Journal articles: 'Comics and graphic novels'

1

Freedman, Ariela. "Comics, Graphic Novels, Graphic Narrative: A Review." Literature Compass 8, no. 1 (January 2011): 28–46. http://dx.doi.org/10.1111/j.1741-4113.2010.00764.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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]

APA, Harvard, Vancouver, ISO, and other styles

3

David Lewis, A. "Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels." Journal of Popular Culture 40, no. 5 (October 2007): 890–92. http://dx.doi.org/10.1111/j.1540-5931.2007.00465.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Kuzminykh, Ksenia. "Comics und graphic novels im multikulturellen Deutschunterricht." Glottodidactica. An International Journal of Applied Linguistics 41, no. 2 (January 1, 2014): 75. http://dx.doi.org/10.14746/gl.2014.41.2.5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

Dunst, Alexander, and Rita Hartel. "Computing Literary Surplus Value: Alan Moore and the Density of the Comic Book as Graphic Novel." Anglia 139, no. 1 (March 4, 2021): 195–223. http://dx.doi.org/10.1515/ang-2021-0010.

Full text

Abstract:

Abstract The term graphic novel has increasingly functioned as a catalyst for understanding comic books as an emergent literary genre. This article focuses on one specific element within this historical process: the claim, made by artists such as Alan Moore, that graphic novels are characterized by greater formal complexity, or density, than serial comics. These claims are evaluated by combining computational text and image recognition of a corpus of 131 graphic narratives with sociological metadata on production and circulation. The results show that Moore’s own book-length comics, in particular Watchmen and V for Vendetta, rank among the densest graphic narratives in the sample in both their visual and textual content. Graphic memoirs, in contrast, only show an increase in textual complexity. With Pierre Bourdieu, the article understands complexity as a social and aesthetic strategy that aims at increasing the cultural capital of comics creators. At the same time, the article contextualizes computational results against the background of a changing marketplace for comics, in particular the decline of serial comics, the shift towards digital printing, and increased access to book distribution. This analysis shows that graphic narratives pursue both literary and popular aesthetic strategies, challenging Bourdieu’s account of a clear opposition between profit and prestige in cultural production.

APA, Harvard, Vancouver, ISO, and other styles

7

Vandenburg, Mary Claire. "Underground and Independent Comics, Comix, and Graphic Novels." Charleston Advisor 13, no. 4 (April 1, 2012): 51–54. http://dx.doi.org/10.5260/chara.13.4.51.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Barker, Martin. "The Manchester Conference on Graphic Novels and Comics." Journal of Graphic Novels & Comics 1, no. 2 (December 22, 2010): 233–34. http://dx.doi.org/10.1080/21504857.2010.526383.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Gray, Brenna Clarke. "The Canadian Alternative: Cartoonists, Comics, and Graphic Novels." American Review of Canadian Studies 49, no. 4 (October 2, 2019): 579–81. http://dx.doi.org/10.1080/02722011.2019.1701842.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Daigneault, Taylor Métis, Amy Mazowita, Candida Rifkind, and Camille Tahltan Callison. "Indigenous Comics and Graphic Novels: An Annotated Bibliography." Jeunesse: Young People, Texts, Cultures 11, no. 1 (2019): i—xxxvi. http://dx.doi.org/10.1353/jeu.2019.0007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Greyson, Devon. "GLBTQ content in comics/graphic novels for teens." Collection Building 26, no. 4 (October 9, 2007): 130–34. http://dx.doi.org/10.1108/01604950710831942.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Humphrey, Aaron. "Beyond Graphic Novels: Illustrated Scholarly Discourse and the History of Educational Comics." Media International Australia 151, no. 1 (May 2014): 73–80. http://dx.doi.org/10.1177/1329878x1415100110.

Full text

Abstract:

Comics are increasingly being used in higher education for teaching and research, as demonstrated by the recent publication of comics in The Annals of Internal Medicine and other academic journals. This article examines how the ascendance of graphic novels to the realm of ‘proper’ literature has simultaneously paved the way for this acceptance of comics as scholarly discourse while obscuring the much longer tradition of pedagogical comics dating to before World War II. In the process, it will highlight some of the ways comics can be used in education, and suggest the benefits of using comics as multimodal scholarship.

APA, Harvard, Vancouver, ISO, and other styles

13

Figueiredo, Camila Augusta Pires de. "INCOMPATIBLE ONTOLOGIES IN THE TRANSPOSITION OF GRAPHIC NOVELS TO FILMS." Em Tese 16, no. 3 (December 31, 2010): 171. http://dx.doi.org/10.17851/1982-0739.16.3.171-183.

Full text

Abstract:

This article proposes a discussion on the specificities of the comics medium and their consequence to the process of transposition of comics – and particularly of graphic novels – into films. In order to support this debate, I will draw upon Irina Rajewsky’s and Pascal Lefèvre’s theoretical articles.

APA, Harvard, Vancouver, ISO, and other styles

14

Gomes, Ivan Lima. "HAGUE, Ian. Comics and the senses: a multisensory approach to comics and graphic novels. New York: Routledge, 2014. 214p." História, histórias 4, no. 7 (December 20, 2016): 223–26. http://dx.doi.org/10.26512/hh.v4i7.10936.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Kunin, Alexander I. "Popularization of Graphic Novels in Russia and the Role of the Russian State Library for Young Adults in Formation of Loyal Library Environment." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 6 (February 8, 2021): 610–19. http://dx.doi.org/10.25281/0869-608x-2020-69-6-610-619.

Full text

Abstract:

The article presents the attempt to generalize the experience of working with graphic novels (comics, manga, etc.) available in the domestic book sector. The author considers the main stages of development in the historical perspective of forms and methods of popularization and distribution of graphic novels in Russia. At the first stage, formation of the segment of graphic novels in Russia was associated with the development of the festival movement. At the second stage — with the publishing boom and distribution of publications. Later — with work with a reader of graphic novels in libraries. Development of the festival movement was carried out due to the interest, first, in Japanese cartoons (anime) and Japnese graphic novels (manga), and secondly, in American comics and European graphic novels.The author presents the festival movement in the context of the main directions: anime festivals and comics festivals (with special emphasis on the work of the ‘KomMissia’ [ComMission] festival). The article gives general characteristics of these types of festivals and reveals the degree of their involvement in the processes of forming the readership and professional environment at a certain evolutionary stage.Bookstores and public libraries are the traditional operators of book dissemination and popularization of knowledge. The author explains why the integration of graphic novels into these spaces was delayed. The article notes the importance of reader communities in social networks in creating alternative channels for selling the products of publishers of graphic novels. In 2010, the Russian State Library for Young Adults (RSLYA) established the Centre for comics and visual culture, collecting graphic novels and providing methodological assistance to libraries that use graphic novels in their work. At present, it is the Centre for graphic novels and images that provides comprehensive support to libraries. The author highlights the role of the RSLYA as a methodological centre for library services to young people in the formation of loyalty to the new phenomenon among Russian library professionals. Based on the studied processes, the article gives characteristics of graphic novels as a new segment of the Russian book market with its inherent features of positioning in the reader’s environment.

APA, Harvard, Vancouver, ISO, and other styles

16

Callus, Simon. "The Adaptation and Remediation of Comic to Film: A Critical Analysis of the Remediation of a Comic Trope in Function and Form." MCAST Journal of Applied Research & Practice 5, no. 1 (July 5, 2021): 171–89. http://dx.doi.org/10.5604/01.3001.0015.0192.

Full text

Abstract:

Because graphic novels and film both contain a strong visual element, they continue to have an effect on each other’s development. Aspects from comics have been succesfully remediated into film, and vice-versa. There are, however, clear distinctions between the two mediums. This paper explores the adaptations of comics to film, noting how some film adaptations merely adapt the narrative, while others apply some of the aesthetic qualaties and visual communication tropes of the graphic novel into the film. Examples like “Dick Tracey”, “300”, and even more so, “Scott Pilgrim versus the World” show how remediation of comics in film can work. The more recent “Spiderman: Into the Spiderverse”, is probably the film which remediates comics better than any other film, including brief moments where juxtaposed panels showing sequential actions are used. This being, according to many comic scholars, the main defining feature of the comic medium. It is the trope which I will be exploring in more detail in further studies, attempting to remediate it into film in a way which reflects its use in comics more accurately. This paper serves as a literature review, which provides detailed understanding of the comic and film visual languages, the differences and similarities between them, and will be the basis upon which further research is built.

APA, Harvard, Vancouver, ISO, and other styles

17

Worcester, Kent. "Serious Fun: Comics, Graphic Novels, and "The Labor Question"." New Labor Forum 16, no. 1 (December 2007): 129–35. http://dx.doi.org/10.1080/10957960601113506.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Henzi, Sarah. "“A Necessary Antidote”: Graphic Novels, Comics, and Indigenous Writing." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 43, no. 1 (2016): 23–38. http://dx.doi.org/10.1353/crc.2016.0005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Gluibizzi, Amanda. "The Aesthetics and Academics of Graphic Novels and Comics." Art Documentation: Journal of the Art Libraries Society of North America 26, no. 1 (April 2007): 28–30. http://dx.doi.org/10.1086/adx.26.1.27949450.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Callison, Camille, Candida Rifkind, Niigaan James Sinclair, Sonya Ballantyne, Jay Odjick, Taylor Daigneault, and Amy Mazowita. "Introduction: "Indigenous Comics and Graphic Novels: An Annotated Bibliography"." Jeunesse: Young People, Texts, Cultures 11, no. 1 (2019): 139–55. http://dx.doi.org/10.1353/jeu.2019.0006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Wallner, Lars, and Katarina Eriksson Barajas. "Using comics and graphic novels in K-9 education: An integrative research review." Studies in Comics 11, no. 1 (July 1, 2020): 37–54. http://dx.doi.org/10.1386/jem_00014_1.

Full text

Abstract:

The aim of this article is to increase knowledge on the use of comics as materials in K-9 education (ages 6–15). This is achieved through an integrative research review. Reference lists and websites have been searched, both by database searches and manually, and the results analysed and cross-referenced to identify common areas of research and possible gaps in knowledge. 55 texts (research articles and doctoral theses) were found, with 40 first authors from fourteen countries. The results revealed several gaps in knowledge. Most of the analysed studies had been carried out in North America, which suggests that more studies in other educational contexts, published in English, are needed, and that cross-national studies of comics in education will be productive. Furthermore, only three of the analysed texts describe studies that have high ecological validity, while all of the remaining 52 studies were ‘staged’ studies, in which the researcher had introduced material and observed the results. This suggests that further studies that utilize non-experimental research methods are needed. Finally, most studies focus on students’ reading preferences in regard to comics, rather than, for example, on how students compose comics or what they learn through comics. Thus, further studies that explore student work with comics, and examine the kinds of knowledge that reading comics enables, are desirable.

APA, Harvard, Vancouver, ISO, and other styles

22

Wallner, Lars, and Katarina Eriksson Barajas. "Using comics and graphic novels in K-9 education: An integrative research review." Studies in Comics 11, no. 1 (July 1, 2020): 37–54. http://dx.doi.org/10.1386/stic_00014_1.

Full text

Abstract:

The aim of this article is to increase knowledge on the use of comics as materials in K-9 education (ages 6‐15). This is achieved through an integrative research review. Reference lists and websites have been searched, both by database searches and manually, and the results analysed and cross-referenced to identify common areas of research and possible gaps in knowledge. 55 texts (research articles and doctoral theses) were found, with 40 first authors from fourteen countries. The results revealed several gaps in knowledge. Most of the analysed studies had been carried out in North America, which suggests that more studies in other educational contexts, published in English, are needed, and that cross-national studies of comics in education will be productive. Furthermore, only three of the analysed texts describe studies that have high ecological validity, while all of the remaining 52 studies were ‘staged’ studies, in which the researcher had introduced material and observed the results. This suggests that further studies that utilize non-experimental research methods are needed. Finally, most studies focus on students’ reading preferences in regard to comics, rather than, for example, on how students compose comics or what they learn through comics. Thus, further studies that explore student work with comics, and examine the kinds of knowledge that reading comics enables, are desirable.

APA, Harvard, Vancouver, ISO, and other styles

23

Meier, Alistair. "Comics and Film A special issue of theJournal of Graphic Novels and Comics." Journal of Graphic Novels and Comics 6, no. 4 (October 2, 2015): 446–47. http://dx.doi.org/10.1080/21504857.2015.1094929.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Storskog, Camilla. "Stripping H.C. Andersen. Peter Madsen’s Historien om en mor (or, what a graphic novel adaptation can do that its literary source cannot)." European Journal of Scandinavian Studies 48, no. 2 (October 25, 2018): 303–18. http://dx.doi.org/10.1515/ejss-2018-0023.

Full text

Abstract:

Abstract This article addresses the transposition of H.C. Andersen’s literary production to comics and graphic novels; a vast, though little explored, field of research. It furnishes a brief overview of the work done by comic art creators in approaching the adaptation of Andersen, and proceeds to analyse Historien om en mor, Peter Madsen’s 2004 graphic novel adaptation of Andersen’s Historien om en Moder from 1848. As Madsen’s version is predominantly visual, employing images and sequences rather than words in the re-telling of the fairy tale, the investigation is presented as a semiotic analysis drawing on the tools provided by Thierry Groensteen’s The System of Comics (2007; ed. orig. Système de la bande dessinée, 1999). Categories scrutinised as meaning makers include gridding, braiding, page layout, and the handling of the dimension of time, with the ultimate aim of describing how the media affordances of comics, in the hands of a true craftsman, add depth and complexity to the re-narration of Andersen’s original.

APA, Harvard, Vancouver, ISO, and other styles

25

Spalding, Steven, and Nicholas Romine. "Views of the city in French sci-fi comics and graphic novels." Journal of Urban Cultural Studies 7, no. 1 (March 1, 2020): 93–103. http://dx.doi.org/10.1386/jucs_00020_1.

Full text

Abstract:

This article looks at important French comics and graphic novels from the small but highly influential tradition of French science fiction in order to assess their distinctive formal and narrative contributions to the genre. Taking cues from theoretical definitions of bandes dessinées formulated by Thierry Groenstein and Thierry Smolderen, it identifies specific ways two major works, Futuropolis and L’Incal, reshaped the narrative range and scope of French sci-fi comics and graphic novels and recast their artistic possibilities. We also draw comparisons to Valérian et Laureline. The ways in which cityscapes are depicted in each serve as the privileged focus for measuring the similarities and differences among these works, both ideologically and formalistically.

APA, Harvard, Vancouver, ISO, and other styles

26

Dauncey, Hugh. "History and Politics in French-Language Comics and Graphic Novels." Modern & Contemporary France 20, no. 1 (February 2012): 123–24. http://dx.doi.org/10.1080/09639489.2011.640121.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Mutta, Maarit, and Andrea Hynynen. "The adaptation of three Manchette néo-polars to Machette-Tardi’s graphic novels." Bergen Language and Linguistics Studies 10, no. 1 (November 7, 2019): 12. http://dx.doi.org/10.15845/bells.v10i1.1412.

Full text

Abstract:

Cultural adaptations have existed for a long time (Hutcheon & O’Flynn 2013). This article discusses adaptation from one narrative genre, the textual néo-polar crime novel, to another, multimodal comics. It explores three of Jean-Patrick Manchette’s néo-polars that have been adapted by Jacques Tardi to three graphic novels: Ô dingos, ô châteaux! (Folle à tuer), Le petit bleu de la côte Ouest and La position du tireur couché. The analysis suggests that Tardi remains attached to the fidelity paradigm while he also exploits characteristic features of comics, and his own personal style. While Tardi seemingly wishes to be respectful to his former friend Manchette’s novels, he creates adaptations that can be read without prior knowledge of the adapted works and which function as independent graphic novels in a recognizable Tardian style.

APA, Harvard, Vancouver, ISO, and other styles

28

Sinclair, Megan. "Lessons Drawn: Essays on the Pedagogy of Comics and Graphic Novels, David Seelow (2019)." Studies in Comics 11, no. 1 (July 1, 2020): 228–31. http://dx.doi.org/10.1386/jem_00025_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Sinclair, Megan. "Lessons Drawn: Essays on the Pedagogy of Comics and Graphic Novels, David Seelow (2019)." Studies in Comics 11, no. 1 (July 1, 2020): 228–31. http://dx.doi.org/10.1386/stic_00025_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Schneider, Edward Francis. "A Survey of Graphic Novel Collection and Use in American Public Libraries." Evidence Based Library and Information Practice 9, no. 3 (September 6, 2014): 68. http://dx.doi.org/10.18438/b83s44.

Full text

Abstract:

Abstract Objective – The objective of this study was to survey American public libraries about their collection and use of graphic novels and compare their use to similar data collected about video games. Methods – Public libraries were identified and contacted electronically for participation through an open US government database of public library systems. The libraries contacted were asked to participate voluntarily. Results – The results indicated that both graphic novels and video games have become a common part of library collections, and both media can have high levels of impact on circulation. Results indicated that while almost all libraries surveyed had some graphic novels in their collections, those serving larger populations were much more likely to use graphic novels in patron outreach. Similarly, video game collection was also more commonly found in libraries serving larger populations. Results also showed that young readers were the primary users of graphic novels. Conclusion – Responses provided a clear indicator that graphic novels are a near-ubiquitous part of public libraries today. The results on readership bolster the concept of graphic novels as a gateway to adult literacy. The results also highlight differences between larger and smaller libraries in terms of resource allocations towards new media. The patron demographics associated with comics show that library cooperation could be a potential marketing tool for comic book companies.

APA, Harvard, Vancouver, ISO, and other styles

31

Cardullo, Paolo. "Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels by Ian Hague." Visual Studies 31, no. 1 (September 10, 2014): 77–78. http://dx.doi.org/10.1080/1472586x.2014.941589.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

Full text

Abstract:

Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses the costume of Shakti ‐ Indian comics’ first superheroine. It locates her costume within the broader literature available on graphic novels, comics and costumes. The article attempts to analyse the processes by which Shakti’s costume restricts her to a normative femininity where the power and authority of women become socially acceptable only when they are expressed or asserted without challenging patriarchal social norms.

APA, Harvard, Vancouver, ISO, and other styles

33

Carter, James Bucky. "Graphic Novels, Web Comics, and Creator Blogs: Examining Product and Process." Theory Into Practice 50, no. 3 (June 27, 2011): 190–97. http://dx.doi.org/10.1080/00405841.2011.584029.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Lyn, Francesca. "Black women in sequence: re-inking comics, graphic novels and anime." Feminist Media Studies 18, no. 6 (October 20, 2018): 1136–38. http://dx.doi.org/10.1080/14680777.2018.1532151.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Williams, Rachel Marie-Crane. "Image, Text, and Story: Comics and Graphic Novels in the Classroom." Art Education 61, no. 6 (November 2008): 13–19. http://dx.doi.org/10.1080/00043125.2008.11652072.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Adams, Jeff. "Of Mice and Manga: Comics and Graphic Novels in Art Education." Journal of Art & Design Education 18, no. 1 (February 1999): 69–75. http://dx.doi.org/10.1111/1468-5949.00156.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

DeHart, Jason. "Image and Text." Study and Scrutiny: Research on Young Adult Literature 4, no. 2 (January 7, 2021): 110–11. http://dx.doi.org/10.15763/issn.2376-5275.2020.4.2.110-111.

Full text

Abstract:

Jones and Woglom (2014) pointed to the tensions that sometimes exist around using comics and graphic novels as literary work in the classroom. It is from this noted tension that we arrive at a call for both critical and empirical studies that examine this issue more closely. If, indeed, graphic novels have potential for instruction, then in what ways are teachers using them across educational settings? Beyond popularity, how do children and adolescents respond to these works? How do educators align themselves with the counter-narrative of comics as texts worthy of analysis and exploration, and how do they send this message to critics of the medium? In what ways do graphic novels sit within the context of antiracist and social justice-oriented pedagogy? Download PDF for full description and submission requirements. Submissions due November 15, 2021.

APA, Harvard, Vancouver, ISO, and other styles

38

Ahmed, Maaheen, and Shiamin Kwa. "“Kill the Monster!”: My Favorite Thing Is Monsters and the Big, Ambitious (Graphic) Novel." Genre 54, no. 1 (April 1, 2021): 17–42. http://dx.doi.org/10.1215/00166928-8911485.

Full text

Abstract:

In his discussion of the “big, ambitious novel,” James Wood dismisses both male and female authors but singles out Zadie Smith's White Teeth for most of his critique of what he terms “hysterical realism.” For Wood, recent long novels display too much imagination but not enough substance and depth of character; the new novel has become “a picture of life.” With its deliberate foregrounding of inhumanness and spectacularity, Emil Ferris's My Favorite Thing Is Monsters commits many of Wood's list of transgressions against the traditional novel. This article examines how Ferris's book is unaffected by negative reactions to this transgressiveness, championing transgression and ignored voices as the mode of expression best suited to the big, ambitious novel of our times. The book's heroine and purported author of the book touches readers and moves them through the monstrous form she imagines for herself. Her reproductions of comics covers and art works negotiate diverse visual vocabularies and their resulting aesthetic and historical scope. In filtering its story through a young protagonist who is marginalized on all counts (age, class, race, sex, sexual orientation), Ferris's “big, ambitious (graphic) novel” is also a layered response against the criticisms of childishness levied against comics. Transgression in My Favorite Thing Is Monsters becomes a way of rethinking tradition—of comics, of novels, and of graphic novels—in the broader terms of cultural history.

APA, Harvard, Vancouver, ISO, and other styles

39

Sebenova, B., and N. Mikhailova. "Modern formats of graphic novels as a tool of continuity of ethnocultural traditions in the upbringing and education of youth and adolescents." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 204–12. http://dx.doi.org/10.51889/2021-1.2077-6861.27.

Full text

Abstract:

This article describes such modern formats of literary and graphic genres as manga and comics (including ranobe, manhwa, and manhua). Graphic novels are currently relevant all over the world, especially among young people. Graphic novels of this type are actively promoted in the mass media and pop culture. These picture books received the attention and adaptation not only of small film studios and book publishers, but also of the cinematic giant – Hollywood. Due to the interest of the younger generation in the format of comics, this genre can be used to promote ethnocultural traditions in the education and education of the younger generation with an orientation on the national characteristics of the country and the values of Kazakh art and culture. Such an axiological dialogue of the culture of near and far ethnic systems will certainly contribute to the development of interest in national heritage, since the conversation will be conducted in an accessible language of images and in the original presentation using modern graphic formats and genres.

APA, Harvard, Vancouver, ISO, and other styles

40

Wagner, Cassie. "Graphic Novel Collections in Academic ARL Libraries." College & Research Libraries 71, no. 1 (January 1, 2010): 42–48. http://dx.doi.org/10.5860/0710042.

Full text

Abstract:

This study examines the extent to which ARL academic libraries collect graphic novels. Using a core list of 176 titles developed from winners of major comics industry awards and a library-focused “best of” list, the holdings of 111 ARL academic libraries were searched using the libraries’ online catalogs. Results suggest that most of the libraries studied do not aggressively collect graphic novels. Also examined were associations between date of publication, prior serialization, overall collection size, monograph budget, and ARL ranking and graphic novel holdings. To better serve scholarly research in this area of increasing interest, libraries will need to reexamine their collecting policies.

APA, Harvard, Vancouver, ISO, and other styles

41

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

42

Hudoshnyk, O. "Documentary comics in modern scientific discourse and Ukrainian comics space." Communications and Communicative Technologies, no. 19 (May 5, 2019): 32–40. http://dx.doi.org/10.15421/291905.

Full text

Abstract:

The characteristics of documentary comics in modern multidisciplinary scientific space is presented, the methods of nonlinear historiography (narrative, oral history, commemoration) and post-documentalism are presented. The scientific discourse focuses on the types of interpretation of reality in comics, the hybridity of genre and style features, the types and forms of empathic involvement of the reader, the compositional specifics of graphic journalism. Scientists’ particular attention is focused on the forms of representation of the “lost history and the history of the lost” (N. Chute), on the means of expanding the space of human memory and historical narrative. The modern direction of scientific research, where documentary comics act as a kind of memory archiver in the form of a visual narrative (N. Mickwitz), as an effective means of understanding and experiencing the historical trauma, brings comics’ studies into the space of global commemorative and historical perspective research. In its own working definition of the genre, narrative, temporal deferment, and veracity of subjective evaluation are actualized. Using the formation example of the Ukrainian comic-space, the principles of accelerated and almost simultaneous deployment of the heroic and documentary narratives are characterized, the features of documentalism in the comic “Will”, the graphic novel “Hole” by S. Zakharov are analyzed. Documentary storytelling in the format of comic journalism is investigated on the basis of the collection “Shadows of forgotten ancestors. Graphic stories”, multiplatform (dos-a-dos format book, comic book, audio performance on YuoTube) hybrid presentation of thematic narrative is illustrated within the “Underground Sky” publication.

APA, Harvard, Vancouver, ISO, and other styles

43

Ludewig, Julia. "Julia Abel and Christian Klein, editors. Comics und Graphic Novels. Eine Einführung." Seminar: A Journal of Germanic Studies 56, no. 3-4 (November 1, 2020): 389–91. http://dx.doi.org/10.3138/seminar.56.3-4.rev001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Becirbegovic, Amila. "Derek Parker Royal, editor. Visualizing Jewish Narrative: Jewish Comics and Graphic Novels." Seminar: A Journal of Germanic Studies 56, no. 3-4 (November 1, 2020): 394–96. http://dx.doi.org/10.3138/seminar.56.3-4.rev003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

TWARK, JILL E. "Approaching History as Cultural Memory Through Humour, Satire, Comics and Graphic Novels." Contemporary European History 26, no. 1 (September 29, 2016): 175–87. http://dx.doi.org/10.1017/s0960777316000345.

Full text

Abstract:

Recent empirical research into humour and memory attests to the fact that people remember better when they perceive a word, phrase or image to be humorous. When the proximity of multiple ethnic groups engenders jokes displaying diverse perspectives and what Henri Bergson described as ‘corrective’ satire, such jokes can help remedy racism and fear of the other. Taking a humorous or satirical stance allows artists and writers to explore alternatives to contemporary reality and to uncover truths overlooked or consciously elided by government and mass media discourse. Such is the case with the recent publications on humour discussed here. Although they vary widely by topic and time period, all focus on how power struggles, oppression and violence are represented by means of humour and satire, as well as by the not necessarily jocular but nevertheless related genres of comics and the graphic novel. Recent historical research demonstrates how these creative genres not only critique political events and figures but also preserve, in a sophisticated cultural format, their readers’ short-term everyday working memory and long-term cultural memory of prejudice, subjugation and mass murder. In these texts the authors spotlight how the primary source creators commented on historical events, incorporated historical artefacts in their works and generated countercultural memories that fill gaps in historical narratives from other sources.

APA, Harvard, Vancouver, ISO, and other styles

46

Golomb, Liorah. "Beyond Persepolis: a bibliographic essay on graphic novels and comics by women." Collection Building 32, no. 1 (January 18, 2013): 21–30. http://dx.doi.org/10.1108/01604951311295067.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Brock, Charles. "Douglas Wolk: Reading Comics and What They Mean: How Graphic Novels Work." Publishing Research Quarterly 25, no. 3 (June 10, 2009): 195–97. http://dx.doi.org/10.1007/s12109-009-9119-x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Uzu, Tonka. "The role of the autobiographical graphic novels in the elaboration of psychic traumas: Art Spiegelman, David B. and Justin Green." Journal of Illustration 7, no. 1 (August 1, 2020): 109–28. http://dx.doi.org/10.1386/jill_00027_1.

Full text

Abstract:

The aim of the present article is to examine the therapeutic potential of autobiographical graphic novels in the context of the theory of art as psychic reparation. The starting point for such analysis is Stefano Ferrari’s research on writing as reparation and Duccio Demetrio’s work on autobiographical creativity. By examining three well-known and influential autobiographical graphic novels by Art Spiegelman, David B. and Justin Green, it aims to highlight some of the mechanisms of autobiographical narrative specific to the long-form comics format and the role they play in the elaboration of psychic traumas.

APA, Harvard, Vancouver, ISO, and other styles

49

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

50

Conde Aldana, Juan Alberto. "From Comics to Graphic Novels: Transformations in the comic publishing industry in Colombia in the 21st century." Mitologías hoy 20 (December 20, 2019): 61. http://dx.doi.org/10.5565/rev/mitologias.662.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Comics and graphic novels'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles