Journal articles: 'Graphic Novel Art'

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Mylchenko, Larуsa, and Larуsa Tatarinova. "Features of perception of the visual book. Comics. Manga. Graphic novel." Вісник Книжкової палати, no. 12 (December 17, 2020): 10–15. http://dx.doi.org/10.36273/2076-9555.2020.12(293).10-15.

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The article examines aspects of the development of the visual book, in particular the graphic novel, as the newest synthetic art form, which combines the visual and the verbal. The exploration is devoted to the analysis of the evolution of the graphic novel: from a simple comic book form to a meaningful novel, from a series of drawings to a recognized literary genre. The popularity of the graphic novel continues to grow. Its place in the artistic coordinate system and its significance for the culture of the beginning of the XXI century are studied. The newest kind of synthetic art shows good dynamics of development and aspires to take the place among literary works. Modern graphic novel addresses serious issues, constantly improving the form and content. The article analyzes the artistic features of the graphic novel and its national differences. Despite the peculiarities of graphic novels in the United States, Western Europe, Japan, and Ukraine, there has been a clear convergence of publication formats in recent decades, although each of the works, such as manga, BD, or Ukrainian painting, depicts its national hero. The recognition of graphic novels as a separate art form was facilitated by the nominations and awards of prestigious literary prizes. Despite considerable criticism, art critics have acknowledged that "graphics are becoming a new power tool for storytelling". Graphic novels are becoming increasingly important in the field of publishing. A separate place for a visual work of literature has appeared on the shelves of bookstores. Traditional bookstores and libraries offer a wider selection of graphic novels. Sales of graphic novels are growing.

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Strömberg, Fredrik. "Schemata in the Graphic Novel Persepolis." European Comic Art 13, no. 2 (September 1, 2020): 91–119. http://dx.doi.org/10.3167/eca.2020.130205.

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It has repeatedly been suggested that the art in the graphic novel Persepolis by Iranian French artist Marjane Satrapi contains numerous connections to ancient Persian art forms, to the point of this becoming a ‘truism’, although the claim has not been subjected to in-depth analysis. The present formal analysis employs Gombrichian schema theory to identify visual elements in the graphic novel potentially connected to Persian visual cultures to discern if and how they might relate to their proposed influences and how they integrate with styles and visual conventions in comics. The results indicate that there are indeed connections, although integrated into the art form of comics through combination and accommodation, and that this reinforced the Persian theme of the graphic novel and potentially enriched the art form of comics.

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Cho, Han Ryul. "Holocaust‐Literatur und Graphic Novel - Art Spiegelmans MAUS." Deutsche Sprach- und Literaturwissenschaft 28, no. 4 (December 31, 2020): 115–36. http://dx.doi.org/10.24830/kgd.28.4.6.

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Martín Párraga, Javier. "Roughing It in the Bush, The Graphic Novel." Revista Canaria de Estudios Ingleses, no. 81 (2020): 321–34. http://dx.doi.org/10.25145/j.recaesin.2020.81.21.

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Graphic novels and comic books are no longer minor cultural artifacts which are produced to generate economic benefits, mostly consumed by young, not very literate, readers who do not hope to be educated but simply entertained. Quite on the contrary, authors such as Will Eisner, Art Spiegelman, Alan Moore, Neil Gaiman or Umberto Eco has vindicated the fundamental role these artistic manifestations play nowadays. The present paper analyzes Carol Shields and Patrick Crowe 2016 graphic novel adaptation of Susanna Moodie’s seminal book Roughing it in the Bush. In order to reach this goal, a brief theoretical state of the art is introduced. Consequently, the original writer and text are equally studied. Finally, the contemporary graphic novel adaptation is considered, explaining the genesis of the project as well and the similitudes and differences it shows when compared to the original work by Susanna Moodie.

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Singh, Dr M. S. Xavier Pradheep. "Dissecting Graphic Fiction: A Study of the Hybrid Form of the 21st Century." Think India 22, no. 3 (September 19, 2019): 249–56. http://dx.doi.org/10.26643/think-india.v22i3.8189.

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“Comic art does possess the potential for the most serious and sophisticated literary and artistic expression, and we can only hope that future artists will bring the art form to full fruition” (176), prophesied Lawrence Abbott in 1986. It became true when Graphic Fiction emerged as a hybrid genre and entered into the academia. It is a meaningful interaction of words, image panels, and typography. They have a long history dating back to cave paintings and Egyptian hieroglyphics. Though there are “more genetic similarities between the comic book and the graphic novel” (Sardesai 28), Graphic Novel has a unique approach to plot, narration, and theme. This new genre combines visual and verbal rhetoric and thus offers a hybrid form of reading. The use of blank spaces between image panels provides “imaginative interactivity” (Tabachnick 25), as the reader tends to fill in these blanks, imagining a good deal of action. Text boxes, speech bubbles, and thought bubbles streamline the narration and create a sense of interactivity in a reader. This paper records the history of Graphic Novel and makes an anatomy of it. It also enlists recent Graphic novels and major techniques employed in them.

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North, Laurence. "Architecture and the graphic novel." Journal of Illustration 6, no. 2 (December 1, 2019): 341–64. http://dx.doi.org/10.1386/jill_00018_1.

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Abstract Richard McGuire's Here (2014) and Chris Ware's Lost Buildings (Glass et al. 2004) are discussed as examples of graphic novels that demonstrate a synergistic relationship with architecture. The synergistic relationship is examined through its use of decorative forms and the use of architectural reference as a narrative device and a signifier of space and time. The article goes on to explore the potential for architectural structures to function as graphic novels. The late medieval frescos attributed to the architect and painter Giotto, that decorate the chapels at Assisi and Padua, are used as examples of illustrations that rely on their architectural context. Giotto's work is explored as a model to inform the development of the graphic novel into an architectural form. Laura Jacobus' (1999) and Jenetta Rebold Benton's (1989) analyses of Giotto's works at Padua and Assisi provide us with an understanding of Giotto's work and the importance of decorative features in relation to the audience's perception of real and pictorial space, experienced time and narrative time. Jacobus' and Rebold Benton's analysis is then applied to two of London's Art on the Underground projects by Wallinger and Trabizian and also The Factory, Hong Kong. At these contemporary architectural sites, images have been installed to rehabilitate mundane structures and enrich the users experience. The installed imagery allows users to become immersed in narratives by eroding barriers between real and pictorial space, experienced time and narrative time. These contemporary examples describe the graphic novel's potential to be authored and read as an architectural form.

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Panaou, Petros, and Frixos Michaelides. "Dave McKean’s art: Transcending limitations of the graphic novel genre." Bookbird: A Journal of International Children's Literature 49, no. 4 (2011): 62–67. http://dx.doi.org/10.1353/bkb.2011.0072.

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Becnel, Kim, and Robin A. Moeller. "Graphic Novels in the School Library: Questions of Cataloging, Classification, and Arrangem." KNOWLEDGE ORGANIZATION 49, no. 5 (2022): 316–28. http://dx.doi.org/10.5771/0943-7444-2022-5-316.

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In recent years, many school librarians have been scrambling to build and expand their graphic novel collections to meet the large and growing demand for these materials. For the purposes of this study, the term graphic novels refers to volumes in which the content is provided through sequential art, including fiction, nonfiction, and biographical material. As the library field has not yet arrived at a set of best practices or guidelines for institutions working to classify and catalog graphic novels, this study seeks to record the ways in which school librarians are handling these materials as well as issues and questions at the forefront of their minds. A survey of school librarians in the United States revealed that almost all of them collect fiction and nonfiction graphic novels, while 67% collect manga. Most respondents indicated that they are partly or solely responsible for the cataloging and classification decisions made in their media centers. For classification purposes, most have elected to create separate graphic novel collections to house their fictional graphic novels. Some include nonfiction graphic novels in this section, while others create a nonfiction graphic novel collection nearby or shelve nonfiction graphic novels with other items that deal with similar subject matter. Many school librarians express uncertainty about how best to catalog and classify longer series, adapted classics, superhero stories, and the increasing number and variety of inventive titles that defy categorization. They also struggle with inconsistent vendor records and past practices and suffer from a lack of full confidence in their knowledge of how to best classify and catalog graphic novels so that they are both searchable in the library catalog and easily accessible on the shelves.

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Munk, Tea-Maria. "The Holocaust in Pictures: Maus and the Narrative of the Graphic Novel." Leviathan: Interdisciplinary Journal in English, no. 2 (March 15, 2018): 54–59. http://dx.doi.org/10.7146/lev.v0i2.104696.

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This article examines the effect of comic conventions and the depiction of characters as anthropomorphic animals in Art Spiegelman’s graphic novel Maus, a pivotal piece depicting the Holocaust and its impact on the survivors and their children. The article will claim that instead of the graphic medium being a hindrance, Spiegelman uses the comic conventions to his advantage, allowing the reader to identify with the characters and narrative in a unique way. In this way the graphic narrative underlines the verbal, demonstrating that the medium of the comic and graphic novel is not purely preserved for fiction or child narratives.

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Oliinyk, Viktoriia. "graphic novel as a popular genre of book publishing in the context of modern design." Linguistics and Culture Review 5, S4 (November 12, 2021): 942–54. http://dx.doi.org/10.21744/lingcure.v5ns4.1742.

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The relevance of the research is due both to the lack of research that would comprehend a graphic novel as an independent phenomenon and subject of art history, the youth of the genre, and its relative non-proliferation in the Ukrainian literary space. The vast majority of Russian publications touch on the analysis of specific graphic novels in the context of modern literary studies, which focuses on the narrative and ideological components of individual works without taking into account the role of the visual component for the genre as a whole. In this regard, the article is aimed at identifying the essence of the graphic novel, its differences from the classic for book design relationships of illustration and text, clarifying the nature and role of its communication and semantic saturation taking into account the functions of design as a form of communication, highlighting the unique characteristics of the genre against the background of the traditional genre means and searching for the information and aesthetic potential of the graphic novel in the practice of Ukrainian book design.

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Karshakova, Lidiia Borisovna, and Nadezhda Konstantinovna Bespyatova. "Preprofessional orientation of teenagers by means of computer art." Современное образование, no. 3 (March 2021): 34–41. http://dx.doi.org/10.25136/2409-8736.2021.3.26114.

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This article examines the system of designing classes aimed at immersion of teenagers in modern professions related to computer art. The relevance of this topic is substantiated by modern trends in socioeconomic development of our country. The development of creative abilities is a good foundation for acquiring new scientific and technical information; it accelerates the processing and generation of novel and useful ideas. The object of this research is preprofessional orientation of teenagers. The subject is the methodology of teaching graphic editors based on the specificity of its use in modern professions. The article employs the modeling, analysis, and generalization. The project laboratory of computer graphics and design at the premises of Lyceum in the town of Balashikha under the Bauman Moscow State Technical University, became the framework for this research. The conclusion is made that project work helps teenagers to acquire strong knowledge in the area of application of modern graphic editors, valuable practical skills and abilities, such as hard work, discipline, work culture, teamwork. In the course of this research, the author examined the possibility of application of modern instrumental and software tools for creating animated videos using the stop-motion technique, as well as developed the instruction on using technical means to achieve the set goals.

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Khrustaleva, Mariya A., and Aleksandra S. Klimova. "SPECIAL FEATURES OF GRAPHIC NOVELS TRANSLATION." Вестник Пермского университета. Российская и зарубежная филология 12, no. 4 (2020): 68–78. http://dx.doi.org/10.17072/2073-6681-2020-4-68-78.

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The article deals with one of the issues in the study of creolized text – the special features of graphic novels translation. These are explored based on the translation from Spanish into Russian made by the authors of the paper for the literary work Wrinkles (Spanish: Arrugas) written by Paco Roca. The authors consider cognitive discourse analysis to be the main approach to the translation of the abovementioned graphic novel. It gives an opportunity not only to justify the researchers’ translation decisions but also to convey the author’s idea and his personal perception of the world in a more complete and accurate way. The frame method, which is regarded as an adequate mode of the concept structural organization, makes it possible to build the sphere of concepts of the source text. The concepts of MEMORIA (memory) and VEJEZ (old age) are considered the key concepts of the graphic novel because, as it was found at the stage of pre-translation analysis, they create its artistic space. The frame analysis of the fundamental concepts of the source text and the identification of semantic correlations between the language representants make it possible to translate the researched literary work. Based on the research results, the authors draw a conclusion about the special features of graphic novels translation and the effectiveness of applying the cognitive discourse analysis to the translation of such works. The study concludes with an outline of the prospects for further research on graphic novels, a new literary genre that represents an unusual combination of fine art, literature and cinematography.

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Tabachnick, Stephen E. "OfMausand memory: the structure of Art Spiegelman's graphic novel of the Holocaust." Word & Image 9, no. 2 (April 1993): 154–62. http://dx.doi.org/10.1080/02666286.1993.10435484.

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Priyadarshini, Arya, and Suman Sigroha. "Recovering the Palestinian History of Dispossession through Graphics in Leila Abdelrazaq’s Baddawi." Eikon / Imago 9 (July 3, 2020): 395–418. http://dx.doi.org/10.5209/eiko.73329.

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Documentation is a significant mechanism to prove one’s identity. Palestinians, being robbed of this privilege to document their history, have taken upon other creative means to prove their existence. Being instruments of resistance, graphics and comics have a historical prominence in the Palestinian community. Building on this rich history of resistance through art, the paper contends that the modern graphic novel is used as a tool by the author to reclaim the Palestinian identity by drawing their rootedness in the region, thus resisting their effacement from public memory.

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Ahrens, Jörn. "Imagine Reality." European Comic Art 7, no. 2 (September 1, 2014): 64–89. http://dx.doi.org/10.3167/eca.2014.070204.

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With Epileptic, French comics artist David B. presents a graphic novel as innovative in style as it is experimental in content. In the foreground, Epileptic is an autobiographical tale about his youth overshadowed by his brother's suffering from epilepsy, but it is also the illustration of a dream-world. David B. consequently entangles the levels of reality, autobiography and dreamlike fantasy. Emphasised by the interaction of clear graphics with hard black-and-white contrasts and the use of surrealistic and medieval quotations, David B. presents a unique combination of art, narrative and abstraction.

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Marini, Anna Marta, and Julia Round. "Gothic in Comics and Children’s Literature: An Interview with Julia Round." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 80–99. http://dx.doi.org/10.37536/reden.2022.3.1821.

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Julia Round is Associate Professor in English and Comics Studies at Bournemouth University, where she teaches various courses including English and Literary Media. Her main fields of research are the gothic comics and children’s literature. She’s one of the editors of the peer-reviewed academic journal Studies in Comics, as well as one of the organizers of the annual International Graphic Novel and Comics Conference. She’s also one of the editors of the book series Encapsulations from Nebraska University Press. Besides publishing numerous essays, she’s published the monographs Gothic in Comics and Graphic Novels: A Critical Approach (2014) and Gothic for Girls: Misty and British Comics (2019). She’s also an author of short comics that have been published in anthologies and fanzines, including ‘Doll Parts’ (with art by Catriona Laird), ‘The Haunting of Julia Round’ (with art by Letty Wilson) and ‘Borrowed Time’ (with art by Morgan Brinksman). She shares her work at www.juliaround.com.

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Souza, Martha Júlia Martins de, and Eduardo Aluísio de Gang Fabro. "Becoming Unbecoming: Graphic novel, gender-based violence and resistance." Revista X 17, no. 1 (March 4, 2022): 213. http://dx.doi.org/10.5380/rvx.v17i1.84395.

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Becoming Unbecoming is an autobiographical graphic novel about Una – from childhood until adulthood. Una suffered gender violence during her youth and struggled to overcome trauma and raise her own family. Nowadays she is using her art to raise awareness about gender-based violence. At the present work, graphic novel is understood as social practice (FAIRCLOUGH, 1989; 2006) since there is a two-way relationship between the texts produced in society and the social and political context in its surroundings. The graphic novel under analysis creates, reinforces and spreads an important awareness discourse on gender violence and its naturalization, physical and subjective forms of violence and blaming of the victim, topics relevant to feminist studies even today. In this sense, the present work reflects upon matters related to gender violence under the perspective of Gender Studies and Critical Discourse Analysis. Investigating how language is used in the construction of this goal means challenging power and oppression relations that are still present in the contemporary world.

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Rajkhowa, Baishalee. "Multimodal Stylistics in Graphic Novel: Understanding the Visual Language Syntax in Art Spiegelman’s Maus." International Journal of Linguistics, Literature and Translation 4, no. 1 (January 30, 2021): 45–51. http://dx.doi.org/10.32996/ijllt.2021.4.1.5.

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Maus (2003) by Art Spiegelman is a graphic novel of unfolding his father, Vladek's, World War II ordeal and how he survived the holocaust. It is a gripping story of Spiegelman's own parents' experience in Poland during 1930s when Nazis invaded and persecuted the Jews. With a broken language, gaps in communication and visual strategy, Maus takes the readers across Europe unravelling the experiences of World War II and the Nazi Concentration camps. The characters are depicted as anthromorphic animals; the Nazis as cats, the Jews as mice and the Polish as pigs. It can be named as an autobiography or a memoir featuring a metareferential frame story with an author as narrator (Art) who tells his father (Vladek) that he wishes to write a comic book and so incited him to tell about " his life in Poland and the war" (Spiegelman, 2003). A graphic novel is written in a comic strip format which uses a combination of text and illustration in order to tell a story. The linguistic elements in a graphic narration are important as words and images cannot be analysed in similar terms. Multimodal stylistics represents this in the light of lexical and grammatical aspects of the verbal language. Maus (2003) represents a story of the holocaust and the traumatic experiences of Vladek. It is a heteroglossic text with the presence of foreign languages and an authorial voice. The novel not only gives a different meaning but also an altogether different perspective to the verbal and visual significance.

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Pasko, Galina, Alexander Pasko, Turlif Vilbrandt, Arnaldo Luis Lixandrão Filho, and Jorge Vicente Lopes da Silva. "Ascending in Space Dimensions: Digital Crafting of M.C. Escher's Graphic Art." Leonardo 44, no. 5 (October 2011): 411–16. http://dx.doi.org/10.1162/leon_a_00241.

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M.C. Escher's artwork has inspired and arguably even informed computer science, as well as geometric and shape modeling. Even today, much of his work poses challenges to conventional digital shape modeling systems. The authors introduce several interesting problems presented by Escher's graphic artworks and describe their use of a novel approach, based on implicit surfaces and their extension (Function Representation), to produce 2D, 2.5D and 3D computer models. They also discuss several physical objects or sculptures based on these models, crafted using digital fabrication processes.

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НИЕМИ, Эмма. "ОБРАЗ ТРОЛЛЕЙ В ГРАФИЧЕСКОМ РОМАНЕ «ХИЛЬДАФОЛК»." Nordic and Baltic Studies Review, no. 6 (December 2021): 8. http://dx.doi.org/10.15393/j103.art.2021.1801.

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Mandolini, Nicoletta, and Nayanika Mookherjee. "Comics As a Tool for Research on Gender Violence. Interview With Nayanika Mookherjee on the Graphic Novel Birangona. Towards Ethical Testimonies of Sexual Violence During Conflict (2019)." Vista, no. 10 (October 27, 2022): e022011. http://dx.doi.org/10.21814/vista.4109.

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Comics and the recently emerged graphic novel format are among the art forms that researchers have chosen to disseminate and provide a visual representation of their work. This relationship between comics and research, which is part of a practice labelled as “arts-based research”, has been facilitated by comics’ recognised narrative and didactic abilities. Research on gender-based violence has not been deaf to the call of comics art, and, in some rare but interesting cases, it has exploited the features of the medium to visualise and circulate research findings. An example is the graphic novel Birangona (Mookherjee & Najmun Nahar, 2019 Durham University), authored by the researcher Nayanika Mookherjee and by the comics artist Najmun Nahar Keya, which was circulated, both in an online and paper version, with the aim of popularizing a set of guidelines on how to conduct oral history data collection with survivors of wartime rape. This interview with Professor Nayanika Mookherjee, the co-author of the graphic novel and the anthropologist who conducted the research with wartime rape testimonies from which the guidelines were taken, has the objective of presenting the arts-based research project Birangona and discussing, in a scholarly fashion, the implementation of visual arts methodologies (and comics-based methodologies in particular) to research gender violence.

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

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

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Song, Tengfei, Suyuan Liu, Wenming Zheng, Yuan Zong, and Zhen Cui. "Instance-Adaptive Graph for EEG Emotion Recognition." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 03 (April 3, 2020): 2701–8. http://dx.doi.org/10.1609/aaai.v34i03.5656.

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To tackle the individual differences and characterize the dynamic relationships among different EEG regions for EEG emotion recognition, in this paper, we propose a novel instance-adaptive graph method (IAG), which employs a more flexible way to construct graphic connections so as to present different graphic representations determined by different input instances. To fit the different EEG pattern, we employ an additional branch to characterize the intrinsic dynamic relationships between different EEG channels. To give a more precise graphic representation, we design the multi-level and multi-graph convolutional operation and the graph coarsening. Furthermore, we present a type of sparse graphic representation to extract more discriminative features. Experiments on two widely-used EEG emotion recognition datasets are conducted to evaluate the proposed model and the experimental results show that our method achieves the state-of-the-art performance.

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McAllister, Matthew, Ian Gordon, and Mark Jancovich. "Block Buster Art House: Meets Superhero Comic, or Meets Graphic Novel?: The Contradictory Relationship between Film and Comic Art." Journal of Popular Film and Television 34, no. 3 (October 2006): 108–15. http://dx.doi.org/10.3200/jpft.34.3.108-115.

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Catala-Carrasco, Jorge, Richard Graham, Olga Nowak, and Sandra Rousseau. "Book Reviews." European Comic Art 15, no. 1 (March 1, 2022): 128–31. http://dx.doi.org/10.3167/eca.2022.150108.

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Collin McKinney and David F. Richter, eds, Spanish Graphic Narratives: Recent Developments in Sequential Art (Cham, Switzerland: Palgrave Macmillan 2020). 315 pp. ISBN: 9783030568221 (£59.99)Jan Baetens, Hugo Frey and Stephen E. Tabachnick, eds, The Cambridge History of the Graphic Novel (Cambridge: Cambridge University Press, 2018). 677 pp. ISBN: 9781107171411 (hardback, £125)Renaud Chavanne, ed., with Adam Rusek, Wojciech Birek, Jerzy Szyłak, and Piotr Machłajewski, Histoire de la bande dessinée polonaise. Translated by Anna Morawska. (Montrouge: PLG, 2019). 186 pp. ISBN: 9782917837344 (€15.00)Mark McKinney, Postcolonialism and Migration in French Comics (Leuven: Leuven University Press, 2021). 400 pp. ISBN: 9789462702417. (€65.00)

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Paris-Popa, Andreea. "Breaking the Contract between God and the Visual-Literary Fusion: Illuminated Manuscripts, William Blake and the Graphic Novel." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 133–52. http://dx.doi.org/10.2478/abcsj-2018-0008.

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Abstract This essay follows three different stages of the fusion of images and words in the tradition of the book. More specifically, it tackles the transformation undergone by the initially religious combination of visual figures and scriptural texts, exemplified by medieval illuminated manuscripts into the spiritual, non-dogmatic, illuminated books printed and painted by poet-prophet William Blake in a manner that combines mysticism and literature. Eventually, the analysis reaches the secularized genre of the graphic novel that renounces the metaphysical element embedded in the intertwining of the two media. If ninth-century manuscripts such as the Book of Kells were employed solely for divinely inspired renditions of religious texts, William Blake’s late eighteenthcentury illuminated books moved towards an individual, personal literature conveyed via unique pieces of art that asserted the importance of individuality in the process of creation. The modern rendition of the image-text illumination can be said to take the form of the graphic novel with writers such as Will Eisner and Alan Moore overtly expressing their indebtedness to the above-mentioned tradition by paying homage to William Blake in the pages of their graphic novels. However, the fully printed form of this twentieth-century literary genre, along with its separation from the intrinsic spirituality of the visual-literary fusion in order to meet the demands of a disenchanted era, necessarily reconceptualize the notion of illumination.

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Lebedev, D. L. "O. BIRDSLEY AND A. RACKHAM: THE FINE OF INFLUENCE." Arts education and science 1, no. 1 (2021): 97–107. http://dx.doi.org/10.36871/hon.202101011.

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Art critics rarely write about the creative connection between Aubrey Beardsley (1872–1898), a prominent representative of book and magazine graphics of the decadence era, and the famous Edwardian illustrator Arthur Rackham (1867–1939), limiting themselves, as a rule, to a couple of dry facts. Despite this, there is evidence of the influence of the former on the latter, which requires careful study. Rackham turned to Beardsley's work many times, his opinion about the outstanding fin de siecle graphics changed over time, allowing him to acquire certain features of his early deceased contemporary, to quote his drawings, to be inspired by the same artists and art trends. Rackham was especially influenced by Beardsley's early period, namely his illustrations for The Death of Arthur from 1893-1994, which was reflected in the design of several editions illustrated by Rackham: from The Legends of Ingoldsby (1898) to The Novel of King Arthur and his Knights of the Round Table "(1917). In this regard, the article provides a detailed analysis of the creative dialogue between the Edwardian artist and the legacy of the outstanding graphic artist fin de siècle.

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

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

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Pekūnas, Žygimantas. "Text as Image: A Case Study of the Lithuanian Translation of Art Spiegelman’s Graphic Novel MAUS." Vertimo studijos 12 (December 20, 2019): 99–115. http://dx.doi.org/10.15388/vertstud.2019.7.

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This article contributes to the multimodal investigation of comics translation, a highly semiotic activity. The author discusses the visual representation of the text as an image through a case study of the Lithuanian translation of Art Spiegelman’s graphic novel MAUS (translated into Lithuanian by Juškienė and Lempert, 2012). While viewing multimodality as a translation tool and a challenging area, he claims that the visual representation of the text is an integral part of the original multimodal event, whereby the meaning is conveyed through an intrinsic relationship between verbal and non-verbal elements, and that any distortion of those would result in alterations or losses in meaning. The results demonstrated that indeed even the smallest alterations of the visual representation of the text produced shifts in meaning; most of those shifts were pragmatic ambiguities, however, in certain instances there was a loss of semantic emphasis or narrative production. Comics translators and publishers are thus urged to fully comprehend the very dynamic and complex nature of multimodal texts and make every effort to ensure that translation would not result in any multimodal disruptions, if such preservation is technologically available.

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Dew, Spencer. "Wytches: Volume 1 Graphic novel. Story by Scott Snyder. Art by Jock. Image Comics, 2015. $9.99." Religious Studies Review 42, no. 1 (March 2016): 32–33. http://dx.doi.org/10.1111/rsr.12299.

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Hines, Megan. "A Journey That Wasn’t: Pierre Huyghe’s Graphic Film." Edgar Allan Poe Review 22, no. 1 (June 1, 2021): 167–87. http://dx.doi.org/10.5325/edgallpoerev.22.1.167.

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Abstract This article considers the influence of Edgar Allan Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket on contemporary artist Pierre Huyghe’s 2005 video installation A Journey That Wasn’t, a documentation of the artist’s journey to the Antarctic and its subsequent reenactment as a performance in New York City’s Central Park. Whereas cinema has been attracted to the graphicality of Poe’s writing, his ability to create compelling images in words, A Journey distinguishes itself from that tradition. This article employs a close reading of Poe’s definition of graphicality in order to expand the critical interpretation of Poe’s neologism and relate it to contemporary debates about the nature of representation in art’s documentary turn and artistic research, both genres that emerged in the mid-1990s and to which Huyghe’s project relates. It argues that graphicality is a theory of representation specifically positioned against objectivity as the sole means of producing shared knowledge. It demonstrates graphicality’s relevance for A Journey, which is concerned with contemporary debates surrounding art and film’s relationship to science and knowledge production.

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Lladó, Francisca. "El Perdón y la furia and José de Ribera’s Journey from Faith to Magic." European Comic Art 13, no. 2 (September 1, 2020): 64–90. http://dx.doi.org/10.3167/eca.2020.130204.

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This article analyses the various components of a graphic novel, El Perdón y la furia [Forgiveness and Fury] by Antonio Altarriba and Keko, about the Baroque painter José de Ribera. It does so within a framework drawn from art history and studies the transgressive role of images through citation, intertextual borrowing, or creation by Keko in the manner of Ribera. A comparative analysis of the artist’s biography and the graphic narration uncovers a series of parallels between historically attested and fictitious events that can be seen as the common thread in a thriller based on the fight against power. It concludes by returning to the same themes within a contemporary setting, while Ribera’s story and that of his present-day fictional counterpart simultaneously reveal human truths.

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Petrič, Jerneja. "Comic strip as literature : Art Spiegelman's Maus in Slovenian." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 69–81. http://dx.doi.org/10.4312/an.42.1-2.69-81.

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Until recently comic strips were predominantly categorized as either juvenile distraction or some odd adult enthusiasts' hobby. The genre experienced a minor revolution in the 1990s when on the one hand the mass visual media began to explore its rich potential whereas on the other hand the medium's ability to offer "tremendous resources to all writers and artists" (McCloud 212) came under scrntiny, prompting authors like Art Spiegelman to wage an experiment. His biographical Holocaust graphic novel MAUS l and II (1986, 1991) became a bestseller and Pulitzer Prize winner. The paper looks into its 2003 Slovenian edition from the point of view of the undividable entity of drawing and lettering within a panel. It also touches upon certain translation solutions - how closely they correspond to the source text in terms of syntax and transfer of information - but it is not a detailed contrastive analysis as such.

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Hodgson, Derek. "The Visual Brain, Perception, and Depiction of Animals in Rock Art." Journal of Archaeology 2013 (July 22, 2013): 1–6. http://dx.doi.org/10.1155/2013/342801.

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Several aspects of the depiction of animals in rock art can be explained by certain perceptual correlates relating to the visual brain and evolutionary factors. Recent evidence from neuroscience and the visual brain not only corroborates this claim but provides important new findings that can help delineate which graphic features relate to biological/genetic criteria. In addition to highlighting how the insights from visual science and evolutionary studies can promote a greater understanding of the depictive strategies employed to portray animals, this paper will also explore ways in which the findings from these disciplines can be assimilated with semiotics that provide novel insights into the preference for depicting animals in a particular format over an extended period. The emphasis throughout is placed on dual-inheritance theory where culture and evolutionary determinants are seen as complementary.

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Macgilchrist, Felicitas. "Global subjects." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 22, no. 3 (September 1, 2012): 417–45. http://dx.doi.org/10.1075/prag.22.3.04mac.

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What does it mean to represent events from the Holocaust in a graphic novel? And what if this is done not in the stark design of Art Spiegelman’s Maus but in the light ligne claire (known from Tintin)? This paper explores the discursive practices surrounding The Search, a graphic novel produced specifically to teach children and young adults about the Holocaust. It asks how (novel) forms of subjectivation are articulated in the everyday, mundane practices of educational media workers. Drawing on poststructuralist theories of the subject and close micro-analysis of language (and semiotic) practices, the paper presents extracts from ethnographic observations of a team of authors designing teaching and learning materials to accompany The Search. These materials – and their practices of production – are participating in transforming memories of the Holocaust and thus (co)producing forms of globalisation. Findings suggest that while the Holocaust has traditionally been seen as a matter of ‘national’ responsibility, The Search and its teaching materials invite readers to see it as (global/universal) ‘individualised’ responsibility. Students are subjectivated as global subjects: Firstly, as universal-ethical subjects and, secondly, as contingency-tolerant subjects. These materials thus constitute a mundane, everyday element shaping new ways of being.

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Ye, Quan, Wenshan Hu, Hong Zhou, Zhongcheng Lei, and Shiqi Guan. "VR Interactive Feature of HTML5-based WebVR Control Laboratory by Using Head-mounted Display." International Journal of Online Engineering (iJOE) 14, no. 03 (March 30, 2018): 20. http://dx.doi.org/10.3991/ijoe.v14i03.8112.

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The development of web-based online laboratory for engineering education has made big progress in recent years with state-of-the-art technologies. In order to further promote the effectiveness within an online virtual environment, the virtual reality (VR) interactive feature of WebVR Control laboratory based on HTML5 is presented in this paper. The educational objective is to assist the students or researchers to conduct a realistic and immersive experiment of control engineering with a head-mounted display (HMD) equipped. The implementation of the VR technique mainly relies on the Three.js graphic engine based on Web Graphics Library (WebGL) which has been supported by most of the mainstream web browsers in their latest version without a plugin embedded. At the end of the paper, the ball and beam system is taken as an example to illustrate the whole operational approach of the novel VR experiment in detail. While such a VR interactive feature hasn’t been integrated into some of the current web-based online laboratories, the technical solution could be inspirational for them.

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Fraser, Benjamin. "On polysemiotic interactions, visual paratexts and image-specific translation in comics: The case of Rodolfo Santullo and Matías Bergara's Dengue." Studies in Comics 10, no. 2 (November 1, 2019): 277–93. http://dx.doi.org/10.1386/stic_00006_1.

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Abstract The practice of translation in comics has received relatively little scholarly attention. This article focuses on translation decisions as they are carried out in the medium-specific interplay of words and images that constitutes the comics text. Using the case of Dengue (Santullo and Bergara) in both its Spanish (2012) and English (2015) versions, analysis explores how polysemiotic interactions, visual paratexts and image-specific translation inform the resulting graphic novel. Discussion centres on how the English version effects a significant thematic shift that is consistent across the cover art, frontmatter, chapter title pages, and individual panel rewordings.

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Bjork, Robert E. "The reception history of Beowulf." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 25, no. 1 (September 29, 2020): 1–19. http://dx.doi.org/10.17811/selim.25.2020.1-19.

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This paper traces both the scholarly and popular reception of the Old English epic Beowulf from the publication of the first edition of the poem in 1815 to the most recent English novel based on it from 2019. Once the work was first made available to the scholarly community, numerous editions in various languages began to appear, the most recent being in English from 2008; once editions were published, Old English scholars around the world could translate the text into their native languages beginning with Danish in 1820. Translations, in their turn, made the poem available to a general audience, which responded to the poem through an array of media: music, art, poetry, prose fiction, plays, film, television, video games, comic books, and graphic novels. The enduring, widespread appeal of the poem remains great and universal.

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Wincencjusz-Patyna, Anita. "Attractive lives on attractive pages. Polish illustrated biographical books for young readers." Problemy Wczesnej Edukacji 34, no. 3 (September 30, 2016): 107–17. http://dx.doi.org/10.5604/01.3001.0009.4847.

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This paper focuses on an exceptionally interesting kind of books dedicated to young readers, quite popular recently in Poland, namely picture biography books for children and teenagers. Polish publishing houses, especially Muchomor from Warsaw, for the last few years have been coming up with a number of intriguing titles, both in the matter of words, and also in their graphic contents, especially the series “Gdansk Trilogy”. Brave ideas, young talents, novel artistic solutions, and original illustrations make the lives of famous people, not so very well-known figures and some unknown names – from both far and near, homeland and neighbourhood history – attractive reading matter. The author also looks back at the history of Polish illustrations included in biographies published in the second half of the 20th century. By combining the traditions of Polish applied graphic art with its up-to-date condition the author wants to trace the impact of the old and the novelty of contemporary books. She wants to stress the expressive power of an image turning illustrations into independent works of art. The number of illustrations and the graphic concept of an up-to-date language of visual forms make them genuine picture stories (especially in the designs by Ignerska). By means of comparative analyses of form and style, as well as a theory of image, she is going to focus on features of the visual side of the aforementioned books. The author would also like to stress the change in the way of perceiving the common history of places with such a complicated history as Gdańsk itself (in which Elisabeth and Johannes Hevelius, Fahrenheit, Schopenhauer, despite their German roots, are treated as part of the common heritage).

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Biles, Jeremy. "Saints: The Book of Blaise Graphic novel. Story by Sean Lewis. Art by Benjamin Mackey. 12 issues. Image, 2016. $19.99." Religious Studies Review 43, no. 1 (March 2017): 53–54. http://dx.doi.org/10.1111/rsr.12812.

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Findlay, Laura. "In the Shadow of No Towers: The anxiety of expression and images of past trauma in Art Spiegelman’s graphic novel." Studies in Comics 5, no. 1 (April 1, 2014): 187–203. http://dx.doi.org/10.1386/stic.5.1.187_1.

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Sbai El Idrissi, Zineb, and Maryam El-kssiri. "Zainab Fasiki’s Feminist Artistic Practice: A Semiotic Study of the Exhibition Hshouma at Le Cube – Independent Art Room." International Journal of Linguistics, Literature and Translation 5, no. 12 (December 5, 2022): 84–95. http://dx.doi.org/10.32996/ijllt.2022.5.12.11.

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Moroccan feminist activist Zainab Fasiki has become a prominent contemporary artist. After the publication and success of her graphic novel Hshouma, Fasiki has gained international popularity. Nevertheless, Fasiki 's artistic practice is seldom thoroughly explored and analyzed. This article attempts to conduct a deep-level analysis of her work utilizing a Moroccan repertoire of symbolism. To reach this aim, this paper provides a semiotic analysis of Hshouma, Fasiki’s first exhibition in Morocco. The analysis of the different components of the exhibition is undergirded by the artist’s own statements and comments. The article introduces the artist and deconstructs her approach. It also provides background information on the female nudes in Moroccan art history and defines the Moroccan concept ‘hshouma’. Then, it describes the artworks showcased in the exhibition prior to a thorough examination.

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Barnes, David. "Time in the Gutter: Temporal Structures in Watchmen." KronoScope 9, no. 1-2 (2009): 51–60. http://dx.doi.org/10.1163/156771509x12638154745427.

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AbstractIn 1986 writer Alan Moore and illustrator Dave Gibbons produced a graphic novel called Watchmen. In 2005 Time Magazine produced a list of the 100 best English-language novels from 1923 to the present. To many surprised readers a comic book was among the top ten. It was Watchmen. The story of former crime-fighters brought out of retirement to solve a world destroying mystery is told with a ruthless realism. The style is cinematic with repeating motifs, flashbacks and overlapping subplots. One of the characters in Watchmen, Jon Osterman, as a result of a nuclear accident, receives typical superhuman powers; more importantly to the character he begins to live in a quantum consciousness in which events occur simultaneously rather than sequentially. In chapter four of Watchmen, Moore and Gibbons brilliantly use the sequential art medium to express the subjective and personal nature of that consciousness. This paper will explicate and analyze the way they simulate Jon Osterman's non-temporal consciousness.

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Leander, Kevin M., Seemi Aziz, Stergios Botzakis, Christian Ehret, David Landry, and Jennifer Rowsell. "Readings and Experiences of Multimodality." Literacy Research: Theory, Method, and Practice 66, no. 1 (July 28, 2017): 95–116. http://dx.doi.org/10.1177/2381336917719247.

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Our understanding of reading—including reading multimodal texts—is always constrained or opened up by what we consider to be a text, what aspects of a reader’s embodied activity we focus on, and how we draw a boundary around a reading event. This article brings together five literacy researchers who respond to a human-scale graphic novel, comprised of over 300 large-scale paintings, recently exhibited in an art gallery and also published in print form. The researchers' responses reflect a variety of theoretical orientations, including postcolonial theory, critical theory, affect theories, new materialisms, social semiotics, and reading development theories. The author of the novel also reflects on his own creative processes and goals. These various responses, and the multiple modalities of the work itself, are intentionally juxtaposed in order to create productive tensions, contrasts, and open spaces for reconsidering how multimodal texts are read and experienced. Dimensions of reading as a meaning-making, affective, embodied experience are productively put into play with one another.

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Gal, Maya. "Ethical Dilemmas of Trauma Representation; Considering Art Spiegelman as a Liminal Mediator." University of Bucharest Review Literary and Cultural Studies Series 12, no. 1 (October 20, 2022): 38–50. http://dx.doi.org/10.31178/ubr.12.1.2.

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Theodor Adorno famously proclaims that “to write poetry after Auschwitz is barbaric” (285). Undoubtedly, he does not attempt to silence narratives of the Holocaust through this oft-cited remark. With this paradox began a conversation that proceeds to this day and resulted in a paradigm that haunts all trauma narratives: “who has the right to speak or write? What are the appropriate forms for their utterance to take?” and finally, “who is speaking, to whom, on whose behalf, and in what context?” (Godard 18). An author inevitably distorts and modifies an original traumatic experience by inserting his voice into the narrative via stylistic choices, formatting, narration, etc. By default, he is thus positioned as a liminal mediator between the experiencer of the story and the reader. He must ethically avoid distortions of the subject’s story, despite such responsibility creating a difficult paradox to resolve. I consider this conflict through Art Spiegelman’s Maus volumes I and II. Maus raises the same questions of censorship, authorship, and responsibility through its subject matter of the Holocaust and its medium as a graphic novel. I focus primarily on Art, the narrator, as a mediator between Spiegelman the author, his father, mother, and the written page.

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Bilyk, Natalia. "Intermediality of the Serbian novel of the end of the XX ‒ early XXI century." Current issues of social sciences and history of medicine, no. 3 (31) (March 7, 2022): 67–70. http://dx.doi.org/10.24061/2411-6181.3.2021.296.

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The relevance of the analysis is due to the fact that the poetics of literary trends, trends and styles of the late XX – early XXI century characterized by a variety of implementation methods. Intermediate is considered one of its modes. The modern history of the art of words in Serbia separately demonstrates a convincing statement of “new genre meanings of an expressed combined character.” Analytical coverage of the experience of the intermediate format of literary actualization of the poetics of fine art is the purpose of this article. The novelty of the presented material lies in the precedent systematization of individual manifestations of intermediality in the discourse of the Serbian novel. The study is based on the productivity of the method of structural analysis in combination with the culture-semiotic approach. In the novels by D. Kish “Klepsidra”, S. Basara “Fama about cyclists”, M. Pavich “Khazar Dictionary”, “Second Body” there is a separate form of intermediality, which is associated with formal-visual inclusion of graphic fragments in the space of prose text. Reproductions, integrated by the artists into their works, testify to the precedents of form and sense actualization according to the principle of psychologization of the visual image, which allows making a more detailed, virtuosic depiction of emotional movements of iconic characters, their spiritual evolution. In conclusion, it should be admitted that in images that are tangent to the intermedia field or appear in it are brought to the constructive level of worldview concepts established in postmodern philosophy. Thus, in the novels of well-known Serbian writers there is a separate precedent of formal and semantic activation of the expressive means of fine arts, in particular the genre of reproduction in the format of an intermedia canon. And its originality and meaning-creating inspiration in outlining the humanistic perspective testifies to the essential enrichment of the poetic discourse of the contemporary Serbian novel.

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Chico, Márcia Tavares, and Roberta Rego Rodrigues. "A tradução interlingual e intermodal em um excerto de Maus, de Art Spiegelman." Raído 15, no. 37 (July 28, 2021): 281–99. http://dx.doi.org/10.30612/raido.v15i37.12844.

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Este artigo objetiva verificar como a representação é construída no tocante à linguagem verbal e à linguagem visual em um excerto da graphic novel, Maus, de Art Spiegelman e em duas de suas traduções para o português. Categorias da metafunção ideacional foram usadas para classificar os Participantes, os Processos e as Circunstâncias na relação (1) do visual com o verbal nos três trechos; na relação (2) do verbal das traduções em comparação ao verbal do texto-fonte; e na relação (3) do verbal das traduções entre si. Os resultados mostram que na relação (1) há a realização recorrente de Atores e Dizentes; na relação (2), são evidenciadas as dissimilitudes sistêmicas entre a língua inglesa e a língua portuguesa; e, por fim, na relação (3), as traduções apresentam com frequência Processos Materiais e Relacionais com pequena variação em seu número. Pode-se observar que, na relação (1), quando se manifesta a tradução intermodal, há de fato a indissociabilidade entre o visual e o verbal. Na relação (2), notam-se as idiossincrasias conforme as escolhas da tradutora, do tradutor e do autor com base nos sistemas linguísticos envolvidos. Na relação (3), verificam-se algumas diferenças de representação entre o português brasileiro e o europeu.

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Quílez Esteve, Laia. "Hacia una teoría de la posmemoria. Reflexiones en torno a las representaciones de la memoria generacional / Towards a Theory of Postmemory. Reflections on the Representations of Generational Memory." Historiografías, no. 8 (December 28, 2017): 57. http://dx.doi.org/10.26754/ojs_historiografias/hrht.201482417.

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This article attempts to address, from the theoretical field, the different approaches to “postmemory” that have emerged in Western culture since the 1990s. After mapping the genealogical origins of this term, paying attention to its transformations and to discussions that this category has prompted, we shall examine the formal issues that govern most of this kind of cultural productions. To this end we expose three examples that have been produced in very different artistic fields, periods, geographies, and traumatic pasts: Maus, a graphic novel by Art Spiegelman; Arqueología de la ausencia, a photographic project by the Argentinian Lucila Quieto; and Haciendo memoria, a short documentary by the Spanish Sandra Ruesga.Key WordsPostmemory, generational memory, memory mediatisation, traumatic past, audiovisual culture, contemporary narratives.ResumenEl presente artículo se propone abordar desde el ámbito teórico las distintas aproximaciones que desde los años noventa del pasado siglo se han hecho al concepto de la “posmemoria”. Tras este repaso genealógico por los orígenes, transformaciones y debates que ha suscitado dicha categoría, se delinean las cuestiones formales que rigen la mayor parte las producciones culturales inspiradas por la posmemoria. Para tal fin se han seleccionado tres ejemplos que abarcan ámbitos artísticos, épocas, geografías y pasados traumáticos muy diversos: Maus, la novela gráfica de Art Spiegelman; Arqueología de la ausencia, el proyecto fotográfico de la argentina Lucila Quieto; y Haciendo memoria, un cortometraje documental de la española Sandra RuesgaPalabras clavePosmemoria, memoria generacional, mediatización de la memoria, cultura audiovisual, pasado traumático, narrativa contemporánea.

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Holden, Philip. "“Is it manipulative? Sure. But that’s how you tell stories”: The graphic novel, metahistory and the artist inThe Art of Charlie Chan Hock Chye." Journal of Postcolonial Writing 52, no. 4 (July 3, 2016): 510–23. http://dx.doi.org/10.1080/17449855.2016.1224772.

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Lim, Eu Kit. "Gone Case: A Graphic Novel. Graphic fiction. By Dave Chua. Art by Koh Hong Teng. Edited by JoyceSim. Singapore: SNP Publishers, 2010 (Book 1) & 2011 (Book 2). Pp. 276. Paper, $15.12 (Book 1), $15.92 (Book 2)." Religious Studies Review 40, no. 3 (September 2014): 146. http://dx.doi.org/10.1111/rsr.12150.

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Journal articles on the topic 'Graphic Novel Art'

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