several lanterns, dioramas and dolls’ houses, as well as some printed material. I attempt to ground my memories in architecture and place, while aware that the sense of solidity this lends my recollections is a false sense of objective security. To counteract any attempt to present a wholly unified and reliable narratorial self, I present the same places and memories through various angles and media. I make explicit some of the dissonant ‘truths’ myself and other members of my family were presented with, as an attempt to consciously confront the fragility of utilizing such collectively constructed memory to construct a stable self-image.
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Ernsth, Bravell Gunnar. "More Than a Stepping-Stone? : A Study of the Uses of Comics and Graphic Novels as Multimodal Teaching Material in English Courses at Upper and Lower Secondary Schools in Sweden." Thesis, Jönköping University, Högskolan för lärande och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-50818.
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The aim of this study is to examine upper and lower secondary school teachers’ experiences of using graphic novels in the English subject in Swedish schools in order to discuss if, and how, multimodal texts can be used to increase students’ motivation to read and analyze fictional texts. This is done through qualitative semi-structured interviews with 12 participants currently working as English teachers from both upper and lower secondary schools in Sweden. The framework of this study centers around the concept of multimodality, multimodal literacy and how it can be used in the English classroom. The results of the study indicate that comics and graphic novels can and are being used for a number of purposes in English language courses in Sweden, and that they allow teachers to incorporate visual analysis into their literature modules, adding more elements for students to discuss and work with. Furthermore, the participants experience that comics and graphic novels aid in increasing students’ motivation and interest as the multimodality makes them more accessible. The results of the study also show that comics and graphic novels could be used to teach students about literary analysis, both visual and verbal. However, in order to utilize the multimodality of comics and graphic novels, teachers require an understanding for how two modalities can be used together to create meaning. Moreover, the study shows that comics and graphic novels are viewed as a lesser form of fictional texts, as they are mostly seen as motivational supplements or a stepping-stone toward other types of novels. In conclusion, there are numerous benefits to using comics or graphic novels in EFL courses, such as an increase in motivation and additional visual/multimodal aspects for students to analyze when working with fictional texts.
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Howell, Anna. "Insavoir and Representation in Comics| Modal and Temporal Intersections in Contemporary Francophone Familial and Historical Graphic Novels." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712439.
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French literary theorists Dominique Viart and Bruno Vercier identify the beginning of a new era for French literature in the 1980s, characterized by hypotheses, hesitations, and the general notion that truth and reality cannot be fully grasped by discourse. The 1980s can be considered as transitional for the comics medium as well. Art Spiegelman's Maus (first published in 1980, completed in 1991) demonstrated that comics are not only capable of representing difficult familial and historical pasts, but that visual narratives benefit from formal and aesthetic devices that are inherent to the ninth art's polysemiotic possibilities. In this dissertation, I study francophone comics in which a second- or third-generation individual seeks to understand a familial past that exceeds his or her personal experience and that has previously been silenced or repressed, either individually (by the primary witness) or collectively (by the political hegemony). In the research corpus, the narrator's search elicits modal and temporal intersectional spaces: representation and anti-representation in Chapter One, the past and the present in Chapter Two, the collective and the individual in Chapter Three, and the interplay between memory, history, and imagination in the concluding Chapter Four. In addition to an interdisciplinary theoretical framework, Viart's notion of insavoir [not-knowing] and Pierre Nora's concept of "sites of memory" act as overarching theoretical tools throughout the essay.
The thematic organization of intersectional spaces fosters the identification of recurrent devices as the individual discussions reinforce and nuance one another sequentially and retroactively. Aware of the inherent limitations of representation and the notion of cognitive insavoir, the authors of the research corpus attempt to communicate meaning instead of presupposing understanding or the ability to "know" a traumatic, violent, and repressed past (and the capability to represent such a history through text and image). Such recurrences are symptomatic of an emerging sub-category within the medium, wherein the figure of the intersection is pertinent and productive precisely because these works operate in multi-directional insavoir. Like novels in the literary era identified by Viart and Vericer, the resulting representations oppose binary thought, opting instead for narratives that are self-critical, uncomfortable, thought-provoking, and ultimately, perhaps, more true.
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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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Zarate, Tabitha Rose-Ann. "UTILIZING VISUAL RHETORIC: A NEW APPROACH TO COMICS, SUPERHEROES, AND RED SUNS." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/827.
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Comics and graphic texts require complex engagement from readers, engagement that relies on a developed understanding of text and image, and how they interact to create meaning. There are several theories about how readers engage with comics, many from comic creators themselves, and some from scholars in literature and composition. This project introduces an approach to comics utilizing visual rhetoric, which reconsiders the stricter text/image dynamics often conceptualized in Comics Studies, includes the reader as creator, and explores comics as collaboratively created texts. This approach is applied to Superman: Red Son, a popular text that focuses in on Superman, and Cold War politics, producing a critical conversation about American and Russian relations and their influences in a global context. This project has several goals: to legitimize the superhero comic as a place of important cultural power, to show the collaborative nature of comics, placing writers and artists in equal standing to the work they produce, and to introduce the reader as creator.
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Petiya, Sean. "Building a Semantic Web of Comics: Publishing Linked Data in HTML/RDFa Using a Comic Book Ontology and Metadata Application Profiles." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416791055.
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Dallacqua, Ashley Kaye. "“These books give me life”: Considering what happens when comics and graphic novels are welcomed into a middle school space." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460632506.
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Waites, Peter. "On the Boundaries of Watchmen : Paratextual Narratives across Media." Licentiate thesis, Uppsala universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-266867.
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This dissertation is an intervention into the ongoing revisions of Gerard Genette’s concept of paratexts. Increasingly used in discussions of artifacts other than the literary novels that were Genette’s object of attention, the concept of paratexts has given rise to intense debates regarding the nature and functions of paratextual elements across media. One area of contestation is the relation of paratext to narrative. While Genette’s original paradigm complicates the possibility of a narrative paratext, I show that the liminal zones usually occupied by paratexts—what I call paratextual space—are commonly used for narrative purposes, particularly as popular narratives extend across media. In this dissertation, I analyze the different embodiments of Watchmen with a focus on such a use of paratextual spaces. I argue that studies of narratives presented in these spaces—what I refer to as paratextual narratives—will not only shed light on these narrative strategies, but also give new insights into how popular narratives extend across new media platforms. My first analytical chapter concerns the material that frames the Watchmen graphic narrative, and its roots in the media specific history and paratextual phenomenon known as lettercols. I show how this paratextual space was repurposed in the creation of Watchmen to present narrative material that worked to establish and augment the history of the storyworld and the characters presented in the graphic narrative of the Watchmen comics. I argue that the functions of these materials are influenced by the tradition established by the lettercols and the paratextual spaces in which they are situated. In my second analytical chapter I turn to the Watchmen adaptation, focusing in particular on the digital narratives framing the cinematic premiere of the film. I show how the paratextual nature of these materials occluded their narrative functions, causing them to be excluded from what is regarded the adaptation of Watchmen. I argue that the materials framing the Watchmen film are paratextual narratives that should be seen as integral parts of the Watchmen adaptation. In my conclusion I address the Watchmen prequel-series Before Watchmen and raise questions regarding how paratextual narratives function for media franchising.
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Steiling, David. "Icon, representation and virtuality in reading the graphic narrative." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001818.
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Thomas, Evan Benjamin. "Toward Early Modern Comics." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502561240762248.
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Ollerenshaw, Emily Anna. "“That was a touching exhortation, dear Armadillo”: English translation of the graphic novel LA PROFEZIA DELL’ARMADILLO by Zerocalcare." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/12724/.
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The aim of this work is to present a translation into English of the graphic novel La Profezia dell’Armadillo by Zerocalcare, published in 2012 by Bao Publishing. It is worth specifying that the translation proposed in this dissertation is specifically targeted at the North American market.
The first chapter offers a theoretical framework by giving a definition of the medium of comics and the medium of the graphic novel. It then briefly outlines the history of comics in the United States, and how the development of comics has led to the modern graphic novel.
The second chapter outlines the development of comics in Italy, with a particular emphasis on those stages that have had a strong influence on the modern graphic novel. A number of the most important Italian graphic novelists are also presented: Vanna Vinci, Davide Toffolo, and Gipi.
The third chapter is dedicated entirely to Zerocalcare and La Profezia dell’Armadillo. It first gives a brief biographical outline on the author, his recent works and his success. Later, the narrative, linguistic, and stylistic style of the graphic novel is analyzed.
The fourth chapter presents an in-depth comment on the translation proposed. The most prominent and challenging translation problems are divided into three categories (problems relating to the comics medium, to the language, or to cultural references) and analyzed.
The appendix of the dissertation includes two interviews carried out by email: the first is to Zerocalcare, while the second is to Michele Foschini, the CEO of Bao Publishing. The appendix also includes the complete translation of the graphic novel.
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Brodbeck, Seth. "Gender-Blind and Gender-Bound: Young Adult Comics and the Postfeminist Protagonist." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1369055837.
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Feeman, Kelley Laurel. "ADAPTING IMAGINATION: A COGNITIVE THEORY FOR ADAPTING COMICS TO THE STAGE." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564738881854803.
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Andersson, Oscar. "ÖVERALLT PÅ JORDEN SAMTIDIGT." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6941.
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Guarino, Jeffrey Mark. "Comix in the classroom: A resource guide for graphic novels and comic books." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1503.
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Lawson, Daniel. ""Like Their Lives Depended On It": The Role of Comics in Subverting Anti-Arab and Islamophobic Discourse." Diss., Virginia Tech, 2011. http://hdl.handle.net/10919/77058.
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This dissertation examines the role the medium of comics plays in the construction and subversion of anti-Arab and Islamophobic discourse. It seeks to address the following questions in particular: how does the medium of comics interpellate subjects regarding the Western discursive formation that conflates Arab, Muslim, and terrorist? What does the medium of comics afford creators in subverting dominant discourses that dehumanize Arabs and Muslims?
I argue that as a hypermedium in which text and repeated images are in continual tension, comics challenge the sort of foundational notion of truth necessary for dominant discourse. I use a Foucauldian lens to examine several comics in relation to larger discursive formations.
In Chapter 1, I explain the problem, my methods, and my theory in more detail. In Chapter 2, I apply this theory as a lens to examine the rhetorical work the medium plays in subverting dominant discourse in Palestine, a nonfiction piece of comics journalism. I use Chapter 3 to problematize the assertions made in the first two chapters by looking at an instance where comics are used to reinscribe dominant discourse. Specifically, I analyze the graphic adaptation of The 9/11 Report. Chapter 4 acts as something of a retort to Chapter 3; it examines In the Shadow of No Towers to interrogate the ways in which Art Spiegelman explicitly addresses not only the issues he grappled with as a New Yorker during and after 9/11, but the complex relations of representation that arose from the event. Chapter 5 I examine how subversion works when a hypermedium is further remediated by analyzing Didier LeFevre's The Photographer: Into War-Torn Afghanistan with Doctors without Borders. The Conclusion is devoted to discussing the implications of this study, both in terms of pedagogy and in terms of theorizing the relationship and differences between image and text. I argue that comics demonstrate the productive ideological tensions that exist between modes of signification (such as verbal and visual). An understanding of this ideological tension is key for scholars of visual rhetoric and hegemonic discourse.Ph. D.
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Gruber, Phellip William de Paula. "“VOCÊ NÃO PRECISA MAIS DE MIM.” O SER, O PAI E A MORTE EM DAYTRIPPER." Universidade Estadual de Ponta Grossa, 2017. http://tede2.uepg.br/jspui/handle/prefix/2412.
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O presente trabalho visa analisar a obra Daytripper (2011), de Fábio Moon e Gabriel Bá, com as cores de Dave Stewart, atendo-se aos elementos que fazem parte da temática do ser, dentro da perspectiva existencialista, da relação entre pai e filho e da morte. Para tanto, buscou-se empreender um estudo acerca da configuração da linguagem da arte sequencial, viabilizando diálogos que vão desde a sua macroestrutura, com a teoria de Thierry Groensteen (2015), até aspectos mais pontuais dos elementos internos ao quadro, utilizando-se de algumas vertentes analíticas da semiótica. Na investigação dos aspectos temáticos sobre o ser, pai e filho e a morte, concentramo-nos principalmente nos conceitos apresentados em Ser e Tempo (2012), do filósofo alemão Martin Heidegger, relacionando os argumentos com algumas obras literárias que suscitam as temáticas em questão. Reunimos, neste trabalho, os aspectos da linguagem da graphic novel que dialogam diretamente com a argumentação proporcionada por ela, unindo, na análise, forma e conteúdo.
The present work aims to analyze the work Daytripper (2011), by Fabio Moon and Gabriel Bá, and colors of Dave Stewart, attending to the elements that are part of the theme of being, the relationship between father and son and the death. In order to do so, a study was carried out on the configuration of the language of sequential art, enabling dialogues ranging from its macrostructure, with Thierry Groensteen's (2015) theory, to more specific aspects of the internal elements to the picture, using some analytical aspects of semiotics. In the investigation of the thematic aspects about being, father and son and death, we focus mainly on the concepts presented in Being and Time (2012), by the German philosopher Martin Heidegger, relating his arguments with some literary works that raise the themes in question. In this work, we combine the aspects of the language of the graphic novel that dialogue directly with the argumentation provided by it, uniting, in analysis, form and content.
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Smida, Megan Alice Moore Alan. "(Re)telling Ripper in Alan Moore's From hell : history and narrative in the graphic novel." Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.
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Thesis (M.A. in English) -- University of Dayton.Title from PDF t.p. (viewed 06/23/10). Advisor: James Boehnlein. Includes bibliographical references (p. 44-46). Available online via the OhioLINK ETD Center.
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Åberg, Johan. "Expanderande universum : Den amerikanska serieindustrins superhjälteuniversum och islam." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-100018.
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This study examines how the American comic book industry’s output is addressing the issue of Islam and in which manner the portrayal of Islam in the great American comic book universes have changed since 2001. The comic books are examined from the postcolonial perspective as formulated by Chandra Mohanty and the power and resistance-perspective as formulated by Michel Foucault. Examination of the comic books reveals far greater focus on universal values, orthopraxy and inclusive perspectives than it does on dogmatic teachings, orthodoxy and sectarianism while at the same time partly relying on generalizations and archetypes concerning Islam. To change the power balance requires what I call intervention from the objective, that is to say that ambiguity regarding Muslim characters has to be eliminated by the narrative. This reveals the prominence of the so-called white assistance fantasy in superhero fiction.Den här studien granskar hur den amerikanska serieindustrins produktion bemöter ämnet islam och hur porträtteringen av islam i de stora amerikanska serieuniversumen förändrats sedan år 2001. Serietidningarna granskas genom det postkoloniala perspektivet formulerat av Chandra Mohanty och makt- och motståndsperspektivet av Michel Foucault. Granskning av serierna avslöjar långt större fokus på universella värden, ortopraxi och inkluderande perspektiv än dogmatiska läror, ortodoxi och sekterism samtidigt som man delvis förlitar sig på generaliseringar och arketyper rörande islam. För att ändra på maktbalansen behövs det ofta vad jag kallar intervention från det objektiva, det vill säga att tvetydighet om muslimska protagonister måste raderas av narrativet. Detta avslöjar den framträdande företeelsen av så kallade vit assistans-fantasier inom superhjältefiktion.
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Covich, Anna-Maria Ruth. "Alter/Ego: Superhero Comic Book Readers, Gender and Identities." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7262.
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The academic study of comic books - especially superhero comic books - has predominantly focused on the analysis of these books as texts, as teaching and learning resources, or on children as comic book readers. Very little has been written about adult superhero comic fans and their responses to superhero comics. This thesis explores how adult comic book readers in New Zealand engage with superhero comics. Individual interviews and group conversations, both online and face-to-face, provide insights into their responses to the comics and the characters as well as the relationships among fans. Analysis of fans’ talk about superhero comics includes their reflections on how masculinities are represented in these comics and the complex ways in which they identify with superheroes, including their alter egos.
The thesis examines how superhero comic book readers present themselves in their interactions with other readers. Comics ‘geekdom’, fans’ interactions with one another and their negotiation of gendered norms of masculinity are discussed. The contrast between the fan body and the superhero body is an important theme. Readers’ discursive constitution and management of superheroes’ bodies, and their engagement with representations of superheroes are related to analyses of multiplicity in individual identities and current theories of audience reception and identification.
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Walter, Emily M. "Intercepting Injection: A Graphic Novel About Female Fracktivism in Athens County." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587638668444578.
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Phillips, Katelynn. "Breaking Through Panels: Examining Growth and Trauma in Bechdel's Fun Home and Labelle's Assigned Male Comics." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530891026381072.
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Mayeux, Isaac J. "The Anxious Aardvark Sees the Light: Divine Masculinity in Dave Sim's Cerebus." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1304648596.
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Byrén, Nils. "Moores gaze : En komparativ analys av ikoniskt och lingvistiskt framställt våld mot kvinnliga karaktärer i tre graphic novels av Alan Moore." Thesis, Uppsala universitet, Avdelningen för retorik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323781.
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Seriemediet inkorporerar lingvistiska och ikoniska tecken för att uttrycka etiska, moraliska, sociala och politiska budskap, vilka kan slätas över av en underhållande och tilltalande form. Detta gör mediet lämpligt för en retorisk analys. Ett omdiskuterat ämne inom seriemediet är dess gestaltning av kvinnor, å ena sidan i form av stereotypa könsroller och underrepresentation av verkligt intressanta kvinnliga karaktärer, å andra sidan sexualiserande porträtteringar, våld och övergrepp. Denna uppsats undersöker hur våld mot kvinnor gestaltas i mötet mellan olika typer av bilder och texter i ett och samma serieförfattarskap. Undersökningen genomförs med hjälp av Roland Barthes ”Rhétorique de l’image” (1964) och teorin om the male gaze som Laura Mulvey diskuterar i artikeln ”Visual pleasure and narrative cinema” (1975). Analysen inspireras av en komparativ metod beskriven av Lennart Hellspong i Metoder för brukstextanalys (2001). Uppsatsen granskar utdrag ur Watchmen, Batman: The Killing Joke och The League of Extraordinary Gentlemen av Alan Moore, en av vår tids mest ansedda författare inom seriemediet, också känd för att porträttera våld mot kvinnliga karaktärer. Uppsatsens påvisade en ambivalens i porträtterandet av våld mot kvinnor i utdragen ur Alan Moores graphic novels, samt behovet av att problematisera såväl Alan Moores serier som Laura Mulveys the male gaze, men också möjligheten att använda hennes och Barthes teorier inom retorikdiskursens och seriemediets ramar för att granska hur samspelet mellan bild och text kan uttrycka olika typer av budskap och attityder.
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Ghirotti, Joaquim Cardia. "Frank Miller e os quadrinhos pelo que vale a pena morrer." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-05092017-092333/.
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As décadas de 1980-1990 marcam um ponto importante da história das revistas de quadrinhos de super-heróis. Mudanças no mercado, no público, na política, nos debates morais e culturais do momento ofereceram um cenário propício para novos desenvolvimentos no gênero super-herói. Esse quadro é cercado pelo pós-modernismo, a urbanização, a contracultura, mudanças nas artes e condições políticas que se desenvolvem da Guerra Fria, geograficamente centrada entre a Europa e os Estados Unidos, para a Guerra do Iraque, o que desloca atenções geopolíticas e conflitos para o Oriente Médio. Os quadrinhos de super-herói passam a oferecer maior liberdade temática para seus autores, e discussões sobre direitos autorais ganham força. Este cenário dispõe das condições para que alguns autores pudessem levar os super-heróis para discussões diferentes das décadas precedentes, permitindo o surgimento de trabalhos significativos, de autores que marcam suas obras abordando os super-heróis de forma pessoal. A presente pesquisa procura entender como o autor de histórias em quadrinhos Frank Miller se posicionou diante de uma determinada área de produção artística, utilizando-se das revistas de super-herói para discutir posicionamentos ideológicos, e reforçar seu caráter mítico e simbólico. Utilizando princípios da história cultural desenvolvidos por autores como Ginzburg, Burke, Gombrich, Schorske e Barzun, contextualiza-se a trajetória das histórias em quadrinhos até os anos 1980 e 1990, estabelecendo as condições da mídia quando do trabalho do artista. Para posicionar Miller em relação a seu mercado e suas relações de produção, são utilizadas as ferramentas analíticas de Michael Baxandall, que oferecem um modelo interpretativo das relações que se dão na produção artística. Finalmente, observam-se as abordagens temáticas e morais de sua obra, com seu contexto dentro de uma trajetória na história cultural. Para isso, traça-se um panorama que discute como a obra de Miller atualiza a jornada do herói de Joseph Campbell, utilizando-se da cultura popular para fazer um diálogo entre discussões morais, históricas e políticas, por meio de uma construção de narrativas heroicas que operam como mitos populares modernos e parâmetros civilizacionais, carregando em si princípios, valores e ideias de uma cultura.The decades of 1980-1990 establish an important point in the history of comic books. Changes in the market, the audience, in politics and in the cultural and moral debates of the time offered a scenario which was welcoming to new developments on the super-hero genre. This moment is marked by post-modernism, urbanization, the counter-culture, changes in arts and the political conditions which develop from the Cold War, geographically centred between the United States and Europe, to the Iraq war, which moves the geopolitical attentions and conflicts to the Middle- East. Super-hero comics start offering wider thematic freedom to their authors, and discussions about creator\'s rights gain momentum. This scenario contains the conditions for some of these authors to take super-heroes to discussions which are different from the ones happening in the preceding decades, allowing the emergence of important works, made by authors which marked their work in a very personal manner. This research seeks to understand how comic-book author Frank Miller has positioned himself before an area of artistic production, using super-hero comics, and comics in general, to discuss moral positions, and to underline their mythical and symbolic character. Exercising principles of cultural history developed by authors like Ginzburg, Burke, Gombrich, Schorske and Barzun, we situate the trajectory of comics from their inception as magazines until the 1980s and 1990s, establishing which were the conditions of this medium when Miller produced the works we look at. To understand Miller in relation to his market and his production, we use the analytic tools of Michael Baxandall, which offer an interpretative model of the relationships which happen in artistic production. Finally, we observe the thematic and moral approaches of his work, with their context within a trajectory in cultural history. In order to perform this, we establish a context which discusses how Miller work updates Joseph Cambell\'s hero\'s journey, using popular culture to make connections between moral, political and historical debates, creating heroic narratives which operate as modern popular myths and as civilizational benchmarks, carrying with them the principles, values and ideas of a culture.
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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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Gravely, Gary T. "Roles of the quest superhero in Kavalier and Clay and three graphic novels a thesis presented to the faculty of the Graduate School, Tennessee Technological University /." Click to access online, 2009. http://proquest.umi.com/pqdweb?index=42&did=1913184321&SrchMode=1&sid=1&Fmt=6&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1264782934&clientId=28564.
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McCrory, Dustin W. "Where Do We Go From Here? Multiliteracy and the Future of Narrative." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1698.
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Words on a page are insufficient vehicles for complex ideas. When images and words appear together on the page, as in comics, the process of meaning-making through narrative functions more efficiently. Building on this idea, we must establish a “graphic narratology” to understand the process whereby meaning is transmitted. Analysis of narratological conventions, as well as the conventions of mass-market comics, provides a framework for this new narratology.
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Ericsson, Duffy Mikael. "DRAWN TO LIFE: Exploring real-time manipulation of the digitally represented surface in comics on smartphones and tablets." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23439.
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This research thesis is an exploration into what possibilities lie beyond the representation of analog material when it transcends into the digital realm. Specifically, how printed comics can be altered in realtime by creator- allowed user interaction, when adapted for presentation within the digital sphere of mobile smartphones and computer tablets. Using legacy computer-game techniques like parallax scrolling with modern digital layer filters, device sensors and applying them in realtime to the comic creators digitally layered content, alternative forms of presentation arise.This is an investigation into the comic creator’s will of allowing possibilities of added depth perception, interactivity and alternative visual narratives in their comic, manga or graphic novels when employing new techniques based on sensor data input from a reader, like accelerometer-, gyroscope- or eye-tracking sensors. Several different techniques are evaluated. The focus is mainly on the context of creators of comics or manga who use digital tools and layer compositions when producing their work. Several aspects of the user-centered experience are also explored.Although mainly an interaction design project, most of the design methods are used from a service design approach, emphasizing co-design techniques like interviews, observations and user tests. The results are digital prototypes and proof-of-concepts featuring technology tests that support final design conclusions.The results will show both enthusiasm and reluctance from test subjects towards the new technologies presented. The professional craft of comic, manga and graphic novel creation has a deeply rooted aesthetic and production cycle in its history of the printed form. It could be difficult to alter its standard, reverence and nostalgia in the eyes of its readers and creators, when pursuing the digital format and narrative possibilities of the future. A video explaining the project’s “Drawn To Life” technology is available online.
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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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Zullo, Valentino L. "The Comic(s) Shakespeare: Kill Shakespeare and Audience Experience in Adaptation Studies." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363444777.
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Licari-Guillaume, Isabelle. "« Vertigo's British Invasion » : la revitalisation par les scénaristes britanniques des comic books grand public aux Etats-Unis (1983-2013)." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30044/document.
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Cette thèse porte sur la trajectoire éditoriale et artistique de la collection Vertigo créée en 1993 par DC Comics, maison d’édition états-unienne spécialisée dans la bande dessinée. Je me propose d’aborder Vertigo à travers l'apport des scénaristes britanniques employés par DC Comics depuis le milieu des années quatre-vingt. Leur rôle est en effet considérable, tant au moment de la fondation de Vertigo par la rédactrice Karen Berger que dans le succès ultérieur dont jouit la collection. La genèse de Vertigo met en lumière l’importance du phénomène appelé l’ « Invasion britannique », c’est-à-dire l’arrivée sur le marché états-unien de nombreux créateurs qui sont nés et travaillent à l’étranger pour DC Comics. Cette « invasion » révélera au public américain des scénaristes de tout premier plan tels Alan Moore, Grant Morrison ou Neil Gaiman, dont la série The Sandman est considérée comme un jalon majeur de l’histoire du média. La critique existante au sujet de Vertigo en général tend d’ailleurs à se focaliser sur la portion du corpus produit par les Britanniques, mais sans nécessairement prendre acte de cette spécificité culturelle. Le travail à mener est donc double ; d'une part, il s'agira de retracer une histoire du label en tant qu'instance productrice d'une culture médiatique particulière, qui s'inscrit dans un contexte socio-historique et repose sur les pratiques et les représentations de l'ensemble des acteurs (producteurs et consommateurs au sens large), eux-mêmes nourris d'une tradition qui préexiste à l'apparition de Vertigo. Il sera dès lors possible de prendre appui sur cette connaissance contextuelle pour interroger la poétique du label, et ainsi identifier les spécificités d’une « école » britannique au sein de cette industrie culturelleThis thesis deals with the editorial and aesthetic history of the Vertigo imprint, which was created in 1993 by DC Comics, a US-American comics publisher. I shall consider in particular the contribution of British scriptwriters employed by DC and then by Vertigo from the 1980s onwards. Theise creators played a tremendous role, both at the time of Vertigo's founding by editor Karen Berger and at a later date, as the imprint gathered widespread recognition. The genesis of the Vertigo imprint sheds light on the so-called “British Invasion”, that is to say the appearance within the American industry of several UK-based creators working for DC Comics. Spearheaded by Alan Moore, the “invasion” brought to the fore many of the most important scriptwriters of years to come, such as Grant Morrison and Neil Gaiman, whose Sandman series has been described as a major landmark in the recognition of the medium. Existing criticism regarding Vertigo tends to focus on the body of work produced by British authors, without necessarily discussing their national specificity. My goal is therefore double; on the one hand, I intend to write a history of the label as the producer of a specific media culture that belongs to a given socio-historical context and is grounded in the practices and representations of the field's actors (producers and consumers in a broad sense). On the other hand, the awareness of the context in which the books are produced shall allow me to interrogate the imprint's poetics, thus identifying the specificity of a “British school of writing” within the comics mainstream industry
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Stringfield, Ravynn K. "Black Capes, White Spies: An Exploration of Visual Black Identity, Evolving Heroism and 'passing' in Marvel's Black Panther Comics and Mat Johnson's Graphic Novel, Incogengro." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1530192363.
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This thesis is a portfolio which contains two essays. The first essay, “Reclaiming Wakanda,” is a character biography of the Black Panther comic character from his inception in 1966 until 2016. The work historicizes and politicizes a character written as apolotical by his creators while also placing him firmly within a legacy of Black Power, Civil Rights and other Black freedom movements of the second half of the 20th century. The second essay, “Incogengro: The Creation and Destruction of Black Identity in the ‘Safety’ of Harlem” considers how images and representations race and racial violence are constructed in graphic novel form when color is literally no longer present and within the confines of Harlem.
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Brésio, Sabrina da Paixão. "Nas trilhas do herói. histórias em quadrinhos & itinerários de formação." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-29112016-143725/.
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A jornada do herói é uma trajetória autoformativa presente em narrativas ancestrais que, ultrapassando barreiras espaços-temporais, ainda ecoam nas produções contemporâneas, sem perder suas potencialidades simbólicas. Seguindo pelas trilhas do Imaginário Simbólico, acompanharemos protagonistas das obras em quadrinhos É um pássaro, de Steven T. Seagle e Teddy Kristiansen, Daytripper, de Gabriel Bá e Fábio Moon, e Habibi, de Craig Thompson, que trilham seus caminhos através do labiríntico processo de conhecimento do mundo e de si. Partindo dos caminhos metodológicos da Mitopoética e da mitologia comparada, seguiremos em busca dos fios que compõem o tornar-se quem se é, em uma investigação poética que mescla itinerários autoformativos ficcionais presentes nas Histórias em Quadrinhos, destacando a valorização da experiência, o papel das narrativas na constituição de si e as tessituras com a Pedagogia da Escolha, bem como as relações entre a composição artística dos quadrinhos, sua relação com a jornada heroica e os processos educativos.\"The hero\'s jornney is a sellf-formative path present in ancestral narratives which, going beyond space-time barriers, still echo in contemporary productions without losing its symbolic potential. Following the paths of the structure of imaginary Symbol, we\'ll keep up the protagonists of the comics It\'s a bird, from Steven T. Seagle and Teddy Kristiansen, Daytripper, created by Gabriel Bá e Fábio Moon, e Habibi, from Craig Thompson, who tread their way through the labyrinthine of world knowledge process and of itself. From the methodological ways of mythopoetic and comparative mythology, we will searching for the threads that indicates \"how one becomes what one is\", in a poetic investigation that merges processes of self-formatives itineraries in comic books, highlighting the value of the experience, the role of narrative in the constitution itself and the tessitura with the Pedagogy of choice , as well as relations between the artistic composition of the comic, the relationship with the heroic journey and educational processes.
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Simone, Nicola. "One Step Inside Doesn’t Mean You Understand: Analisi della traduzione italiana di The Lie and How We Told It di Tommi Parrish." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Il seguente elaborato ha lo scopo di presentare e analizzare i processi traduttivi utili all’adattamento di fumetti e graphic novel, mediante il commento alla traduzione italiana di The Lie and How We Told It di Tommi Parrish, a cura di Matteo Gaspari. A tale scopo, il primo capitolo illustrerà la storia del fumetto e la sua evoluzione fino alla nascita delle graphic novel negli Stati Uniti e in Italia. Sulla base della definizione del termine “fumetto” data da Scott McCloud (1993), si tenterà inoltre di distinguere meglio il particolare genere della graphic novel, in base alle caratteristiche a esso tipicamente associate. Il secondo capitolo introdurrà la terminologia relativa alle questioni di genere e LGBTQ+, in modo da comprendere il modo in cui la comunità del fumetto si rapporta alla femminilità e al non eterosessuale. Questo aspetto verrà analizzato sia dal punto di vista della rappresentazione mediatica di tali comunità di persone, sia da quello degli spazi editoriali a disposizione di donne e membri della comunità LGBTQ+ nel campo dei fumetti. Il terzo capitolo presenterà la graphic novel The Lie and How We Told It, a opera di Tommi Parrish, così come lo stile dell’artista e le influenze di altri fumetti sul suo lavoro. Si illustreranno poi brevemente alcuni aspetti teorici sulla traduzione del fumetto, in modo da poter analizzare l’adattamento italiano del volume edito da Diabolo Edizioni. Si commenteranno in modo particolare l’adattamento del formato, del metatesto, degli aspetti grafici, sintattici e lessicali. Il quarto capitolo, infine, riporterà le interviste condotte a Tommi Parrish, a Riccardo Zanini di Diabolo Edizioni e a Matteo Gaspari. Scopo delle interviste sarà quello di affiancare le informazioni così dedotte alle fonti bibliografiche consultate durante la stesura dell’elaborato, al fine di offrire una prospettiva più ampia riguardo all’analisi condotta sia in generale sia relativamente alla trasposizione di The Lie in lingua italiana.
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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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Lucas, Justin. "Beneath the cape and cowl: Batman and the revitalization of comic book films." Ohio University Honors Tutorial College / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1244074493.
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