Academic literature on the topic 'Comics (sequential art)'
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Journal articles on the topic "Comics (sequential art)"
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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (December 23, 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.
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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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Vilches, Gerardo. "El cómic: ¿un arte secuencial?" Neuróptica, no. 1 (March 24, 2020): 203–17. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914328.
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Resumen: En 1993, Scott McCloud publicó su primer ensayo teórico sobre cómic y en forma de cómic: Entender el cómic: el arte invisible, cuyo éxito inmediato lo convirtió en una de las principales referencias en los estudios sobre cómic. En su obra, McCloud definía el cómic como un arte estrictamente secuencial, y planteaba una clasificación de las transiciones entre viñetas que partía de su concepto de clausura. Tras identificar ciertas limitaciones de sus teorías, se plantea una crítica de estos puntos mediante el análisis de obras y la revisión de bibliografía especializada, y se proponen alternativas de análisis más apropiadas para el cómic contemporáneo.
Abstract: In 1993, Scott McCloud published his first essay about comic in comic format: Understanding Comics: The Invisible Art, whose early success turned it to one of the main references in comic studies. In his work, McCloud defined comic as a strictly sequential art, and raised a classification of panels transitions that came from his concept of closure. After identifying certain limitations of his theories, a critique to these points through the analysis of some comics and the use of specialized bibliography is presented, and some more suitable alternatives for contemporary comics are proposed.
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Stephens Griffin, Nathan. "Comics and visual biography: sequential art in social research." Visual Studies 34, no. 4 (October 2, 2019): 319–35. http://dx.doi.org/10.1080/1472586x.2019.1691940.
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Ismail@Kamal, Julina, and Md Salleh Yaapar. "The Hermeneutic of the Malay Comic: Unveiling the Symbolism of Love in Selendang Siti Rugayah." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 1–12. http://dx.doi.org/10.21315/ws2020.19.1.
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A comic is a form of sequential art that incorporates the integrated textual and visual aspects to reveal the desired meaning. It involves storytelling techniques with narrative elements as found in conventional literary works. Nowadays, comic art is flourishing in Malaysia with the advent of abundant comics from various old and new local authors. The uniqueness of Rejabhad, who was widely known as the King of Malaysian Cartoon, allows the researcher to analyse his comic works in the aspects of textual and visual designs. Prior studies have only discussed the outer layer of Malay comics. In fact, Malay comics especially Rejabhad’s works need to be examined more deeply to unravel their outer and inner layers of meaning. It is essential to fully understand the overall meaning of the work as well as to appreciate the author’s identity. This study focuses on one of Rejabhad’s particular comic work entitled Selendang Siti Rugayah (1997). The study uses a spiritual hermeneutic reading or exegesis (takwil) method is applied to obtain the inner or spiritual meaning of Selendang Siti Rugayah comic work. The results of this study allow the public to understand the inner meaning of the comic work and to appreciate the identity or personality of the author in his or her comic works. This study which based on the spiritual hermeneutic reading is very significant. It is a new exploration that may change the views on the creativity and wisdom of a Malay comic artist, Rejabhad, who had been appreciated and understood only based on the outer layer of reading.
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Pérez Cano, Tania, Brittany Tullis, and Ana Merino. "Introduction. Comics: Intertextualities, Discursivities, and Paratexts in Latin American Sequential Art." Mitologías hoy 20 (December 30, 2019): 11. http://dx.doi.org/10.5565/rev/mitologias.675.
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Johnson, Fred. "Film School for Slideware: Film, Comics, and Slideshows as Sequential Art." Computers and Composition 29, no. 2 (June 2012): 124–36. http://dx.doi.org/10.1016/j.compcom.2012.02.001.
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Tannahill, Lise, Eliza Bourque Dandridge, and Rachel Mizsei Ward. "Book Reviews." European Comic Art 11, no. 1 (March 1, 2018): 129–36. http://dx.doi.org/10.3167/eca.20178110108.
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Maaheen Ahmed, Stéphanie Delneste and Jean-Louis Tilleuil, eds, Le Statut culturel de la bande dessinée: Ambiguïtés et évolutions / The Cultural Standing of Comics: Ambiguities and Changes (Louvain-la-Neuve: L’Harmattan, 2016). 278 pp. ISBN: 978-2-8061-0320-8 (€27.55)Frances Gateward and John Jennings, eds, The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art (New Brunswick, NJ: Rutgers University Press, 2015). 343 pp. ISBN: 978-0-8135-7235-7233-8 (€19.00)Blair Davis, Movie Comics: Page to Screen / Screen to Page (New Brunswick, NJ: Rutgers University Press, 2017). 256 pp. ISBN: 978-0-8135- 7225-3 ($27.95)
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Tannahill, Lise, Eliza Bourque Dandridge, and Rachel Mizsei Ward. "Book Reviews." European Comic Art 11, no. 1 (March 1, 2018): 129–36. http://dx.doi.org/10.3167/eca.2018.110108.
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Maaheen Ahmed, Stéphanie Delneste and Jean-Louis Tilleuil, eds, Le Statut culturel de la bande dessinée: Ambiguïtés et évolutions / The Cultural Standing of Comics: Ambiguities and Changes (Louvain-la-Neuve: L’Harmattan, 2016). 278 pp. ISBN: 978-2-8061-0320-8 (€27.55)Frances Gateward and John Jennings, eds, The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art (New Brunswick, NJ: Rutgers University Press, 2015). 343 pp. ISBN: 978-0-8135-7235-7233-8 (€19.00)Blair Davis, Movie Comics: Page to Screen / Screen to Page (New Brunswick, NJ: Rutgers University Press, 2017). 256 pp. ISBN: 978-0-8135- 7225-3 ($27.95)
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Tannahill, Lise, Eliza Bourque Dandridge, and Rachel Mizsei Ward. "Book Reviews." European Comic Art 11, no. 1 (March 1, 2018): 129–36. http://dx.doi.org/10.3167/eca.2018110108.
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Maaheen Ahmed, Stéphanie Delneste and Jean-Louis Tilleuil, eds, Le Statut culturel de la bande dessinée: Ambiguïtés et évolutions / The Cultural Standing of Comics: Ambiguities and Changes (Louvain-la-Neuve: L’Harmattan, 2016). 278 pp. ISBN: 978-2-8061-0320-8 (€27.55)Frances Gateward and John Jennings, eds, The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art (New Brunswick, NJ: Rutgers University Press, 2015). 343 pp. ISBN: 978-0-8135-7235-7233-8 (€19.00)Blair Davis, Movie Comics: Page to Screen / Screen to Page (New Brunswick, NJ: Rutgers University Press, 2017). 256 pp. ISBN: 978-0-8135- 7225-3 ($27.95)
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Fawaz, Ramzi. "A Queer Sequence: Comics as a Disruptive Medium." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 588–94. http://dx.doi.org/10.1632/pmla.2019.134.3.588.
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At first glance, Hillary Chute's Why Comics? presents itself as a chronicle of the heroic deeds of a Pantheon of creative gods. Across ten chapters, Chute tracks the aesthetic achievements of more than twelve world-renowned comics artists whose innovations in sequential visual art represent a range of human experiences, from wartime violence to teenage sexuality to queer family history to living with cognitive and physical disability. In Chute's narrative, such luminaries as Alison Bechdel, Art Spiegelman, Daniel Clowes, Joe Sacco, Lynda Barry, and Marjane Satrapi rise up from the vast landscape of comics production as artists whose bodies of work testify to comics's aesthetic diversity and sophistication. These typically erudite cartoonists work at a distance from mainstream comics and produce adult-oriented, long-form graphic narratives considered aesthetic masterpieces. “Although comics of all kinds are flourishing in the twenty-first century,” Chute explains early on in Why Comics?, “there has been a dramatic uptick” in the kind of “auteurist comics” produced by these cartoonists (18), who relish, in Clowes's words, the way the medium allows them to “control absolutely everything and make it … exactly what you're seeing in your own head” (qtd. in Why? 18). For Chute, it is this “singular intimacy of one person's vision”—best displayed in comics produced by sophisticated adult cartoonists writing and drawing for other adults–that underscores that comics are also for grown-ups (18). By now, we all should know this, but we have not learned the lesson well enough (or perhaps some just refuse to listen).
Dissertations / Theses on the topic "Comics (sequential art)"
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Lewis, Chad Allen. "Information Acquisition and Sequential Narratives." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461621144.
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Moravec, Martin. "Foundations of Sequential Art Driven Development." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-193053.
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To develop and deliver an innovative and technologically superior product is not enough to succeed when it does not meet the user's daily needs. To develop such a product, you need an abstract and easy to use communication platform for target users, decision makers, and developers, that can also act as a model of the relevant part of the real world displaced by a possible innovation, auxiliary tool in creating a mind map and documentation, and a way of promoting the final product. An instance of such a platform is a sophisticated comic book, itself an instance of sequential art. Not only is it a feature rich and intuitive tool for collaboration of interested parties with different backgrounds, skills and roles, but since it essentially reflects the relevant part of the real world displaced by the innovation, it's pretty easy and quick for a new user to learn and master. Although not limited to such instances, it can be found as an especially useful tool for crowdsourced and open source based projects. This thesis will lay down the much needed theoretical basis for the Sequential Art Driven Development method and offer a practical application of such method, with an open call for contributions from members of the crowd, in the form of a CC0 licensed comic book series "Who is Secret Agent X-9?", a showcase platform for cutting edge technologies like the Bitcoin network and Nemo Mobile operating system.
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Tufis, Mihnea. "A characterisation of comics and sequential art for supporting the evolution of digital formats for comics : a crowdsourcing approach." Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066590/document.
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Nous présentons une solution pour la création d'un corpus numérisé en utilisant une approche crowdsourcing pour annoter des bandes dessinées (BD). Les encodages XML qui en résultent aident également les chercheurs, les éditeurs, les bibliothécaires et les conservateurs de collections BDs. Pour atteindre notre objectif de recueil de données, nous développons un moteur de crowdsourcing en ligne pour annoter les BDs. Les tâches sont conçues pour reproduire l'expérience de lecture des pages des BDs, en demandant aux participants d'identifier et d'annoter les éléments structurels (cases, splash-pages) et de contenu (personnages, lieux, événements, onomatopées, objets, lignes de mouvement) des BDs. Notre approche fournit aux chercheurs en humanités numériques (digital humanities) la possibilité de bâtir un corpus structuré et annoté, aujourd’hui manquant. Cela permet d’accélérer la recherche liée à la BD et à la théorie de l'art séquentiel. Les bibliothécaires et les conservateurs de collections des BDs disposeront d'un contenu structuré qui pourrait permettre la création d'artefacts spécifiques, tels que des dictionnaires de BDs, des indices de recherche ou des dictionnaires d'onomatopée. Du point de vue de l'édition, les standards actuels pour les BDs numériques se chargent exclusivement de la couche de présentation (c'est-à-dire, rendre tout simplement une publication sur l'écran d'un dispositif numérique). Mais la nature artistique de la BD et le grand potentiel des BDs numériques nous permettent d'aller au-delà de la simple présentation du contenu. À cet égard, nous contribuons avec des améliorations aux standards sémantiques (CBML) et de présentation (EPUB)We address the difficulty of creating a digitised corpus by using a crowdsourced approach for annotating comic books. The resulting XML-based encodings assist researchers, publishers and collection curators equally. To achieve our data collection goal, we develop an online crowdsourcing engine for annotating comics. The tasks are designed to mirror the page reading experience, with participants asked to identify and annotate structural (panel layout, splash pages, meta-panels) and content (characters, places, events, onomatopoeia) elements of comic books. Our approach provides Digital Humanities (DH) scholars with a (currently missing) structured, annotated corpus; this enables and accelerates research related to comics and sequential art theory. Curators and collectors of physical or online comics collections are provided with a structured content which could enable the creation of artefacts such as comic books dictionaries, search indices and dictionaries of onomatopoeia. From a publishing perspective, current standards for digital comics are taking care exclusively of the presentation layer (i.e. rendering a publication on the screen of a device). But the artistic nature of comics and the great potential digital comics have already showcased allow us to go beyond simple content presentation. To this respect we present our contributions with enhancements to current semantic (CBML) and presentation (EPUB) open standards that will allow publishers and digital comics authors to create an improved reading experience
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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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Thomé, Luciano Quednau. "Histórias em quadrinhos e didática da história no Brasil: a forma quadrinística e o conhecimento histórico." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-17042013-093751/.
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O presente estudo analisa as relações entre a forma quadrinística e o conhecimento histórico científico tomando os casos específicos das obras Adiós, Xamigo Brasileño (...); Redescobrindo o Brasil; e D. João Carioca (...). Tal análise se faz por meio das metodologias das teorias comunicativa das histórias em quadrinhos e da didática da história em relação interdisciplinar.The present research analyzes the relationship between sequential art form and scientific history knowledge in the specific case studies of the works Adiós, Xamigo Brasileño (...); Redescobrindo o Brasil; e D. João Carioca (...). Such analysis is made by interdisciplinary methods informed by communication theory on sequential art and history didactic theory.
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Pessoa, Alberto Ricardo [UNESP]. "Quadrinhos na educação: uma proposta didática na educação básica." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/100272.
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As histórias em quadrinhos são uma forma de mídia que combina várias expressões artísticas com a comunicação, gerando um meio onde o leitor pode se tornar parte de história criando seqüências, sons, vozes através dos diálogos nos balões ou até mesmo realizando novas histórias que aqueles personagens podem proporcionar. Mesmo assim, as histórias em quadrinhos enfrentaram, desde sua invenção, desconfiança e até mesmo reducionismo em detrimento de outras artes. Esta pesquisa visa responder a seguinte pergunta: Por que ensinar histórias em quadrinhos nas escolas? Para tanto, a pesquisa compreende uma breve história da formação do mercado editorial, leitores e profissionais no Brasil, disserta sobre os quadrinhos nas mais diferentes camadas de ensino, propondo o uso da arte seqüencial nas mais diversas matérias do currículo escolar e por fim, o estudo de caso Projeto Mamute, em que além de descrever toda a trajetória deste grupo de alunos, apresento um volume das histórias em quadrinhos que foram realizados no período de 2004 - 2005.
Comic books compose a media that mixes different artistic expressions with communication, creating a vessel through which the reader can be a part of the story, creating scenes, sounds, voices using the dialogues on the balloons, or even making new stories with the characters. However, Comics have suffered, since their inception, with suspicion and devalue if compared with other arts. This research concerns itself with the question: Are Comics a good tool to educate? To address that, I developed a research about the history of the editorial Comics, the readers and the professionals in Brazil. I explored the action of Comics in the different layers of teaching, proposing different activities with Comics in the official grade of regular education. Finally, I present the history of Projeto Mamute (Mammoth's Project) in the period of 2003 - 2005, and the comics we produced within the project, during that period.
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Bezerra, Efrem Pedroza. "Will Eisner s The Spirit: o fascínio da imagem na arte sequencial." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4675.
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This research investigates the communication process in the Spirit comics, examining the image in sequential art. The corpus of analysis of this study was assembled from the Spirit of comics character created by Will Eisner, with chosen among the publications from 1940 to 1952 editions. The object of research is the character Spirit, the process of creation and development of resources created and exploited by Eisner, such as the preference for black and white, close up, the splash pages and other factors that contributed comparative and associatively for the construction of communication through the image in the "Ninth Art". The guiding research question is: how comic books and their own way of narrating contribute to the construction of meaning in communication and cognition? For the development of research, we consider the following hypothesis: thanks to authors who are trapped by rules and standards by market demand, not every comic vehemently expresses its communicative power. In this sphere there are those who can find loopholes and innovate. This justifies the choice by Eisner s Spirit. Diversely other producing more of the same, Eisner, built the art in comics. Thus, your character creates a cognitive operation in which the reader is led to a sensory journey that helps to stimulate the creation of connections through the image. The objective of the research is to investigate the process of communication through the image in sequential art and the resonance of this reflection on their practice. Vilém Flusser and the theoretical construction of the relationship between images will provide the main methodological strategies through narratives modulations Einser uses in the comics of the Spirit. The theoretical framework focuses on authors who study the supplementary understanding of sequential art visual elements such as Will Eisner himself, Scott Mccloud, Stan Lee and Moacy Cirne; in addition of authors dedicated to the question of image, as Georges Didi-Huberman, Hans Belting, the aforementioned Vilém Flusser and semiotician Charles Sanders Peirce
A presente pesquisa investiga o processo de comunicação nos quadrinhos do Spirit, examinando a imagem na arte sequencial. O corpus de análise do presente trabalho foi reunido a partir das HQs do Spirit, personagem criado por Will Eisner, com edições escolhidas entre as publicações de 1940 a 1952. O objeto de pesquisa é o personagem Spirit, seu processo de criação e evolução dos recursos criados e explorados por Eisner, tais como: a preferência pelo preto e branco, o close up, as splash pages e outros fatores que contribuíram comparativa e associativamente para a construção da comunicação por intermédio da imagem na Nona Arte . A questão norteadora da investigação é: como as histórias em quadrinhos e seu próprio modo de narrar contribuem para a construção de sentidos e cognição na comunicação? Para o desenvolvimento da pesquisa, considera-se a seguinte hipótese: graças a autores que ficam presos a regras e padrões por demanda de mercado, nem todo quadrinho manifesta com veemência seu poder comunicativo. Nessa esfera há aqueles que conseguem encontrar brechas e inovam. Isso justifica a escolha pelo Spirit de Eisner. Diversamente de outros que produziam mais do mesmo, Eisner, construía a arte nos quadrinhos. Dessa forma, seu personagem cria uma operação cognitiva em que o leitor é levado a uma jornada sensorial que contribui para o estímulo da criação de conexões por meio da imagem. O objetivo da pesquisa é investigar o processo de comunicação através da imagem na arte sequencial e a ressonância dessa reflexão em sua prática. Vilém Flusser e a construção teórica da relação entre imagens proverão as principais estratégias metodológicas por meio das modulações narrativas que Einser utiliza nas histórias em quadrinhos do Spirit. A fundamentação teórica se concentra em autores que estudam os elementos visuais complementares à compreensão da arte sequencial como o próprio Will Eisner, Scott Mccloud, Stan Lee e Moacy Cirne; além de autores dedicados à questão da imagem, como Georges Didi-Huberman, Hans Belting, o já citado Vilém Flusser e o semioticista Charles Sanders Peirce
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Pessoa, Alberto Ricardo. "Quadrinhos na educação : uma proposta didática na educação básica /." São Paulo : [s.n], 2006. http://hdl.handle.net/11449/100272.
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Orientador: João Cardoso Palma FilhoBanca: Luiza Helena da Silva Christov
Banca: Waldomiro Vergueiro
Resumo: As histórias em quadrinhos são uma forma de mídia que combina várias expressões artísticas com a comunicação, gerando um meio onde o leitor pode se tornar parte de história criando seqüências, sons, vozes através dos diálogos nos balões ou até mesmo realizando novas histórias que aqueles personagens podem proporcionar. Mesmo assim, as histórias em quadrinhos enfrentaram, desde sua invenção, desconfiança e até mesmo reducionismo em detrimento de outras artes. Esta pesquisa visa responder a seguinte pergunta: Por que ensinar histórias em quadrinhos nas escolas? Para tanto, a pesquisa compreende uma breve história da formação do mercado editorial, leitores e profissionais no Brasil, disserta sobre os quadrinhos nas mais diferentes camadas de ensino, propondo o uso da arte seqüencial nas mais diversas matérias do currículo escolar e por fim, o estudo de caso Projeto Mamute, em que além de descrever toda a trajetória deste grupo de alunos, apresento um volume das histórias em quadrinhos que foram realizados no período de 2004 - 2005.
Abstract: Comic books compose a media that mixes different artistic expressions with communication, creating a vessel through which the reader can be a part of the story, creating scenes, sounds, voices using the dialogues on the balloons, or even making new stories with the characters. However, Comics have suffered, since their inception, with suspicion and devalue if compared with other arts. This research concerns itself with the question: Are Comics a good tool to educate? To address that, I developed a research about the history of the editorial Comics, the readers and the professionals in Brazil. I explored the action of Comics in the different layers of teaching, proposing different activities with Comics in the official grade of regular education. Finally, I present the history of Projeto Mamute (Mammoth's Project) in the period of 2003 - 2005, and the comics we produced within the project, during that period.
Mestre
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Tsai, Yi-Shan. "Young British readers' engagement with manga." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/252712.
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This thesis presents young British readers? engagement with manga regarding literary, aesthetic, social, and cultural dimensions. The study explores young readers? points of views of their reading preference ? manga. I investigated how children interpreted manga, with respect to the artistic techniques, the embedded ideologies, and the cultural elements therein. I also looked into children?s participation in manga fandom and its social meanings. This allowed me to explore what attracted British readers to this exotic text. This study involved 16 participants from two schools, aged between 10 and 15, with genders represented equally. The participants were grouped by gender in each school. Each group of students received three group interviews based on three manga that they were required to read in advance. Individual interviews with each student followed the group interviews, and all the students were asked to keep reading reflections. The findings show that the attraction of participants to manga includes at least five dimensions. First, manga is a visually rich text, which not only had great power in rendering vicarious experiences to the students, but also allowed the struggling students to grasp the meanings of the text better. Second, both the verbal and the visual storytelling were characterised as fragmentary, which inspired the students? imagination to join the creation of the story. Third, manga provided a temporary shelter where the participants could forget a stressful and frustrating reality. In addition, they felt that they gained renewed hope, refreshed energy, and insights to face potential challenges and difficulties in their lives. Fourth, the elements of Japaneseness and otherness made manga reading a rich experience of an exotic culture. Fifth, manga afforded collective pleasures in fan communities where the students could express their passion and gained a sense of identity.
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Costa, Rafael Machado. "Estética, tradição e estilo nos quadrinhos : a Kunstwollen da grande depressão e do american way of life." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/153218.
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Esta pesquisa tem como objetivo abordar a História da História em Quadrinhos como sendo um ramo da História da Arte, analisando a produção estadunidense das décadas de 1930 a 1960, principalmente as correntes artísticas conhecidas como Era de Ouro e Era de Prata, segundo conceitos como o da Kunstwollen e da Escola de Viena de História da Arte. Tal trabalho tem como objetivo compreender tais movimentos artísticos a partir de suas características e convenções artísticas próprias e das relações que estabeleceram entre si, com outras linguagens e tradições artísticas e com o contexto social e político de seu tempo. Ainda, tem como intuito contribuir para a compreensão do desenvolvimento temático e estético dos estilos artísticos do período e o estabelecimento da História em Quadrinhos como uma linguagem artística autônoma que produziu em um conjunto de tradições estéticas e narrativas próprias.This research intends to approach the History of Comics as an Art History branch, analyzing US production of the 1930s to 1960s, mainly artistic movements known as the Golden Age and Silver Age, according to concepts such as Kunstwollen and from the Vienna School of Art History. This work intends to understand these artistic movements from its specific features and artistic conventions and the relationships they have established between themselves, with other languages and artistic traditions and the social and political context of their time. Also this research intends to contribute to the understanding of the thematic and aesthetic development of the artistic styles of the period and the establishment of the Comics as an autonomous artistic language that established a set of aesthetic traditions and narratives themselves.
Books on the topic "Comics (sequential art)"
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Eisner, Will. Comics and sequential art: Principles and practices from the legendary cartoonist. New York: W.W. Norton, 2008.
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McCloud, Scott. Understanding comics: The invisible art. Northampton, MA: Tundra Pub., 1993.
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Understanding Comics: The Invisible Art. [Northampton, MA]: Kitchen Sink Press, 1993.
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McCloud, Scott. Understanding comics: The invisible art. Northampton, MA: Kitchen Sink Press, 1993.
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McCloud, Scott. Understanding Comics. New York: A Kitchen Sink Book for HarperPerennial, 1994.
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Lowe, John. Senses: Sequential Art Anthology. Savannah, GA: Savannah College of Art and Design, 2005.
Find full textBook chapters on the topic "Comics (sequential art)"
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Ferrari, Fulvio. "Sagas as Sequential Art: Some Reflections on the Translation of Saga Literature into Comics." In Acta Scandinavica, 327–45. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.as-eb.5.109273.
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Widiss, Benjamin. "Comics as Non-Sequential Art." In Drawing from Life, 86–111. University Press of Mississippi, 2013. http://dx.doi.org/10.14325/mississippi/9781617039058.003.0005.
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"Visual narrative: Comics and sequential art." In Text and Image, 91–116. Routledge, 2014. http://dx.doi.org/10.4324/9781315773971-7.
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Gravett, Paul. "Hypercomics: The Shape of Comics to Come." In Comic Art in Museums, 202–5. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0022.
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In 2010, the British curator, Paul Gravett, stretched the rules established for exhibiting comic art as far as possible, experimenting with the basic elements of sequential art itself. A variation on “gallery comics” (comics created specifically for gallery display), Gravett’s Hypercomics: The Shape of Comics to Come broke comics out of the page-by-page format and played with the concepts of multi-linear narrative and self-guided navigation. Taking its cue from the digital devices that are dominating our attention, Gravett wonders if this style of show might be the future of comics and comics exhibitions. Image: “The Rut” by Dave McKean.
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Duffy, Damian. "Remasters of American Comics: Sequential Art as New Media in the Transformative Museum Context." In Comic Art in Museums, 275–88. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0033.
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This chapter includes a 2009 essay by multi-faceted University of Illinois at Urbana-Champaign professor Damian Duffy highlighting the curatorial philosophies that avoid confronting the conceptual challenge of bringing the comics medium into the museum by attempting to fit comics, to one extent or another, into traditional fine art frameworks, including as examples the 2003 Contemporary Art Museum Houston exhibition Splat, Boom, Pow!, Masters of American Comics 2005, UCLA Hammer Museum and Museum of Contemporary Art, Comic Release! from Carnegie Mellon University, and his own curatorial work in partnership with John Jennings on the exhibitions Other Heroes: African American Comics Creators, Characters, and Archetypes. This chapter discusses new media, if we still need canons, comics versus fine art, comics as non-art, lone genius versus collaboration, display tactics, narrative, and racial inclusion.
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Yoe, Craig. "Sequential Titillation: Comics Stripped at the Museum of Sex, New York." In Comic Art in Museums, 207–10. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0023.
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This chapter includes a 2018 commentary about Comics Stripped (2011) at the Museum of Sex in New York curated by publisher/collector Craig Yoe and Sarah Forbes. Covering the decades between the Great Depression to the present, the exhibit featured art by Joe Shuster, R. Crumb, Wally Wood, Jack Cole, Tom Finland, and many others. Topics included Tijuana Bibles (“The People’s Pornography”), 1950’s men’s magazines, censorship crusades, the underground comix revolution, fetish art by Joe Shuster (as featured in Yoe’s book Secret Identity: The Fetish Art of Superman’s Co-Creator Joe Shuster) and Eric Stanton, cartoon porn, same sex comics, and international comics. This chapter includes commentary by curator, collector, and publisher Craig Yoe about how this extensive examination of sexual taboos and other naughty bits came about, as well as his thoughts about sharing his collection and the public response to the show. Images: two exhibition photos
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Weiner, Robert G. "Comics Codes and Parameters for Villain Construction in Sequential Art." In The Supervillain Reader, 243–48. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826466.003.0023.
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There are many types of villains in society and popular culture. There is the villain that is pure evil. There is the villain that is motivated by revenge. There is also at times the hero turned villain. However, one of the most interesting villains is the villain that is a catalyst for political or social change, a necessary evil. This type of villain has a certain brutal honesty of character. They recognize that through their actions, no matter the cost to morality or humanity, that society may become a better place. In many ways they could be a misguided hero. The best example of this is the Kingpin. He is the pinnacle of the villain who understands his role as an agent of change, a villain who believes the ends justify the means, which in a sense makes him good.
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WEINER, ROBERT G. "Comics Codes and Parameters for Villain Construction in Sequential Art." In The Supervillain Reader, 243–48. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvx5w9cj.28.
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Forceville, Charles. "Case Studies–Comics." In Visual and Multimodal Communication, 185–216. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190845230.003.0010.
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The antecedents of the genre of comics and graphic novels could be dated as far back as Christ’s Stations of the Cross in numerous churches, but the genre of “sequential art’ ” (Will Eisner 2006 [1985]) really took off in the late 19th century and was baptized the “ninth art” in the course of the 20th. It typically consists of visuals combined with written language. Comics sport a number of visual elements that are to be decoded rather than inferred by the reader-viewer, such as pictograms, balloons, and motion and emotion lines. Moreover, the audience of comics is expected to be familiar with meaning-generating mechanisms such as onomatopoeia and the “gutter,” and to understand how to navigate from panel to panel. Comics artists help their audience achieve relevance by tapping into these readers/viewers’ knowledge of narrative codes and conventions. These include the three classic mechanisms of surprise, suspense, and curiosity, and the distinction between omniscient (or external) narrators and character-narrators. The case studies include panels or sequences from work by Hergé, Shaun Tan, Peter de Wit, Lewis Trondheim, Guy Delisle, Johanna Sinisalo and Hannu Mänttäri, and Alan Moore and Dave Gibbons, as well as IKEA instructions on a do-it-yourself (DIY) package. The chapter shows how achieving relevance requires appropriate reference assignment, enrichment, broadening or narrowing assumptions, processing loose visuals, correctly adducing implicated premises, and generating explicatures and implicatures.
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Yoe, Craig. "Sequential Titillation:." In Comic Art in Museums, 207–10. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctv128fpwk.27.
Full textConference papers on the topic "Comics (sequential art)"
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Zhang, Chuang, Chen Gong, Tengfei Liu, Xun Lu, Weiqiang Wang, and Jian Yang. "Online Positive and Unlabeled Learning." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/311.
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Positive and Unlabeled learning (PU learning) aims to build a binary classifier where only positive and unlabeled data are available for classifier training. However, existing PU learning methods all work on a batch learning mode, which cannot deal with the online learning scenarios with sequential data. Therefore, this paper proposes a novel positive and unlabeled learning algorithm in an online training mode, which trains a classifier solely on the positive and unlabeled data arriving in a sequential order. Specifically, we adopt an unbiased estimate for the loss induced by the arriving positive or unlabeled examples at each time. Then we show that for any coming new single datum, the model can be updated independently and incrementally by gradient based online learning method. Furthermore, we extend our method to tackle the cases when more than one example is received at each time. Theoretically, we show that the proposed online PU learning method achieves low regret even though it receives sequential positive and unlabeled data. Empirically, we conduct intensive experiments on both benchmark and real-world datasets, and the results clearly demonstrate the effectiveness of the proposed method.
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Ju, Heekun, and Hyung-Jo Jung. "Estimation of Equipment Fragility Curve of Nonlinear Nuclear Power Plant Structures." In IABSE Conference, Seoul 2020: Risk Intelligence of Infrastructures. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/seoul.2020.143.
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<p>Fragility analysis is priorly conducted for probabilistic seismic risk assessment of nuclear power plants (NPPs). In this research, a sample-based method is used to estimate equipment fragility curves more realistically. A numerical model representing an auxiliary building of NPP is used for probabilistic seismic analysis. The structural nonlinearity comes from the hysteretic behaviour of shear walls, which is a dominant structural component affecting the structural behaviour under earthquakes. Uncertainties from ground motions, structural and equipment properties are considered. To generate simulation cases, an advanced Latin Hypercube sampling approach with sequential sampling capability is adopted. The response distribution are utilized for calculating fragility curves, and the effects of each uncertainty sources on fragility curves are evaluated and compared.</p>
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Xu, Jiechi, and Joseph R. Baumgarten. "A Sequential Implicit-Explicit Integration Method in Solving Nonlinear Differential Equations From Flexible System Modeling." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0425.
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Abstract The dynamic equations of motion obtained in the modeling of flexible structural systems with unknown rigid body gross motion are often highly nonlinear and possess time-varying coefficient matrices. The inherent characters of nonlinear large overall rigid body motion and linear small vibration are also involved in the system equations. Neither the implicit nor the explicit algorithm seems optimally suited and efficient by itself in dealing with these kinds of equations. This paper, therefore, presents a sequential implicit-explicit method in which it is attempted to achieve the attributes of both classes of algorithms. The equation system expressed in matrix form is first mapped to a subsystem in which the specified generalized coordinates are eliminated. The subsystem is then partitioned into two sets of coupled equations. One set of equations, describing the elastic motion, is linear with respect to the elastic generalized coordinates and is integrated implicitly. The other set of equations, governing the rigid body motion, contains the highly nonlinear coupling terms and is integrated explicitly with the back substitutions of the elastic kinematic properties already calculated in solving the first set of equations. A Newmark algorithm is employed to integrate the second order system of differential equations directly. A predictor-corrector scheme also coming from the Newmark algorithm is applied to the explicit integration. The procedures developed in the current paper are applied to simulating dynamic response of a complicated flexible system with mutually dependent rigid body unconstrained spherical motion and small elastic deformation.
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Ciani, Andrea, John P. Wood, Anders Wickström, Geir J. Rørtveit, Rosetta Steeneveldt, Jostein Pettersen, Nils Wortmann, and Mirko R. Bothien. "Sequential Combustion in Ansaldo Energia Gas Turbines: The Technology Enabler for CO2-Free, Highly Efficient Power Production Based on Hydrogen." In ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-14794.
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Abstract Today gas turbines and combined cycle power plants play an important role in power generation and in the light of increasing energy demand, their role is expected to grow alongside renewables. In addition, the volatility of renewables in generating and dispatching power entails a new focus on electricity security. This reinforces the importance of gas turbines in guaranteeing grid reliability by compensating for the intermittency of renewables. In order to achieve the Paris Agreement’s goals, power generation must be decarbonized. This is where hydrogen produced from renewables or with CCS (Carbon Capture and Storage) comes into play, allowing totally CO2-free combustion. Hydrogen features the unique capability to store energy for medium to long storage cycles and hence could be used to alleviate seasonal variations of renewable power generation. The importance of hydrogen for future power generation is expected to increase due to several factors: the push for CO2-free energy production is calling for various options, all resulting in the necessity of a broader fuel flexibility, in particular accommodating hydrogen as a future fuel feeding gas turbines and combined cycle power plants. Hydrogen from methane reforming is pursued, with particular interest within energy scenarios linked with carbon capture and storage, while the increased share of renewables requires the storage of energy for which hydrogen is the best candidate. Compared to natural gas the main challenge of hydrogen combustion is its increased reactivity resulting in a decrease of engine performance for conventional premix combustion systems. The sequential combustion technology used within Ansaldo Energia’s GT36 and GT26 gas turbines provides for extra freedom in optimizing the operation concept. This sequential combustion technology enables low emission combustion at high temperatures with particularly high fuel flexibility thanks to the complementarity between its first stage, stabilized by flame propagation and its second (sequential) stage, stabilized by auto-ignition. With this concept, gas turbines are envisaged to be able to provide reliable, dispatchable, CO2-free electric power. In this paper, an overview of hydrogen production (grey, blue, and green hydrogen), transport and storage are presented targeting a CO2-free energy system based on gas turbines. A detailed description of the test infrastructure, handling of highly reactive fuels is given with specific aspects of the large amounts of hydrogen used for the full engine pressure tests. Based on the results discussed at last year’s Turbo Expo (Bothien et al. GT2019-90798), further high pressure test results are reported, demonstrating how sequential combustion with novel operational concepts is able to achieve the lowest emissions, highest fuel and operational flexibility, for very high combustor exit temperatures (H-class) with unprecedented hydrogen contents.
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Luo, Yong, Tongliang Liu, Yonggang Wen, and Dacheng Tao. "Online Heterogeneous Transfer Metric Learning." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/350.
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Distance metric learning (DML) has been demonstrated to be successful and essential in diverse applications. Transfer metric learning (TML) can help DML in the target domain with limited label information by utilizing information from some related source domains. The heterogeneous TML (HTML), where the feature representations vary from the source to the target domain, is general and challenging. However, current HTML approaches are usually conducted in a batch manner and cannot handle sequential data. This motivates the proposed online HTML (OHTML) method. In particular, the distance metric in the source domain is pre-trained using some existing DML algorithms. To enable knowledge transfer, we assume there are large amounts of unlabeled corresponding data that have representations in both the source and target domains. By enforcing the distances (between these unlabeled samples) in the target domain to agree with those in the source domain under the manifold regularization theme, we learn an improved target metric. We formulate the problem in the online setting so that the optimization is efficient and the model can be adapted to new coming data. Experiments in diverse applications demonstrate both effectiveness and efficiency of the proposed method.
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Wang, Jia, Tong Sun, Benyuan Liu, Yu Cao, and Hongwei Zhu. "CLVSA: A Convolutional LSTM Based Variational Sequence-to-Sequence Model with Attention for Predicting Trends of Financial Markets." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/514.
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Financial markets are a complex dynamical system. The complexity comes from the interaction between a market and its participants, in other words, the integrated outcome of activities of the entire participants determines the markets trend, while the markets trend affects activities of participants. These interwoven interactions make financial markets keep evolving. Inspired by stochastic recurrent models that successfully capture variability observed in natural sequential data such as speech and video, we propose CLVSA, a hybrid model that consists of stochastic recurrent networks, the sequence-to-sequence architecture, the self- and inter-attention mechanism, and convolutional LSTM units to capture variationally underlying features in raw financial trading data. Our model outperforms basic models, such as convolutional neural network, vanilla LSTM network, and sequence-to-sequence model with attention, based on backtesting results of six futures from January 2010 to December 2017. Our experimental results show that, by introducing an approximate posterior, CLVSA takes advantage of an extra regularizer based on the Kullback-Leibler divergence to prevent itself from overfitting traps.
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Weathers, Jeffrey W., Robert P. Taylor, and James B. Weathers. "CFD Simulation of a Meso-Scale Combustor: An Exercise in Verification and Validation." In ASME 2008 International Mechanical Engineering Congress and Exposition. ASMEDC, 2008. http://dx.doi.org/10.1115/imece2008-68324.
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With the simulation of engineering processes via numerical methods on the rise comes the need for a quantitative measure of the agreement between computational results and experimental measurements. The use of quantitative methods in the comparison of the results of numerical and experimental analyses supersedes the traditional qualitative approach. In the present paper, the importance of the role of modeling assumptions in a verification and validation effort is illustrated through a meso-scale combustor example. The various types of uncertainties encountered in the experimentation and numerical simulation are investigated. Through the investigation the initial modeling assumptions proved to be insufficient, producing a comparison error outside of the acceptable range. Thus, the modeling assumptions were sequentially revised, minimizing the comparison error and producing a successful verification and validation effort.
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Pacheco, Taisa B., António F. Carvalho da Silva, and Clovis R. Maliska. "An Element-Based Finite Volume Technique Using IMPES and Fully Implicit Approaches for 3D Oil-Water Flows With Hybrid Grids." In ASME 2017 36th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/omae2017-62410.
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The finite volume techniques for solving fluid flow problems can be broadly classified in cell center and cell vertex methodologies. The conventional finite volume techniques belong to the former class, since the elements coming from the grid generator are used as control volumes for performing the balances of the physical quantities, like mass, momentum and energy. The majority of the available methods in the literature uses this type of approach for solving multiphase flows of oil, water and gas in porous media. In petroleum reservoir simulation it is common for the conventional finite volume method to be linked to corner-point grids. This paper presents an Element-based Finite Volume Method (EbFVM), whereby the control volumes are constructed using parts of the elements, generating polygonal meshes in which mass, momentum and energy conservation are enforced. Polygonal meshes considerably reduce the number of unknowns of the linear system when compared with conventional finite volume methods. Three-dimensional hybrid grids are employed for the solution of oil-water flows in a porous media resembling a petroleum reservoir using the IMPES, sequential and fully implicit approaches. The analytical solution of the 1D Buckley-Leverett problem is used for evaluation purposes, and numerical solutions for 2D and 3D problems using unstructured grids are carried out to demonstrate the generality of the method and for comparing the robustness, convergence rate and CPU time of the IMPES and Fully Implicit solutions. Memory usage and convergence rate are also presented for the solution of 3D problems using tetrahedral grids in a cell-center and cell-vertex methodologies.
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Fukuda, Shuichi. "Virtual Reality for Reverse Quality Management." In ASME 2011 World Conference on Innovative Virtual Reality. ASMEDC, 2011. http://dx.doi.org/10.1115/winvr2011-5580.
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Currently, quality management is carried out in a sequential feed forward manner. Inspections are carried out from process to process. As the requirements are getting diversified, the number of inspections increases rapidly. This approach is verification-based. But if we look at quality management from validation point of view, another quality management and inspection approach comes up. It is to look at quality management in the reverse direction from customers’ point of view. If we consider quality as satisfaction of our customers, then we can reduce the number of inspections and focus our efforts to carry out inspections to really satisfy our customers, not to satisfy design requirements. To achieve this goal, we have to characterize our customer’s quality requirements as patterns and use customer’s profiles of quality to manage quality in production. This is a feed back approach and we need feedback information about how our customers use our machines. Although this approach has great benefits of really satisfying our customers and of substantially reducing number of inspections, its disadvantage is that it cannot be applied to new products. But if we utilize VR technology, we can estimate how our customers will use such new products in their own environments and can obtain our customer’s profiles of quality requirements before they are really put to use. Such virtual feedback will enable application of reverse quality management to new products and would satisfy our customers greatly and would reduce the number of inspections greatly. Last but most important is that such feedback information will provide us with information how we should change our design models to really meet our customer’s expectations.
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AlSahlani, Assaad, and Ranjan Mukherjee. "Dynamics and Energetics of a String Vibrating Against an Obstacle Placed at One Boundary." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28995.
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In this paper we investigate the vibration of a string with a rigid obstacle placed at one of its boundaries. During vibration, a portion of the string wraps and unwraps around the obstacle. The impact between the string and the obstacle during wrapping is assumed to be inelastic. The length of the string that wraps around the obstacle, is discretized into a finite number of segments for the purpose of analysis. These segments sequentially collide with the obstacle starting from when the string makes first contact with the obstacle till it comes to rest. During wrapping, the energy of the string is dissipated through impact but during unwrapping the energy is conserved. The geometry of the string at any instant of time is determined from the boundary conditions associated with wrapping and unwrapping of the string. A general solution for vibration against convex obstacles of arbitrary geometry was analysed and numerical simulation results are presented for elliptic- and circular-shaped obstacles with different orientations and for different modes of string vibration. The results show that an obstacle at the boundary can be used as a passive mechanism for vibration suppression. The energy dissipated is found to be greater for higher modes of vibration and for obstacle geometries that result in greater length of wrapping.