Academic literature on the topic 'Gaiman, Neil Sandman'
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Journal articles on the topic "Gaiman, Neil Sandman"
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Vilches, Gerardo. "Reseña de Sandman: Obertura de Neil Gaiman, J.H. Williams III y Dave Stewart." CuCo, Cuadernos de cómic, no. 6 (June 30, 2016): 166–70. http://dx.doi.org/10.37536/cuco.2016.6.1157.
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Braga Jr., Amaro Xavier. "Por uma deca-análise da criação da imagem nos quadrinhos." Revista Memorare 6, no. 2 (2019): 155. http://dx.doi.org/10.19177/memorare.v6e22019155-184.
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Este trabalho analisa o processo de produção de imagens em histórias em quadrinhos, focado nas páginas da revista Sandman, de Neil Gaiman, enfatizando o vínculo existente no processo de criação dos desenhos e das páginas aos elementos de composição artística. São feitas associações críticas com dez10 elementos de criação nas artes visuais com base na sintaxe da linguagem visual de Donis A. Dondis: movimento, leveza, montagem, sinuosidade, geometria, repetição, fragmentação, abstração, distorção e profusão. A construção da imagem desenhada nos quadrinhos de Sandman procura ser associada à estética e à plasticidade, resultando na acepção de uma história em quadrinhos de vanguarda inovadora e culturalmente híbrida no seu processo de criação.
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André, Willian, and Cleverson de Lima. "Destruição e morte: fragmentos de um mosaico composicional em The Sandman, de Neil Gaiman." Muitas Vozes 7, no. 1 (2019): 281–95. http://dx.doi.org/10.5212/muitasvozes.v.7i1.0016.
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Moreland, Sean. "Corinthian Echoes: Gaiman, Kiernan, and The Dreaming as Sadomodernist Gothic Memoir." Humanities 9, no. 2 (2020): 29. http://dx.doi.org/10.3390/h9020029.
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This article examines Caitlín R. Kiernan’s writing for the DC/Vertigo comic series The Dreaming, a spin-off of Neil Gaiman’s Sandman. It places Kiernan’s writing for the series in the wider context of both her prose fictional writings and representations of LGBTQI+ characters in American comics. It uses Moira Weigel’s concept of “sadomodernism” to characterize Kiernan’s writings, demonstrating how Kiernan’s use of this mode in The Dreaming anticipated signature characteristics of her later fictions. Close reading of selected excerpts from the published comics, as well as Kiernan’s scripts, emails, and editorial remarks alongside the work of queer and trans theorists, including Judith Butler and Jack Halberstam, reveal how groundbreaking Kiernan’s unsettling work with the series was and remains.
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Vieira, Marcos Fábio Medeiros, and Denise da Costa Oliveira Siqueira. "O sonho da cidade." Revista FAMECOS 28, no. 1 (2021): e39416. http://dx.doi.org/10.15448/1980-3729.2021.1.39416.
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As metrópoles contemporâneas, onde efemeridade e velocidade assumem papéis econômicos fundamentais, propiciam o surgimento de ambiances e imaginários sobre cidades ideais ou de sonho. Neste artigo, temos como objetivo estudar, a partir de uma leitura da antropologia das emoções e de estudos urbanos, uma situação de évasion: o conto fantástico “Uma história de duas cidades”, dos quadrinhos de Sandman, de Neil Gaiman. No conto, a cidade de sonho torna-se labirinto de significações do qual os indivíduos buscam uma fuga. Metodologicamente, a partir de uma perspectiva qualitativa, hermenêutico-interpretativa, lemos texto e imagens da HQ, observando a cidade imaginada como tentativa de évasion movidos pela questão sobre em que medida medo e interação midiatizada produzem sentidos sobre a cidade contemporânea. Como resultado preliminar, observamos que na HQ o indivíduo se divide entre a segurança do espaço privado e o desejo de lançar-se ao espaço desconhecido, aos encontros e à morte.
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Hume, Kathryn. "Psychology made visual: the sandman overture by Neil Gaiman, J. H. Williams III and Dave Stewart." Journal of Visual Literacy 37, no. 2 (2018): 103–18. http://dx.doi.org/10.1080/1051144x.2018.1486562.
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Tavares, E. F. "Narrativa Gráfica e Metaficção: As Releituras de Sonho de Uma Noite de Verão e A Tempestade em Sandman, de Neil Gaiman." Revista Scripta Uniandrade, no. 7 (December 30, 2009): 299–321. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.n7p299-321.
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Hume, K. "Neil Gaiman's Sandman as Mythic Romance." Genre 46, no. 3 (2013): 345–65. http://dx.doi.org/10.1215/00166928-2345542.
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Dernovšek, Davorin. "The Divine Sandman." ELOPE: English Language Overseas Perspectives and Enquiries 8, no. 2 (2011): 45–62. http://dx.doi.org/10.4312/elope.8.2.45-62.
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The article discusses the intricacies of Neil Gaiman’s comics work The Sandman through the lens of reception; particularly it examines how Dante Alighieri’s masterpiece The Divine Comedy echoes through this epic comic. It not only tries to bring together (or rather deconstruct) these two profound works of art from diverse eras of human expression, it also discusses how two different modes of artistic expression – comics and poetry – converge on a metalevel. It furthermore treats the general nature of comics; denoting both their connection with literature and art in general, though in this respect also stressing the need for a separate study of the comics medium, and not as merely a genre of either literature or art.
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Mellette, Justin. "Serialization and Empire in Neil Gaiman’s the Sandman." Studies in the Novel 47, no. 3 (2015): 319–34. http://dx.doi.org/10.1353/sdn.2015.0035.
Full textDissertations / Theses on the topic "Gaiman, Neil Sandman"
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Souza, Mariane de. "\"Estação das Brumas\": a intertextualidade nas histórias em quadrinhos e a apropriação da informação cultural em Sandman." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-22022018-171306/.
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Neste trabalho, as histórias em quadrinhos são compreendidas como uma linguagem que, através da justaposição de imagens, transmitem informações que produzem uma resposta no leitor. A proposta é observar as possibilidades de apropriação do conhecimento e da informação cultural presentes em um artefato que se mostra amplo no sentido de interpretação e significação: as histórias em quadrinhos. A metodologia de pesquisa adotada compreende uma abordagem interpretativa e qualitativa que envolve tanto texto verbal como visual. No objeto empírico desta pesquisa, na história em quadrinhos Sandman, de Neil Gaiman, foram percebidas diversas referências culturais, históricas e literárias no conteúdo narrativo. Desta forma, refletiu-se sobre as apropriações culturais, estéticas, cinematográficas, entre outras, que fazem parte da composição da série, observando seus aspectos intertextuais e semióticos. Assim, ao nos debruçarmos sobre a análise da intertextualidade em Sandman, procuramos entender como as informações culturais se articulam na constituição de um campo de conhecimento específico, reunindo referências as mais diversas. Esta análise almejou contribuir para a Ciência da Informação por meio de uma reflexão acerca de como se constituem as mediações da leitura por meio da identificação das camadas intertextuais presentes na obra, os processos sociais de construção de conhecimento e a montagem de \"enciclopédias\" dos leitores na atual sociedade da informação<br>In this work, comics are understood as a language that, through the juxtaposition of images, transmit information that produces an answer in the reader. The proposal is to observe the possibilities of appropriation of knowledge and cultural information present in an artifact that shows itself broad in the sense of interpretation and meaning: comic books. The adopted research methodology comprises an interpretative and qualitative approach that involves both verbal and visual text. In the empirical object of this research, The Sandman, of Neil Gaiman, diverse cultural, historical and literary references in the narrative content were perceived. In this way, the cultural appropriations, aesthetic, cinematographic, among others, that are part of the composition of the series, were considerate, observing its intertextual and semiotic aspects. Thus, when we look at the analysis of intertextuality in Sandman, we try to understand how cultural information is articulated in the constitution of a specific field of knowledge, bringing together the most diverse references. This case study aimed to contribute to the Information Science through a reflection on how the mediations of reading are constituted through the identification of the intertextual layers present in the work, the social processes of knowledge construction and the assembly of \"encyclopedias\" Of readers in today\'s information society.
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Mallard, Jack K. "Death Becomes Her: Theodicy in Neil Gaiman's The Sandman." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2772.
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A study of Neil Gaiman's The Sandman, particularly "The Sound of Her Wings" and "The Kindly Ones: Part 13," demonstrates its theological richness. The Sandman's ability to participate in theodicy becomes clear by framing that study within a framework provided by Ernest Becker's ideas about the terror of death and Karen Armstrong's observations of the historical utility of negative theology and compassion. The analysis of the formal characteristics of The Sandman shows the range of aesthetic possibility inherent in the comics form. Lastly, the study makes apparent the continued readerly desire for engagement with questions about God, transcendence, death, and evil.
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Haydu, Leah E. "I am Prosper, I am Ariel, I am Caliban a metatheratical approach to Neil Gaiman's The Sandman /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=761.
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Alvim, de Almeida Maiara. "Contos, sonhos e quadrinhos: analisando as questões de mercado e literatura no romance gráfico Sandman, de Neil Gaiman." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/925.
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Previous issue date: 2013-05-03<br>A presente pesquisa tem como objetivo analisar a situação das histórias em quadrinhos, em especial o subgênero romance gráfico, a partir do estudo do caso da obra Sandman, de Neil Gaiman. Investigaremos qual o papel desempenhado por esse obra nas alterações de status pelas quais vêm passando os quadrinhos, situando-a historicamente. Dissertaremos sobre características intrínsecas ao gênero quadrinhos, tais como o uso que faz de imagens e texto para construção de narrativas e discutiremos quais características diferenciariam os romances gráficos dos demais quadrinhos e quais aspectos desse subgênero contribuíram para a identificação dos quadrinhos como uma forma de literatura. Mostraremos como os quadrinhos, também, são um espaço profícuo para o diálogo com as teorias do hipertexto, tal qual colocadas por Landow (1997). Argumentaremos como um romance gráfico seria um hipertexto não eletrônico, ilustrando nosssas considerações com exemplos retirados de Sandman. Discorreremos, também, sobre como Sandman se insere no cânone da literatura internacional através da paródia de obras consagradas, apoiando-nos na teoria da paródia de Linda Hutcheon (1991).<br>This research intends to analyze the state of art in which comics are found nowadays, especially the subgenre known as graphic novel, being Sandman by Neil Gaiman our corpus. We shall investigate the role played by Gaiman‟s graphic novel in the changing of roles experienced by comics in general in the last few decades. We will highlight characteristics of the genre, such as the use of images and text together for the development of narratives, and also discuss which aspects make graphic novels different from other comics. It is also important to identify the aspects that helped to legitimate this subgenre as a literary form. In this study, comics are understood as a fruitful space for dialogue with the hypertext theories, as stated by Landow (1997).We believe that graphic novels can be seen as a non-electronic hypertext, using as an example an analysis of a chapter. Sandman is also seen in relation to its position in the literary canon and the parodies of other well established works, according to Linda Hutcheon‟s parody theory (1991).
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Dobrychtop, Guilherme Ieger. ""Morte, o preço da vida" : as representações de morte e pós-modernismo em Sandman, de Neil Gaiman (1988-1998)." reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/49565.
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Orientador : Prof. Dr. Clóvis Gruner<br>Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em História. Defesa: Curitiba, 05/09/2017<br>Inclui referências : f. 197-201<br>Resumo: Este trabalho analisa a história em quadrinhos Sandman, escrita por Neil Gaiman e publicada pela editora norte americana DC Comics durante os anos de 1988 e 1996. A análise se fixou nas relações desta com o pós-modernismo e, principalmente, em como a morte é representada na publicação, uma vez que a morte não apenas aparece como algo importante na narrativa, onde vários personagens são mostrados encontrando o fim de sua vida, como também esta aparece enquanto personagem. Pelo fato da personagem Morte ser caracterizada não da forma mais tradicional, com vestes negras e uma foice, mas sim como uma garota gótica divertida e apaixonante, torna-se propício um diálogo acerca da morte no contexto da obra, o pós-modernismo, e o quanto este é semelhante ou diferente à representação da personagem. Desta forma, trabalhando as relações com a morte ao longo da História, mas fixando-se no contexto proposto, dentre os anos 1988 e 1998, pretende se compreender como a sociedade se comporta diante da morte, como esta encara o ato de morrer, por vezes o negando ou ignorando, sempre o afastando, e como isso pode ser relacionado com uma representação da morte tão diferente, tão encantadora, como alguém de quem não se quer fugir, mas encontrar imediatamente. Palavras-chave: histórias em quadrinhos; morte; pós-modernismo; Sandman;<br>Abstract: This work analyse the comic book Sadnamn, writen by Neil Gaiman and published by the north american publishing company DC Comics amont the years 1988 and 1996. The analysis was focused in the relations os this with the post-modernism and, mainly, in how the death is represented in the publication, once death shows like something importante in the story, where lots of characters are shown finding the end of their lives, and also is shown like a character. By the fact that the character Death is characterized no in the most tradicional way, with black robes and a sickle, but like a fun and lovely goth girl, its possible a dialogue about death in the contexto of comic, the post-modernism, and how similar or different is this to the representation in the comic books. This way, writing about the relations with death over the History, but keeping in the contexto, among the years 1988 and 1998, its intended to understand how the society behaves in the face of death, how it faces the act of dying, many times denying ou ignoring, aways pushing it away, and how this can be related with a very different representation of death, so lovely, like someone that you don't want to run away from, but meet immediately. Key-words: comic books; death; post-modernism; Sandman;
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Chico, Márcia Tavares. "“Aos amigos ausentes, amores perdidos e velhos deuses”: considerações sobre o feminino em Sandman de Neil Gaiman." Universidade Federal de Pelotas, 2017. http://repositorio.ufpel.edu.br:8080/handle/prefix/3577.
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Previous issue date: 2017-03-31<br>Sem bolsa<br>As histórias em quadrinhos vem ganhando maior visibilidade dentro do espaço acadêmico nos últimos anos (GARCÍA, 2012). Dentre os vários elementos analisados, a posição do feminino dentro do meio também ganhou destaque. Por ser considerado um gênero altamente masculino (MELLETTE, 2012), as histórias em quadrinhos apresentam estereótipos do feminino, tais quais a mãe, o interesse romântico e a donzela indefesa. Sendo assim, acreditamos ser importante analisar a representação do feminino dentro das histórias em quadrinhos e como isso se dá dentro da narrativa. A presente dissertação objetiva analisar a representação do feminino nas histórias em quadrinhos, em especial na obra Sandman (1989-1996), escrita por Neil Gaiman. Focaremos nas personagens femininas da família dos Perpétuos – Morte, Desespero e Delirium – assim como na personagem Desejo. Para podermos analisar a representação do feminino, utilizamos o conceito de performatividade de gênero de Judith Butler, o qual traz o gênero como sendo construído discursivamente e “imposto pelas práticas reguladoras da coerência” do mesmo (BUTLER, 2014, p. 48). O gênero, então, seria formado pela repetição e estilização do corpo. Assim, gênero, ao invés de ser a essência de algo, seria performático, no sentido em que cria aquilo que pretende expressar.<br>Comic books have been gaining space in academic discussions in the last years (GARCÍA, 2012). Thus, among the several issues to be analyzed, the female status in the genre has also gained visibility. The comic book genre is considered to be highly masculine (MELLETTE, 2012) and, as a consequence, the stories present several female stereotypes, such as the mother, the romantic interest, or the damsel in distress. Because of that, we think it is important to analyze female representation in the narratives of comic books, focusing on Sandman (1989-1996), written by Neil Gaiman. We will focus on the female characters of the Endless family – Death, Despair, and Delirium – as well as the character of Desire. To do so, we will use the concept of gender performativity proposed by Judith Butler which shows gender as being discursively created and imposed by social practices (BUTLER, 2014). Gender would be formed by the repetition and stylization of the body, which would, then, lead to the production of a seemly natural structure of being (BUTLER, 2014). Gender is not the essence of something, but instead it is performatic, in the sense that it creates that which it intends to express.
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Hansson, Linus. "Satan i serier : En karaktärsanalys av djävulsportträtten i fyra moderna serietidningar." Thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-13740.
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Genom att undersöka Djävulens utseende och roll, har jag försökt beskriva hur Djävulen porträtteras i de serietidningar jag valt ut. Djävulen avbildas på en rad olika sätt i serietidningsform i vårt till stor del sekulariserade samhälle. Vissa av dessa avbildningar har religiösa föregångare, vissa har föregångare i annan litteratur och vissa är helt nya. De tyder på att man inte använder Djävulen alltför lättvindigt i serietidningar och att man ofta är medveten om de kulturella konnotationer han för med sig. Han är en karaktär som ofta framställs som en negativ karaktär, vilket inte är lustigt med tanke på hans roll inom religion och litteratur. Tack vare de förutfattade tankar som finns om honom är han lätt att använda för att skapa effekter inom serierna, antingen genom att spela på den negativa inställningen eller genom att ställa läsarens förväntningar på ända. Han framställs främst i tre större roller: som tragisk, skrämmande eller komisk. Det är inte ovanligt att flera av dessa roller används till samma karaktär. I de serier jag analyserat har han alltid ställts som en kontrast till seriens protagonist, även om han inte alltid är serietidningens antagonist. Djävulens utseende speglar hans roll i serierna på så sätt att han, när han ska vara skrämmande eller antagonist, har ett mer monstruöst utseende än vad han har när han har en tragisk roll. När han ska vara komisk har han ett utseende som kan ses som löjeväckande, men är inte mänsklig för den saken skull. En gemensam faktor är att samtliga djävlar hade någon form av skräckskapande element till sin karaktär. Sammanfattningsvis kan man säga att Djävulen framställs på minst sagt olika sätt i de olika serierna, vilket tyder på att det kan vara svårt att säga något klart generellt om hur denna karaktär porträtteras i serietidningsmediet.
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Natishan, Georgia Kathryn. "Returning the King: the Medieval King in Modern Fantasy." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/32346.
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In an interview with Hy Bender, Neil Gaiman states, â We have the right, and the obligation, to tell old stories in our own ways, because they are our stories.â While fantasy stands apart from other types of fiction, it still provides a particular kind of commentary on the culture/time it is being created in, often by toying with older themes and conventions. Stories of the quest for kingship tend to fall by the wayside in favor of the â unlikely heroâ tale. While the kingâ s story is not always vastly different from that of the hero, there are some key points that need to be taken into consideration. Unlike many heroes, especially in the modern sense, kings (whether recognized at first or not) are born for the duty they must eventually fulfill. A hero may be unaware of the problem at first or later reluctant to engage it; more often than not in tales of kingship there is a deep awareness of the problem and the knowledge of their potential in solving it. There is always a sense of inherent purpose and destiny: they must undertake quests in order to legitimize themselves and their power â their right to rule. These stories bear a similar structure and shared themes that can be found in medieval sources as well as earlier myths.
Tales of kingship in modern fiction, specifically in the work of Neil Gaiman (The Sandman) and George R. R. Martin (A Game of Thrones), are similar to the medieval models, as kingship and the requirements of kingship were popular themes in medieval texts, including Beowulf and King Horn. The role of the king in epic tales varies from hero to villain, at times even occupying both roles depending on the story. In the tales explored herein and in much of the medieval source material that inspired the fantasy tradition, the king also takes on the role of healer. The interwoven plots of George R. R. Martinâ s A Song of Fire and Ice series revolve around the struggle for the rightful rule over seven kingdoms, and while the protagonist in The Sandman is in many ways vastly different from Tolkienâ s Aragorn, the character still exists with a sense of purpose, responsibility, and duty; a regal bearing that does not necessarily occur in the majority of typical heroes. The influence of Tolkienâ s work both as a scholar and an author is apparent in Gaimanâ s use of mythology and Martinâ s style of world creation; both authors have admitted their creative debt to and continuing admiration of Tolkienâ s style of fantasy. It is impossible to discuss modern fantasy without acknowledging Tolkien as an influence to these two more recent authors. This paper will discuss The Lord of the Rings as a bridge between modern fantasy and medieval/mythological sources.
In each of these modern fantasy tales of kingship, healing and reunion become major themes, tied into the right/duty of a ruler. The patterns established by medieval tales are used by modern authors to create fantasy kings, giving their narratives legitimacy that may have been difficult to establish without these patterns and links back to the medieval tradition.<br>Master of Arts
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Long, Everitt. "Reading, writing, and rendering the world in Neil Gaiman's The sandman." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0013/MQ32492.pdf.
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Skikne, Taryn Sara. "Neil Gaiman's The Sandman : From interpretive narrative to postmodern myth." Thesis, 2008. http://hdl.handle.net/10539/5773.
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This thesis will explore the proposal that Neil Gaiman’s The Sandman is, as Gaiman
describes it in its epilogue, a “story about stories” (The Wake, epilogue). Its particular
focus will be on Gaiman’s conception of humans as essentially narrative beings, who use
narratives to interact with the world around them, to impose order on information, to
provide interpretive paradigms, and as models for their behaviour.
Gaiman has not only explored this idea, but used the fantastic mode to create a
universe in which these types of ‘interpretive narratives’ directly affect physical reality.
Gaiman’s ideas about the way narratives work have been heavily influenced by both
postmodern and Jungian legacies. The thesis will propose that the dynamic between
postmodern intertextuality and the Jungian idea of the archetypes is a driving force in The
Sandman. While Gaiman embraces a playful, bricoleur intertextuality, he also retains a
belief that humans can invoke the archetypes to access profound meanings, which
transcend the particularities of their expression in any individual instances. Under these
influences, Gaiman concieves of a postmodern, Jungian approach to mythology.
We will see that Gaiman’s interactions with narrative, postmodernism and
Jungianism eventually lead him to formulate an ethic for the contemporary world, and that
he encodes it in his own mythology. This ethic both empowers individuals and demands
that they take responsibility for their power. It also focuses on how the individual can
productively and tolerantly interact with a heteroglossic world. Instead of a fact to be
sought out, meaning becomes a process of active creation.
Books on the topic "Gaiman, Neil Sandman"
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Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth. Wildside Press, 2003.
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Sommers, Joseph Michael, and Kyle Eveleth, eds. The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.001.0001.
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Neil Gaiman (1960-present) currently reigns in the literary world as one of the most critically-decorated and popular authors of the last fifty years. Perhaps best known as the writer of the Harvey, Eisner, and World Fantasy-award winning DC/ Vertigo series, The Sandman, Gaiman quickly became equally-renowned in literary circles for works such as Neverwhere, Coraline, the Hugo, Nebula, Locus, etc. award-winning American Gods, as well as the Newbery and Carnegie Medal-winning The Graveyard Book. For adults, for children, for the comic reader to the viewer of the BBC's Doctor Who, Gaiman's writing has crossed the borders of virtually all media and every language making him a celebrity on a world-wide scale. Despite Gaiman's incredible contributions to multiple national comics traditions (from such works as Miracleman to the aforementioned The Sandman), to the maturation of American comics as a serious storytelling medium, and to changing the rights of creators to retain ownership of their works, his work continues to be underrepresented in sustained fashion in comics studies. As American Gods tops ratings charts for Starz, Anansi Boys can be found in radio play from the BBC, and adaptations of some of his work from Trigger Warning and Fragile Things become standalone comics by renowned artists, it seems timely to bring the bulk of Gaiman's comics into the scholarly discussion. The thirteen essays and two interviews with Gaiman and his frequent collaborator, artist P. Craig Russell, a formal introduction, forward, and afterword examine the work (specifically-comics, graphic novels, picture books, visual adaptations of prose works, etc.) of Gaiman and a multitude of his collaborative illustrators. The essays radiate from an examination of Gaiman's work surrounding proclamations challenging his readers to "make good art'; what makes Gaiman's work unique and worthy of study lies in his eschewing of typical categorizations and typologies, his constant efforts to make good art-whatever form that art may take-howsoever the genres and audiences may slip into one another. What emerges is a complicated picture of a man who always seems fully-assembled virtually from the start of his career, but only came to feel comfortable in his own skin and his own voice far later in his life.
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Rauch, Stephen. Neil Gaiman's The Sandman And Joseph Campbell: In Search Of The Modern Myth (Sandman (Graphic Novels)). Wildside Press, 2007.
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Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth. Wildside Press, 2003.
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Fletcher, Judith. Myths of the Underworld in Contemporary Culture. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767091.001.0001.
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Stories of a visit to the realm of the dead and a return to the upper world are among the oldest narratives in European literature, beginning with Homer’s Odyssey and extending to contemporary culture. This volume examines a series of fictional works by twentieth- and twenty-first century authors, such Toni Morrison and Elena Ferrante, which deal in various ways with the descent to Hades. Myths of the Underworld in Contemporary Culture surveys a wide range of genres, including novels, short stories, comics, a cinematic adaptation, poetry, and juvenile fiction. It examines not only those texts that feature a literal catabasis, such as Neil Gaiman’s Sandman series, but also those where the descent to the underworld is evoked in more metaphorical ways as a kind of border crossing, for instance Salman Rushdie’s use of the Orpheus myth to signify the trauma of migration. The analyses examine how these retellings relate to earlier versions of the mythical theme, including their ancient precedents by Homer and Vergil, but also to post-classical receptions of underworld narratives by authors such as Dante, Ezra Pound, and Joseph Conrad. Arguing that the underworld has come to connote a cultural archive of narrative tradition, the book offers a series of case studies that examine the adaptation of underworld myths in contemporary culture in relation to the discourses of postmodernism, feminism, and postcolonialism.
Book chapters on the topic "Gaiman, Neil Sandman"
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Larsen, Kristine. "Dreaming the Universe." In The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.003.0003.
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This chapter notes how Gaiman's work flits between the mythic, the real, and the mythopoeic, drawing upon physics and mathematics to analyze the spooky action (at a distance) paradox that Gaiman constructs in Overture. Looking at its placement with the larger Sandman universe as the prequel to the original text, this chapter will examine, in particular, Death's role in Dream's larger journey as "the ultimate observer" with the Sandman universe. Using her as the central perspective, the reader will discover how Death functions as that which brings order to the otherwise chaos of The Sandman.
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Hayles Gledhill, Evan. "25 Neil Gaiman: The Sandman." In Handbook of Comics and Graphic Narratives. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110446968-029.
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McCrystal, Erica. "Liminality and the Gothic Sublime of the Sandman." In The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.003.0011.
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This chapter explores how liminality and subliminality interweave in Gaiman's seminal work, The Sandman, infusing the text with fantastic opportunity and subversive potential. The series presents an overlap between the dreaming and waking worlds, dissipating clear distinctions between reality and fantasy. However, when there is an overlap between the dreaming and the waking worlds, the border is dissolved and humans too become liminal figures who navigate both worlds. The infinite possibilities that emerge when concrete and fantastic worlds collide make the series evocative of the sublime. Gaiman and his illustrators use liminality and the sublime throughout the series
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McCRYSTAL, ERICA. "LIMINALITY AND THE GOTHIC SUBLIME OF THE SANDMAN." In The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvgs08kk.15.
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Gutierrez, Anna Katrina. "Weaving New Dreams From Old Cloth." In The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.003.0013.
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This chapter discusses the significance of Gaiman's creative disruptions of scripts and schemas in two of his visual retellings for young adults: The Sleeper and the Spindle (2014) and the graphic novel The Sandman: The Dream Hunters (1999). By weaving the old, well-worn cloth of fairy tale narrative scripts together with new schematics, Gaiman and his collaborators present sometimes radical ideologies clothed in the comfortable garb of rehearsed, longstanding traditions. As much as this action masks the changing cultural attitudes represented by the "new cloth," Gaiman's weavings also reveal to careful readers how narratives become ubiquitous and achieve metanarrativity. To understand how our minds interpret scripts, schemas, and metanarratives, this chapter will bring to bear conceptual blending and schema theories on my examination of the verbal and visual interplay of source texts and Gaiman retellings
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Fletcher, Judith. "The Ghost of the Father." In Myths of the Underworld in Contemporary Culture. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767091.003.0002.
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Chapter 2 looks at the underworld theme in two postmodern works of fiction: John Barth’s 1968 Lost in the Funhouse, which adapts Homer’s Odyssey, and Neil Gaiman’s The Sandman comic series (1989–93), which features a version of Orpheus’ descent. Both authors tap into the tradition of Hades as an intertextual archive and confront the canon by writing fiction that symbolically stages a conflict between fathers and sons. The mythical descent story becomes a metafictional device that pays homage to literary tradition while also critiquing literary forefathers, Milton and James Joyce. The polemical stances of Barth and Gaiman epitomize postmodern literary practices by setting the heroic paradigm in culturally marginal contexts or by using media not conventionally associated with high culture.
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"Intermedialität in Comics. Neil Gaimans The Sandman." In Comics. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839411193-003.
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