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Books on the topic 'Graphic narrative'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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1

Graphic women: Life narrative and contemporary comics. New York: Columbia University Press, 2010.

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2

McKean, Dave. Pictures that tick: Short narrative. Milwaukie, Or: Dark Horse Books, 2009.

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3

From comic strips to graphic novels: Contributions to the theory and history of graphic narrative. Berlin: De Gruyter, 2013.

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4

From comic strips to graphic novels: Contributions to the theory and history of graphic narrative. Berlin: De Gruyter, 2015.

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5

Crossing boundaries in graphic narrative: Essays on forms, series and genres. Jefferson, NC: McFarland & Company, Inc., Publishers, 2012.

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6

Eisner, Will. Graphic storytelling and visual narrative: Principles and practices from the legendary cartoonist. New York: W.W. Norton, 2008.

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7

Mark, Sinclair, ed. Pictures and words: New comic art and narrative illustration. New Haven, CT: Yale University Press, 2005.

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8

Vollmar, Rob. Bluesman.: A twelve bar graphic narrative in the key of life and death. New York: ComicsLit/NBM, 2006.

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9

Laborie, Guillaume. Jim Steranko: Tout n'est qu'illusion. Lyon: Moutons électriques, 2009.

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10

Laborie, Guillaume. Jim Steranko: Tout n'est qu'illusion. Lyon: Moutons électriques, 2009.

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11

McKinney, Collin, and David F. Richter, eds. Spanish Graphic Narratives. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56820-7.

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12

Vogler, Richard A. Reading Hogarth: An exhibition emphasizing the printing history, narrative changes, and narrative techniques in the prints of William Hogarth : Grunwald Center for the Graphic Arts, Wight Art Gallery, UCLA, January 10-March 13, 1988. [Los Angeles]: The Center, 1988.

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13

Nikula, Silja. Paikan henki: Matkailijan mielikuvasta graafiseksi kuvaksi. Rovaniemi: Lapin yliopisto, 2012.

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14

Hunt, Jonathan. Eep full color special #1: Being a somewhat casual yet exceedingly earnest historical over-view of sequential graphic narrative, a Red Eye Studio production. Coconut Creek, FL: Red Eye Studio, 2006.

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15

Comics, manga, and graphic novels: A history of graphic narratives. Santa Barbara, Calif: Praeger, 2011.

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16

Foss, Chris, Jonathan W. Gray, and Zach Whalen, eds. Disability in Comic Books and Graphic Narratives. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137501110.

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17

Varughese, E. Dawson. Visuality and Identity in Post-millennial Indian Graphic Narratives. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-69490-0.

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18

Visualisation in popular fiction, 1860-1960: Graphic narratives, fictional images. London: Routledge, 1995.

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19

Teaching comics and graphic narratives: Essays on theory, strategy and practice. Jefferson, NC: McFarland, 2012.

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20

This side, that side: Restorying partition : graphic narratives from Pakistan, India, Bangladesh. New Delhi: Yoda Press, 2013.

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21

Vittorini, Fabio. Narrativa USA: 1984-2014 : romanzi, film, graphic novel, serie tv, videogame e altro. Quarto inferiore - Bologna: Pàtron editore, 2015.

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22

(Editor), Marc A. Valli, and Lachlan Blackley (Editor), eds. Graphic 09: The Story: New Narrative Styles (Graphic). Bis Publishers, 2006.

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23

Eisner, Will. Graphic Storytelling and Visual Narrative. Norton & Company, Incorporated, W. W., 2008.

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24

Graphic Storytelling and Visual Narrative. W. W. Norton, 2008.

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25

United Nations Population Fund. Kenya Country Office., ed. Pop-ed: UNFPA graphic narrative series. Nairobi: Prepared on behalf of United Nations Population Fund, Kenya Country Office by Communicating Artists Ltd., 2000.

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26

Wege, Birte. Drawing on the Past: Graphic Narrative Documentary. Campus Verlag GmbH, 2020.

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27

Graphic Women Life Narrative And Contemporary Comics. Columbia University Press, 2010.

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28

Royal, Derek Parker. Visualizing Jewish Narrative: Jewish Comics and Graphic Novels. Bloomsbury Publishing Plc, 2017.

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29

DeTora, Lisa, and Jodi Cressman, eds. Graphic Embodiments. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461663757.

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Comics and other graphic narratives powerfully represent embodied experiences that are difficult to express in language. A group of authors from various countries and disciplines explore the unique capacity of graphic narratives to represent human embodiment as well as the relation of human bodies to the worlds they inhabit. Using works from illustrated scientific texts to contemporary comics across national traditions, we discover how the graphic narrative can shed new light on everyday experiences. Essays examine topics that are easily recognized as anchored in the body as well as experiences like migration and concepts like environmental degradation and compassion that emanate from or impact on our embodied states. Graphic Embodiments is of interest to scholars and students across various interdisciplinary fields including comics studies, gender and sexuality studies, visual and cultural studies, disability studies and health and medical humanities.
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30

Piehl, Jona. Graphic Design in Museum Exhibitions: Display, Identity and Narrative. Taylor & Francis Group, 2020.

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31

Piehl, Jona. Graphic Design in Museum Exhibitions: Display, Identity and Narrative. Taylor & Francis Group, 2020.

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32

Piehl, Jona. Graphic Design in Museum Exhibitions: Display, Identity and Narrative. Taylor & Francis Group, 2020.

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33

Graphic Design in Museum Exhibitions: Display, Identity and Narrative. Taylor & Francis Group, 2020.

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34

Aldama, Frederick Luis, ed. Graphic Indigeneity. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828019.001.0001.

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Graphic Indigeneity: Comics in the Americas and Australasia brings together scholarship that interrogates mainstream comic book traditions that have negatively stereotyped as well as positively complicated Indigenous identities and experiences of terra America and Australasia. It also includes scholarship that analyzes how Indigenous comic book creators are themselves clearing new visual-verbal narrative spaces for articulating complex histories, cultures, experiences, and identities. Here, the volume also seeks to shed light on how the violent wounds of colonial and imperial domination across the globe connect Indigenous comic books creators in their expressions of survival, resistance, and affirmation. Comics analyzed include, but are not limited to, the following: The Phantom, Uncanny X-Men, Comanche Moon, Captain Canuck, Alpha Flight, Fighting Indians of the West, Footrot Flats, Ngarimu Te Tohu Toa, Turey el Taíno, La Borinqueña, Manuel Antonio Ay, Zotz, Will I See?, Super Indian, Deer Woman, Moonshot, Trickster: Native American Tales, Pablo’s Inferno, Supercholo, La Chola Power, Turbochaski, and Supay. This volume reminds the world of the ways pop culture has violently misrepresented Native and Indigenous peoples. It reminds the world of the significant presence of Native and Indigenous artists in creating counter-narratives that powerfully shape global histories and cultures.
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35

Royal, Derek Parker. Visualizing Jewish Narrative: Essays on Jewish Comics and Graphic Novels. Purdue University Press, 2014.

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36

Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil. University of Texas Press, 2016.

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37

Foster, David William. Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil. University of Texas Press, 2016.

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38

Herman, David. Multispecies Storyworlds in Graphic Narratives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190850401.003.0005.

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Chapter 4 returns to questions of media first posed in the introduction. Specifically, it considers how the creators of comics and graphic novels in which nonhuman animals are focal participants use the verbal-visual affordances of the medium to project nonhuman worlds. The chapter highlights two key issues in this connection. The first issue concerns the ways in which animal comics at once bear the impress of and also comment reflexively on animal geographies, or cultural understandings of where animals belong relative to the places associated with human institutions, practices, and activities. The second issue, on which chapters 6 and 7 provide additional perspectives, concerns the techniques used in graphic narratives to evoke animal experiences. At stake here is the extent to which, and the specific ways in which, narrative constitutes a transmedial resource for engaging with forms of nonhuman subjectivity.
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39

Picturebooks: Beyond the Borders of Art, Narrative and Culture. Taylor & Francis Group, 2013.

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40

Suriano, Matthew. The Narrative of Bones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190844738.003.0007.

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Entombed bones were important symbols in the Hebrew Bible’s ideology of death, but this biblical afterlife was not one of bones languishing inside the tomb. The stories of Joseph’s reburial, and Jezebel’s nonburial, show how divine promises could be tied to the bodies of the dead. In these narratives we see the outcomes of good deaths (Joseph) and bad deaths (Jezebel), respectively. Joseph’s reburial symbolizes the fulfillment of Yahweh’s first covenant with Israel’s ancestors. The narrative of Jezebel’s bones is one of annihilation, but like Joseph’s bones, the treatment of her mortal remains was also one of divine fulfillment. The graphic details of her body’s destruction were deemed necessary by the biblical writers to show that her fate fulfilled the prophetic curses leveled at her. In these biblical stories we see how the treatment of bones could bind the living and the dead together with the God of Israel.
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41

Hogan, Patrick Colm. Style in Narrative. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197539576.001.0001.

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Style has often been understood both too broadly and too narrowly. In consequence, it has not defined a psychologically coherent area of study. In the opening chapter, Hogan first defines style so as to make possible a systematic theoretical account through cognitive and affective science. This definition stresses that style varies by both scope and level—thus, the range of text or texts that may share a style (from a single passage to an historical period) and the components of a work that might involve a shared style (including story, narration, and verbalization). Hogan illustrates the main points of this chapter by reference to several works, prominently Woolf’s Mrs. Dalloway. Subsequent chapters in the first part focus on under-researched aspects of literary style. The second chapter explores the level of story construction for the scope of an authorial canon, treating Shakespeare. The third turns to verbal narration in a single work, Faulkner’s As I Lay Dying. Part two, on film style, begins with another theoretical chapter. It turns, in chapter five, to the perceptual interface in the genre of “painterly” films, examining works by Rodriguez, Mehta, Rohmer, and Husain. The sixth chapter treats the level of plot in the postwar films of Ozu. The remaining film chapter turns to visual narration in a single work, Lu’s Nanjing! Nanjing! The third part addresses theoretical and interpretive issues bearing on style in graphic fiction, with a focus on Spiegelman’s Maus. An Afterword touches briefly on implications of stylistic analysis for political critique.
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42

Sinclair, Mark, and Roanne Bell. Pictures and Words: New Comic Art and Narrative Illustration. Yale University Press, 2005.

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43

Dooley, Michael, and Steven Heller. Education of a Comics Artist: Visual Narrative in Cartoons, Graphic Novels, and Beyond. Skyhorse Publishing Company, Incorporated, 2005.

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44

Comic Book Tattoo Narrative Art Inspired By The Lyrics And Music Of Tori Amos. Image Comics, 2008.

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45

McGregor, Rafe. A Criminology Of Narrative Fiction. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208054.001.0001.

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This book answers the question of the usefulness of criminological fiction. Criminological fiction is fiction that can provide an explanation of the causes of crime or social harm and could, in consequence, contribute to the development of crime or social harm reduction policies. The book argues that criminological fiction can provide at least the following three types of criminological knowledge: (1) phenomenological, i.e. representing what certain experiences are like; (2) counterfactual, i.e. representing possible but non-existent situations; and (3) mimetic, i.e. representing everyday reality in detail and with accuracy. The book employs the phenomenological, counterfactual, and mimetic values of fiction to establish a theory of the criminological value of narrative fiction. It begins with a critical analysis of current work in narrative criminology and current criminological work on fiction. It then demonstrates the phenomenological, counterfactual, and mimetic values of narrative fiction using case studies from fictional novels, graphic novels, television series, and feature films. The argument concludes with an explanation of the relationship between the aetiological and pedagogic values of narrative fiction, focusing on cinematic fictions in virtue of the vast audiences they reach courtesy of their place in global popular culture.
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46

1948-, Dooley Michael, and Heller Steven, eds. The education of a comics artist: Visual narrative in cartoons, graphic novels, and beyond. New York: Allworth Press, 2005.

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47

Tori, Amos, and Hoseley Rantz, eds. Comic book tattoo: Narrative art inspired by the lyrics and music of Tori Amos. Berkeley, CA: Image Comics, 2008.

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48

Fenimore, Cooper James. The Last of the Mohicans: A Narrative of 1757. CreateSpace Independent Publishing Platform, 2012.

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49

Fenimore, Cooper James. The Last of the Mohicans: A Narrative of 1757. CreateSpace Independent Publishing Platform, 2011.

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50

El Refaie, Elisabeth. Visual Metaphor and Embodiment in Graphic Illness Narratives. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190678173.001.0001.

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This study uses the analysis of visual metaphor in 35 graphic illness narratives—book-length stories about disease in the comics medium—in order to re-examine embodiment in traditional Conceptual Metaphor Theory (CMT) and propose the more nuanced notion of “dynamic embodiment.” Building on recent strands of research within CMT, and drawing on relevant concepts and findings from other disciplines, including psychology, phenomenology, social semiotics, and media theory, the book develops the argument that the experience of one’s own body is constantly adjusting to changes in one’s individual state of health, sociocultural practices, and the activities in which one is engaged at any given moment, including the modes and media that are being used to communicate. This leads to a more fluid and variable relationship between physicality and metaphor use than many CMT scholars assume. For example, representing the experience of cancer through the graphic illness narrative genre draws attention to the unfathomable processes going on beneath the body’s visible surface, particularly now that digital imaging technologies play such a central role in the diagnosis and treatment of the disease. This may lead to a reversal of conventional conceptualizations of knowing and understanding in terms of seeing, so that vision itself becomes the target of metaphorical representations. A novel classification system of visual metaphor, based on a three-way distinction between pictorial, spatial, and stylistic metaphors, is also proposed.
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