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1
Ellis, Allen, and Doug Highsmith. "About Face: Comic Books in Library Literature." Serials Review 26, no. 2 (2000): 21–43. http://dx.doi.org/10.1080/00987913.2000.10764580.
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John, A. L. "Comic Books and Comic Strips: A Bibliography of the Scholarly Literature." Choice Reviews Online 44, no. 11 (2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 60, no. 1 (2013): 159–66. http://dx.doi.org/10.1017/s0017383512000320.
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Gareth Williams’ engaging new study of Seneca's Natural Questions is called The Cosmic Viewpoint, a pleasing title that evokes his central thesis: Seneca's study of meteorological phenomena is a work where science and ethics are combined, designed to raise the reader up towards a cosmic perspective far beyond mortal woes, the better to combat adversity in Stoic style. Chapter 1, ‘Interiority and Cosmic Consciousness in the Natural Questions’, introduces the idea of Seneca's worldview, contrasting it in particular with the approaches of Cicero and of Pliny. In contrast to Cicero, Seneca's emphasis is on interiorization, and his ‘cosmic consciousness’ takes his perspective far above the Imperial consciousness of Pliny's Encyclopaedia, which for all its all-encompassing scope still takes a terrestrial Roman perspective. In Chapter 2, Williams addresses the question of how Seneca's moralizing interludes are to be understood in relation to the technical discussion of meteorology; this is a key issue for Williams, since his overall thesis is that Seneca's work has an integrated ‘physico-ethical agenda’ (73). From now on the chapters reflect this integration between the moral and the scientific. Chapter 3 focuses on Seneca's discussion of the flooding of the Nile in Book 4a and its integration with the theme of the vice of flattery. In a nice discussion of ‘The Rhetoric of Science’, Chapter 4 argues that Seneca's presentation in Book 4b of his investigation into the question of how hail and snow are produced is such as to invite critical reflection on the scientific procedures involved (these procedures are: reliance on influential authority, argument by analogy, argument by bold inference, competing arguments, and superstition in contention with reason), but that the aim is not to reject the possibility of attaining scientific truth, but rather to suggest that to attain it one must rise above these petty arguments to find the cosmic perspective, and that to do this is in itself morally improving regardless of any knowledge gained. Chapter 5 discusses Seneca's treatment of the winds in Book 5 and his implicit contrast of the natural phenomena with the transgressive actions of human beings who plunder the earth's resources and wage war on one another. Chapter 6 examines the ‘therapeutic program’ (256) of Seneca's treatment of earthquakes in Book 6. Chapter 7 explores how Seneca's treatment of ancient theories about comets reflects the ascension of the mind to the celestial plane that is the ultimate aim of his scientific enquiry. In Chapter 8, Williams discusses the significance of Seneca's excursus on divination within his treatment of thunder and lightning. Finally, a brief epilogue explains the way that the progression of ideas across traditional book order (where the final books are Books 1 and 2) can be understood to serve Seneca's moral programme. This is a rich and compelling study of Seneca's Natural Questions that establishes it as a work of considerable literary and philosophical qualities. Williams’ final, gentle suggestion is that we moderns, too, might find some peace and liberation in Seneca's cosmic viewpoint, far above the troubles of our everyday lives.
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Aleixo, Paul A., Daniel Matkin, and Laura Kilby. "What do teachers think about the educational role of comic books?: A qualitative analysis." Studies in Comics 11, no. 2 (2020): 387–404. http://dx.doi.org/10.1386/stic_00037_1.
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An exploratory, qualitative, study into the views of teachers on the use of comic books in education was carried out. Three secondary school teachers with varying experiences of comic books were interviewed using an open-ended format. Results of a thematic analysis indicated three clear areas of thinking around comic books: firstly, comic books are considered to be a medium of children’s entertainment, and not associated with educational practice; secondly, when the medium is employed in education, it should primarily be used with students that require extra support and thirdly, comic books represent a ‘missed opportunity in education’ and have not achieved their full potential due to a lack of comic book resources for use in the classroom. All three concepts are discussed in light of research evidence supporting the use of comics in educational contexts and concerns are highlighted that suggest these themes might represent a barrier to the future use of comics in these areas. Further qualitative and quantitative research to expand these initial findings is also suggested.
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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.
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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Kelp-Stebbins, Katherine. "Global Comics." Feminist Media Histories 4, no. 3 (2018): 135–56. http://dx.doi.org/10.1525/fmh.2018.4.3.135.
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This article examines the critical reception of works by comic artists Zeina Abirached and Marjane Satrapi, and specifically articulations of likeness and contrast between them. Surveying the frequent comparisons of Abirached's A Game for Swallows (2007, 2012) to Satrapi's Persepolis (2000–2004) provides a methodological framework by which to reconsider the cultural and capital economies of world literature and global comics. This analysis is guided by questions regarding global comics as an emergent textual form that complicates world literature as a system of cultural recognition. What role does the emphasis on these two women authors as Middle Easterners play in the reception of their books in Europe and the United States? How do transnational literatures capitulate to (neo)imperial projects? How do comics, by introducing new criteria for literary assessment, compel us to radically remap the location of culture?
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Igareda, Paula. "Approach to the translation of sound in comic books." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 3 (2017): 343–63. http://dx.doi.org/10.1075/babel.63.3.03iga.
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Abstract The relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language. Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.
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Buoye, Alexander, Arne De Keyser, Zeyang Gong, and Natalie Lao. "Intellectual property extensions in entertainment services: Marvel and DC comics." Journal of Services Marketing 34, no. 2 (2020): 239–51. http://dx.doi.org/10.1108/jsm-06-2019-0224.
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Purpose The purpose of this paper is to look into the topic of IP category extensions in an entertainment setting. The main goal of the study is to explore the reciprocal spillover effect of customer experience (CX) ratings with an intellectual property (IP) in one medium (i.e. film) on the sales of the same IP in other media (i.e. comic books). Design/methodology/approach The study is based on 21-years of monthly top 300 comic book direct market sales data linked to the release schedule and domestic box office gross figures for films featuring Marvel and DC comic book IP appearing in the weekly top 50 films over the same time period. The analysis is based on a hierarchical linear (i.e. mixed) model to account for the nested structure of the data. Findings The analysis reveals that CX ratings of weekly top 50 films featuring comic book IP have a quadratic relationship with comic book sales by the two major publishers. Films receiving very good but not excellent ratings are associated with the highest levels of incremental comic book sales. Research limitations/implications The model is based on sales of periodical comic books in the direct market only (i.e. specialty shops) and does not account for sales of digital comics or collected editions through other channels. The analysis is also limited to IP for the two major publishers (Marvel and DC comics). Originality/value This study expands current knowledge on CX spillover effects between different media, contributing to entertainment and CX-literature alike.
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Gerzić, Marina. "Beowulf's Popular Afterlife in Literature, Comic Books, and Film by Kathleen Forni." Parergon 37, no. 1 (2020): 246–47. http://dx.doi.org/10.1353/pgn.2020.0020.
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Riabchenko, Maryna. "Combatant Prose in Modern Ukrainian Literature: Genre and Stylistic Features." Слово і Час, no. 6 (June 21, 2019): 62–73. http://dx.doi.org/10.33608/0236-1477.2019.06.62-73.
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During the last few years a signifi cant number of texts covering a huge range of genres appeared within the Ukrainian literary community with a purpose to depict the recent events of the war taking place in the East of the country. The most complete list of such literary texts created by Anna Skorina has more than 400 positions. It includes poetry, fiction, essays, diaries, non-fi ction (documentaries and political researches), photo albums and, surprisingly, comic books and a graphic novel. Moreover, the list is permanently updated. There are both civilians (writers, journalists, volunteers) and combatants among the authors of the texts. The prose written by the latter group of authors is an important and interesting phenomenon of the modern Ukrainian literary process. The group includes professional writers conscripted into Ukrainian Armed Forces or enlisted in the Volunteer Batallions as well as authors without pre-war experience of being related to the literary beau monde. To a certain extent their texts belong to documentaries or to the literature of fact. Most authors resort to self-descriptive writing for comprehending their recent experience and psychological changes it caused. These works can be classifi ed as ego-documents (diaries, memoires) and ego-texts (autobiographical fiction and essays). Genre diffusion is a characteristic feature of memoires and autobiographical prose, the combatant prose being no exception. Such popular fi ction genres as comic books and graphic novels must be considered a rather interesting practice within modern military literature. The paper emphasizes the incorrectness of identifying modern combatant prose with so-called lieutenant prose, the Soviet literary phenomenon, as these groups of texts have essential differences that exceed by far their common features.
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McAllister, Matthew P. "Comic Books and AIDS." Journal of Popular Culture 26, no. 2 (1992): 1–24. http://dx.doi.org/10.1111/j.0022-3840.1992.26021.x.
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Leshem, Bar. "Visualizing Superman: Artistic Strategizing in Early Representations of the Archetypal Man in Comic Books." Arts 10, no. 3 (2021): 62. http://dx.doi.org/10.3390/arts10030062.
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In 1933, Jerry Siegel and Joe Shuster, two Jewish teenagers from Ohio, fashioned an ideal personality called Superman and a narrative of his marvelous deeds. Little did they suspect that several years after conceptualizing the figure and their many vain attempts to sell the story to various comic book publishers, their creation would give rise to the iconic genre of comic book superheroes. There is no doubt that the Superman character and the accompanying narrative led to Siegel and Shuster, the writer and artist, respectively, becoming famous. However, was it only the appealing character and compelling narrative that accounted for the story’s enormous popularity, which turned its creators into such a celebrated pair, or did the visual design play a major part in that phenomenal success? Recent years have seen a burgeoning interest in the comic book medium in several disciplines, including history, philosophy, and literature. However, little has been written about its visual aspect, and comic book art has not yet been accorded much recognition among art historians. Since the integration of storyline and art is what allow the comic book medium to be unique and interesting, I contend that there should be a focus on the art as well as on the narrative of works in comic books. In the present study, I explore the significance of the visual image in the prototype of the Superman figure that Siegel and Schuster sold to DC Comics and its first appearance in the series American Comic Books. I argue that although the popularity of Superman’s first appearance was due to the conceptual ideals that the character embodied, the visual design of the ideal man was also an essential factor in its success. Accordingly, through a discussion of the first published Superman storyline, I emphasize the artistic-visual value of the figure of this protagonist in particular and the comic book medium in general.
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Versaci, Rocco. "How Comic Books Can Change the Way Our Students See Literature: One Teacher's Perspective." English Journal 91, no. 2 (2001): 61. http://dx.doi.org/10.2307/822347.
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Chireau, Yvonne. "Looking for Black Religions in 20th Century Comics, 1931–1993." Religions 10, no. 6 (2019): 400. http://dx.doi.org/10.3390/rel10060400.
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Relationships between religion and comics are generally unexplored in the academic literature. This article provides a brief history of Black religions in comic books, cartoons, animation, and newspaper strips, looking at African American Christianity, Islam, Africana (African diaspora) religions, and folk traditions such as Hoodoo and Conjure in the 20th century. Even though the treatment of Black religions in the comics was informed by stereotypical depictions of race and religion in United States (US) popular culture, African American comics creators contested these by offering alternatives in their treatment of Black religion themes.
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O'Malley, Andrew. "‘The Innocence Project’ – An Online Exhibition and Archive on Children and Comics in the 1940s and 1950s." International Research in Children's Literature 10, no. 1 (2017): 20–38. http://dx.doi.org/10.3366/ircl.2017.0216.
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The 1940s and 1950s saw a widespread outcry over children's reading of comic books, most pronouncedly the often violent, gory and erotic crime and horror genres. Concern and outrage over the assumed effects of the ubiquitous magazines on young minds was expressed in a deluge of newspaper editorials, magazine articles, professional and academic journals, and elsewhere. A grassroots movement to restrict children's access to comics led to a Senate Subcommittee hearing in the US investigating links to juvenile delinquency and to legislation in several countries prohibiting the sale of certain comics to minors. Using Omeka publishing and exhibition software, this digital humanities project takes the form of an online exhibition and digital archive and considers the ways in which the comics crisis was structured around the idea of childhood innocence
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Wallner, Lars. "Kid friendly? Constructions of comics literacy in the classroom." Language and Literature: International Journal of Stylistics 29, no. 1 (2020): 76–94. http://dx.doi.org/10.1177/0963947020910626.
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This article explores how teachers and pupils construct and negotiate discourses around comic books as part of interaction in the classroom from a New Literacy Studies perspective. The combination of imagery and text, the essence of comics, makes them relevant tools for exploring how literacy is constructed in social interaction in the classroom. The analysis is based on video material from two different Swedish schools, one class in Grade 3 and one class in Grade 8. Nine interactional sequences were initially found, and these have been analysed using a qualitative discursive psychological approach, investigating how assessments are utilized to perform social actions – how participants use assessments of comics as easy or difficult reading, or assessments of themselves or others as being or not being comic book readers – to make something happen in interaction. The results show that participants utilize discourses of personal, visual and textual literacy to construct a comics literacy in which image and text are both construed as important for, as well as a difficulty in, reading comics. This demonstrates constructions of comics literacy and readership, how personal experiences of reading comics are important and the importance of broadening the view of comics as school literature.
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Perret, Marion. "Not Just Condensation: How Comic Books Interpret Shakespeare." College Literature 31, no. 4 (2004): 72–93. http://dx.doi.org/10.1353/lit.2004.0060.
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Martínez-Hernández, Ana Isabel. "Book review: Llegir la Imatge. Il·lustrar la Paraula. Reflexions al voltant del llibre il·lustrat i el còmic." Language Value 14, no. 1 (2021): 138–42. http://dx.doi.org/10.6035/languagev.5860.
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Llegir la imatge. Il·lustrar la paraula. Reflexions al voltant del llibre il·lustrat i el còmic (Reading the image. Drawing the word. Reflections on comic books and illustrated literature, in English), edited by Julia Haba-Osca and Robert Martínez-Carrasco (2020), is a compendium of short articles written in Catalan. The book is the resulting outcome of a series of conferences, International Symposium of Innovation about Illustrated Literature, celebrated at the Universitat de València. Each of these articles acts as an individual chapter within the book, which compiles a total of fourteen of these. Speakers from different professional backgrounds and fields of knowledge related to the role of the printed image as a means of communication were invited to participate in the symposia and the subsequent compendium. This variety is reflected in the different thoughts, ideas, and views on the role of image in literature that encourage the reader to analyse and consider other perspectives. The book champions the view of illustrated literature as a graphic and visual literary genre in its own right. The book aims to open the reader’s critical eye towards the use of illustrated literature to convey meaning and stimulate the reader’s interpretive skills.
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Imhof, Robin. "Book Review: Characters on the Couch: Exploring Psychology through Literature and Film." Reference & User Services Quarterly 56, no. 3 (2017): 215. http://dx.doi.org/10.5860/rusq.56n3.215b.
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Inspired by what appears to be a growing trend for training mental health care professionals, the author (Dean A. Haycock, a freelance science and medical writer) conceived of this work as a resource guide to help students assess psychological conditions and psychiatric disorders using fictional characters drawn from literature and film. The entries contain 101 profiles of mostly well-known fictional characters found in novels, novellas, short stories, plays, poems, graphic novels, comic books, and films. The characters’ psychological profiles are highlighted by using key quotes to demonstrate their particular disorder. For example, the diagnosis of Dorian Gray in Oscar Wilde’s novel The Picture of Dorian Gray from his uttering, “How sad it is! I shall grow old and horrible, and dreadful. But this picture will remain always young. . . . If only it were the other way!” (134) indicates that his most defining trait is (surprise!) narcissism. Charlie Brown, from the comic strip Peanuts, with his declaration, “My anxieties have anxieties” (146) is evidently a neurotic with avoidant personality disorder, and so forth. It may be helpful for the non-specialist to know that the arrangement of the selections in the “Mental and Personality Disorders” subdivision is presented in the order found in the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders and that the six “Positive Psychological Traits” are those identified by Christopher Peterson and Martin Seligman in their pioneering work in the field of positive psychology.
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Satrio, Yasmin, and Alfiansyah Zulkarnain. "Designing Motion Comic About Information of Indonesian's Traditional Medicine." IMOVICCON Conference Proceeding 2, no. 1 (2021): 134–38. http://dx.doi.org/10.37312/imoviccon.v2i1.84.
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Jamu is an Indonesian traditional health beverage, but among young people it is deemed out-of-date and a drink for old people. These images take form because young people only get minimal exposure to jamu and because there are modern beverages that they prefer. In this project the theme of information about jamu will be presented in the form of a digital comic, because the interest of reading textbooks among young people has been gradually diminishing and they prefer reading entertainment books, such as comic books. This project uses literature study and interview study. The literature study is conducted to get information about the theme and the design theories that are going to help with the process of designing the project. The interview study is carried out to know more about the image of jamu among young people, which in turn helps with the script writing and the process of making the digital comic. The final product of this project is a motion comic. Visual research study and keywords are adjusted to the target audience of this project. The result of the research is used as a guidance in the while process of making the digital comic, from the pre-production to the post-production process. This paper focuses on discussing about the application of several design theories in the motion comic project
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Bussert, Leslie. "Comic books and graphic novels: Digital resources for an evolving form of art and literature." College & Research Libraries News 66, no. 2 (2005): 103–13. http://dx.doi.org/10.5860/crln.66.2.7384.
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Babaee, Ruzbeh. "Realities of Graphic Novels: An Interview with Frederick Aldama." International Journal of Comparative Literature and Translation Studies 5, no. 3 (2017): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.1.
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The trend about producing and reading graphic novels has grown since the late twentieth century. These books with comic backgrounds seem to have a miraculous energy. They have been even appealing to unenthusiastic readers. They tempt people of different age groups, races and genders. They are also used for teaching ESL courses, e-learning activities, designing reality games, and teaching creative writing. If you talk to its followers, you may get the feedback that graphic novels can fulfil your demands and dreams from writing your assignments to taking you to the moon. Although many researchers have investigated the benefits of graphic novels, many faculties and librarians are still reluctant to include graphic novels in their curricula. Perhaps it is simply the attitude of many teachers and librarians that graphic novels look like a comic book, and simply are not “real” books. They have too few words, too many pictures, and lack quality to be seriously considered as literature. In the following, I, Ruzbeh Babaee, did an interview with Distinguished Professor Frederick Luis Aldama on realities of graphic novels.Aldama is a distinguished scholar and Professor of English at The Ohio State University, United States. In the departments of English and Spanish & Portuguese he is involved in teaching courses on US Latino and Latin American cultural phenomena, literature, film, music, video games, and comic books. He has founded and directed the White House Hispanic Bright Spot awarded LASER/Latino and Latin American Space for Enrichment Research. Professor Aldama won the Ohio Education Summit Award for Founding & Directing LASER in 2016. In April 2017, Aldama was awarded OSU’s Alumni Award for Distinguished Teaching and inducted into the Academy of Teaching. He is the author, co-author, and editor of 30 books, including his first book of fiction/graphic fiction, Long Stories Cut Short: Fictions from the Borderlands.
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Dauber, Jeremy. "Comic Books, Tragic Stories: Will Eisner’s American Jewish History." AJS Review 30, no. 2 (2006): 277–304. http://dx.doi.org/10.1017/s0364009406000134.
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In recent years, we have witnessed a significant increase in writing by scholars and literary and cultural critics on the genre of the comic book, corresponding to an increased legitimacy given to the comic book industry and its writers and artists more generally. Part of this phenomenon no doubt stems from the attention lavished on the field by mainstream fiction and nonfiction writers who consider comic books a central part of their own and America’s cultural heritage, such as Michael Chabon and Jonathan Lethem. It may also stem from the changing nature of the industry’s finances, which now employ a “star system” revolving around writers and artists, not merely the major companies’ storied characters; though the days of the big houses that control the major characters are by no means gone, in the last two decades, numerous specialty imprints have been developed to publish characters that are owned outright by writers and artists, to say nothing of profit-sharing deals with major stars, even at some of the major companies.
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Patrick, Kevin. "(FAN) Scholars and Superheroes: The Role and Status of Comics Fandom Research in Australian Media History." Media International Australia 155, no. 1 (2015): 28–37. http://dx.doi.org/10.1177/1329878x1515500105.
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Comic books, eagerly consumed by Australian readers and reviled with equal intensity by their detractors, became embroiled in post-war era debates about youth culture, censorship and Australian national identity. Yet there are few references to this remarkable publishing phenomenon in most histories of Australian print media, or in studies of Australian popular culture. This article demonstrates how the history of comic books in Australia has largely been recorded by fans and collectors who have undertaken the process of discovery, documentation and research – a task that, in any other field of print culture inquiry, would have been the preserve of academics. While acknowledging some of the problematic aspects of fan literature, the article argues that future research into the evolution of the comic-book medium within Australia must recognise, and engage with, this largely untapped body of ‘fan scholarship’ if we are to enrich our understanding of this neglected Australian media industry.
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Shaheen, Jack G. "Arab Images in American Comic Books." Journal of Popular Culture 28, no. 1 (1994): 123–33. http://dx.doi.org/10.1111/j.0022-3840.1994.2801_123.x.
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RAY, Alice. "Who translates the translation? (Re)traduire les héros marginaux d'Alan Moore." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (2016): 42. http://dx.doi.org/10.21992/t9fk86.
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The retranslation phenomenon is essential to the translation process. It is considered as the logical progression of this process which allows the translated literary work to regenerate in a restless cultural and language space. To a lesser extent, we can observe the same phenomenon in the translation of comics. However, this specific translation requires other competencies and a translating approach somehow different from the ones required to translate fiction literature, especially because of the presence of the visual system of drawings which is strongly bound to its own culture and the endless mutations it goes through.
 The comic book Watchmen (Les Gardiens, in the first French translation) by Alan Moore and Dave Gibbons, is known in the whole world as the comic which had not only remodeled the vision we had of super-heroes, but had also given the comic books another voice. Watchmen was published between 1986 and 1987 in the United States and translated in French from 1987 to 1988. Fifteen years after this first translation by Jean-Patrick Manchette, Panini publishing decided to retranslate this famous comic in 2007. However, if the reviews of the first translation were laudatory, the retranslation did not enjoy a great reception from the readers or from the reviewers. This paper proposes a comparative analysis of both these translations and of their original version as well as an experiment on the readers, comic books readers or not, in order to establish why the first translation was a success and the retranslation a failure. Thus, we could withdraw the elements which allow us to understand the reception of comic translation.
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Rogers, Mark C. "Of Comics and Men: A Cultural History of American Comic Books." Journal of Popular Culture 43, no. 4 (2010): 911–13. http://dx.doi.org/10.1111/j.1540-5931.2010.00776_8.x.
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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.
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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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Naudillon, Françoise, and Matt Reeck. "Popular Art Forms in the DRC." Journal of World Literature 6, no. 2 (2021): 197–215. http://dx.doi.org/10.1163/24056480-00602005.
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Abstract Popular literary forms have experienced a remarkable vitality in the Democratic Republic of the Congo. While it is difficult to define popular literature, it is necessary to recognize within Francophone literature the existence of types of texts that escape the attention of both discursive and institutional practices of legitimization, texts that are consigned to the margins of the dominant literary canon. In fact, these texts transgress the conventions of these literary “sub-genres,” such as detective novels, dime novels, exoticist novels, novels of manners, as well as graphic novels or comics. The success of Zamenga Batukezanga (1933–2000), still the most widely read and recognized writer in the DRC, as well as the recent rise of comic book writer Jérémie Nsingi, the author of many fanzines and small-run comic strips, reflect how these genres reconstruct canons and illustrate the emergence of a popular social imaginary.
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Wan Teh, Wan Hasmah, and Nurul Syazwani Mohd Dahlan. "The Clash of Rural and Urban Values in the Comic Books Budak Kampung and Mat Som." Malay Literature 33, no. 2 (2020): 212–42. http://dx.doi.org/10.37052/ml33(2)no4.
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Lat, whose real name is Mohammad Nor Khalid, is a distinguished and versatile figure among cartoonists in Malaysia. His comic books tend to record sociocultural issues in Malaysia and often show the realities of Malaysian life, especially that of the rural Malay community. Comics are not just reading material for entertainment but are also an important medium for conveying ideas, criticisms and insights as well as having the ability to expose various disparities in local communities. This paper will look into the clash of rural and urban values in two of Lat's comic books entitled Budak Kampung (1979) and Mat Som (1989). The objective of this paper is to analyse the clash of values between rural and urban communities and explain the use of comic elements in conveying meanings in both comics. This paper will use the theory of sociology of literature developed by Alan Swingewood (1972), which is a sociocultural approach to the production of literary works. The findings of this study show that Lat's childhood experiences influenced the creation of Budak Kampung, while his young adulthood experiences influenced the creation of Mat Som. The clash of rural and urban values are tremendously significant in both works, as depicted by the entry of tin mining companies, selling of land, choosing a spouse, clothing styles and way of thinking.
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Sverbilova, Tetiana. "COMPATIVE LITERATURE : FROM COMPARATIVE MEDIACULTURAL STUDIES TO TRANSMEDIAL NARATOLOGY." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 41–50. http://dx.doi.org/10.28925/2412-2475.2019.137.
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The article is devoted to the review of the prospects of multidisciplinary media-cultural studies in modern comparative literature studies towards comparative cultural studies and transmedial naratology. Comparative cultural studies syncretically combine the concepts of comparative literary criticism with the study of culture in the aspect of media-cultural studies, not limited to literature, but also various arts, mass media, computer games, etc. Literature is understood only as one of the media among other media. This is a transdisciplinary turn in comparative literature studies. Comparative naratology, and later transmedial naratology, in turn, is seen as a new discipline on the verge of literary comparativism, intermedialism, and naratology. The typology of intermedial forms of naratology in the classifications of Werner Wolf, Marie-Laure Ryan, and Jan-Noël Thon is discussed. Modern studies of various medial forms of narratives, which may also be presented in cinema, painting, graphic arts, ballet, comic books, and other mediums, and the discovery of the intermedial properties of narratives, lead to a rethinking of the fact that all narratives have a purely linguistic nature. Modern naratology as a separate discipline tends to go beyond purely literary narrative and transfer the concept of narration to other types of arts. Intermediate methodologies have already entered into comparative literature studies and have been successfully used in the analysis of literary works. It is about syncretic theoretical and methodological synthesis of three branches of art studies — naratology, intermedialism and literary comparativism, cross-disciplinary narrative studies. The combination of narrative and intermedial approaches to literature is becoming one of the most urgent tendencies of modern both naratology and the theory and practice of intermediality.
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Pecina, Jozef. "The Shadow and the dual-identity avenger tradition in American popular fiction." Ars Aeterna 12, no. 1 (2020): 63–71. http://dx.doi.org/10.2478/aa-2020-0005.
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AbstractA secret identity is one of the definitional characteristics of comic-book superheroes. However, American popular literature had been populated by characters with secret identities long before the first superhero comics appeared. The crime-fighting dual-identity vigilantes enjoyed their heyday in the 1930s and 1940s, during the golden era of pulps. Selling usually for 10 cents, pulp magazines were the best source of cheap thrills and heroics. In this era, dozens of costumed avengers appeared and the most popular was undoubtedly The Shadow. Between 1931 and 1949, Street and Smith published more than three hundred stories featuring The Shadow, most of them written by Walter B. Gibson. In the late 1930s, several of the pulp conventions, including costumed avengers, were adopted by the creators of the superhero comic books, and The Shadow served as a main inspiration for Bill Finger’s and Bob Kane’s Batman. The article discusses the evolution of crime-fighting pulp heroes with a particular emphasis on The Shadow as the most influential dual-identity avenger of the era.
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ДЫБОВСКИЙ, Александр Сергеевич. "Шедевры учебной литературы по японскому языку как иностранному (2): Комикс «Мальчуган» (по одноимённой повести Нацумэ Сосэки)". Известия Восточного института 46, № 2 (2020): 110–17. http://dx.doi.org/10.24866/2542-1611/2020-2/110-117.
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В статье даётся краткий обзор учебной литературы по японскому языку, составленной в виде комиксов, а также описываются основные параметры учебника, построенного на материале повести выдающегося японского писателя Нацумэ Сосэки «Мальчуган», а именно: его структура, содержание, приложения, особенности введения лексики, иероглифики и грамматики, система упражнений и связанные с учебником интернет-ресурсы. Описываемый учебник представляет уникальный материал для преподавания японского языка на среднем и продвинутом уровнях, он вводит обучаемых в историю японской культуры, стимулирует интерес к изучению японской литературы. преподавание японского языка, шедевры учебной литературы, жанр комикса в преподавании иностранного языка, комикс «Мальчуган» This publication is dedicated to the Japanese language textbook for foreigners published in Tokyo in 2011 and based on the story of the outstanding Japanese writer Soseki Natsume “Botchan”, which is presented in the textbook in the form of a comic strip. The article gives a brief overview of the Japanese language textbooks compiled in the form of comics. The author describes the main parameters of the above-mentioned textbook, its structure, content and applications, as well as vocabulary, hieroglyphics and grammar, the exercise system, and the Internet-related textbook resources. The creation of an educational comic strip on the basis of an outstanding work of Japanese literature seems to us extremely fruitful, since the educational process is enriched with aesthetic elements. Drawings provide important keys for understanding the text, and the content of a literary masterpiece gives us rich topics for various types of communication in the classroom. The described textbook contains wonderful material for teaching Japanese at intermediate and advanced levels. It introduces students to the history of Japanese culture and stimulates interest in the study of Japanese literature. teaching Japanese language, masterpieces of educational literature, comic book genre in teaching a foreign language, comic book “Botchan”
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Rubin, Lawrence C. "Caped Crusaders 101: Composition through Comic Books." Journal of Popular Culture 41, no. 1 (2008): 177–78. http://dx.doi.org/10.1111/j.1540-5931.2008.00497_11.x.
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Khanduri, Ritu G. "Comicology: comic books as culture in India." Journal of Graphic Novels & Comics 1, no. 2 (2010): 171–91. http://dx.doi.org/10.1080/21504857.2010.528641.
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Soedarso, Nick. "Komik: Karya Sastra Bergambar." Humaniora 6, no. 4 (2015): 496. http://dx.doi.org/10.21512/humaniora.v6i4.3378.
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Comic book is a literary medium which communicates via images. It has been part of Indonesian culture since a long time. Back to the 9th century, reliefs of Borobudur temple are proves of the early comic culture in Indonesia. Each relief panel of the Borobudur temple was made with a series of sequential scenes that depict many scenes of the 8th century’s daily life in ancient Java and the story of Sudhana and Manohara. It was made with the same principle of any comics nowadays. This article is a literature study with data gathered from both printed and electronic media. Field observation was done as well to obtain concrete data. Based on the result, comics can be categorized by its forms and formats, such as comic strip, comic book, and graphic novel. With stunning images and increasing in genres, comics easily become one of mass culture. Comics had a lowbrow reputation for much of its history, but nowadays it recieves more and more positive recognition and within academia. Its contribution to the field of entertainment, education, and imagination, especially to the young generation, makes comics as one of the important means of communication.
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Dunst, Alexander, and Rita Hartel. "Computing Literary Surplus Value: Alan Moore and the Density of the Comic Book as Graphic Novel." Anglia 139, no. 1 (2021): 195–223. http://dx.doi.org/10.1515/ang-2021-0010.
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Abstract The term graphic novel has increasingly functioned as a catalyst for understanding comic books as an emergent literary genre. This article focuses on one specific element within this historical process: the claim, made by artists such as Alan Moore, that graphic novels are characterized by greater formal complexity, or density, than serial comics. These claims are evaluated by combining computational text and image recognition of a corpus of 131 graphic narratives with sociological metadata on production and circulation. The results show that Moore’s own book-length comics, in particular Watchmen and V for Vendetta, rank among the densest graphic narratives in the sample in both their visual and textual content. Graphic memoirs, in contrast, only show an increase in textual complexity. With Pierre Bourdieu, the article understands complexity as a social and aesthetic strategy that aims at increasing the cultural capital of comics creators. At the same time, the article contextualizes computational results against the background of a changing marketplace for comics, in particular the decline of serial comics, the shift towards digital printing, and increased access to book distribution. This analysis shows that graphic narratives pursue both literary and popular aesthetic strategies, challenging Bourdieu’s account of a clear opposition between profit and prestige in cultural production.
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Dorrell, Larry D., Dan B. Curtis, and Kuldip R. Rampal. "Book-Worms Without Books? Students Reading Comic Books in the School House." Journal of Popular Culture 29, no. 2 (1995): 223–34. http://dx.doi.org/10.1111/j.0022-3840.1995.2902_223.x.
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Lent, John A. "The Uphill Climb of Thai Cartooning." Asian Journal of Social Science 25, no. 1 (1997): 93–109. http://dx.doi.org/10.1163/030382497x00068.
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AbstractThis article is a synthesis of data the author gathered through interviews, observation, textual analysis and secondary literature searches, most of which were conducted in August 1993. Comic art in Thailand is treated from macro and micro perspectives, beginning with a brief history of, and contemporary insights about, the politics and economics of cartooning. Because political cartoonists have figured prominently in the country's often turbulent times, they are discussed in sections that highlight their professional concerns and their relationship with the government. The background and current status of the comic book industry is also presented, ending with a case study of the largest comics publisher in Thailand, Bun Lour Sarn.
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Clewell, Tammy. "Beyond Psychoanalysis: Resistance and Reparative Reading in Alison Bechdel's Are You My Mother?" PMLA/Publications of the Modern Language Association of America 132, no. 1 (2017): 51–70. http://dx.doi.org/10.1632/pmla.2017.132.1.51.
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Alison Bechdel's graphic memoir Are You My Mother? A Comic Drama promotes a form of reparation for its author and its readers, making a case for the much-maligned idea that literature serves therapeutic aims. The book not only models a reparative reading practice by using comics form to engage the insights and limits of psychoanalysis and modernist literature but also elicits a reparative reading experience for a community of readers forged in the discovery of a common emotional struggle. Bechdel's memoir represents an autobiographical narrator's loving yet ambivalent relationship with her mother in ways that invite readers to acknowledge a shared affective history of complex mother-daughter relationships that merits public examination, empathy, and social inclusion.
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Buldakova, Yulia V., and Dmitry A. Shishkin. "Comics in Russia: Transmedia Narrative and Publishing Strategies." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 115–30. http://dx.doi.org/10.17223/23062061/23/7.
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Mass culture creates genre-and-style phenomena that possess both the illusion of a simplified understanding and a complex aesthetic nature. Comics is a phenomenon reflecting trends in the development of mass culture at the turn of the 21st century. In comics, the plot and genre are secondary (graphic novel, various adaptations and retellings), the aesthetics is ambivalent (playful and serious; secular, amateurish and professional), the text has a complex artistic nature (creolisation, polycodedness, centaurism, transmedia features) and, at the same time, an essential goal for reaching commercial success and facilitated consumption/perception. The article aims to describe and analyse the genre-and-style features of the comic strip as a transmedia phenomenon of mass culture. These features give grounds for assessing the principles and tendencies of the presence of the comics in the domestic book market, in particular, the ways of forming the publishing repertoire. The general trend of the modern study of comics (in addition to analysing specific samples of the genre) is the reflection of visual aesthetics in the artistic structure of its text. It is the basis for the inclusion of this genre into mass literature. The peculiarity of the poetics of the comic book lies in the transmedia and sequenciality means that organise the dramatic narrative and visual plot as equal artistic spaces. In combination with the experience of visual media, the genre, style, and discourse of mass culture acquire attributes of transmedia, marginality, and transfer, i.e. tendencies to the mobility of the borders of the traditional genre-and-style system and going beyond them with the help of several different media (visualisation). They have an impact on the genre-and-style features of the comics, and the features of the multimedia information space built on repetition and convergence—sequels, remakes—are becoming more and more familiar. The intention to replicate recognisable stories readers demand encourages major publishers to rely on comic book remakes, comic book adaptations, comic book sequels. There is an extensive development “in depth and in breadth” of the already familiar successful plot, character, aesthetic discourse. Publishing houses are not interested in expanding the thematic repertoire of the comic book, but they seek to update and deepen the reading experience through the emergence of national genre patterns, the discovery of new authors’ names. This leads to a non-linear dynamics in both book publishing and book selling practices in the comics industry and in the genre. The change in the range of comic books is mainly due to various types of remakes, including plot (plot and style, when the aesthetics of the narrative changes) variants of a well-known story. Thus, publishers are faced with common problems in their marketing strategies: objective, related to the lack of understanding of the genre nature and existence of comics, and specifically publishing—the emergence of special technological operations in the production of comics as a publication.
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Derkachova, Olga, and Oksana Tytun. "Innovative Approaches to Literary Texts (Children Literature on Inclusion)." Journal of Vasyl Stefanyk Precarpathian National University 7, no. 1 (2020): 102–11. http://dx.doi.org/10.15330/jpnu.7.1.102-111.
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The research deals with applying to innovative approaches to literary text. Inclusive books for children and ways of working with them at pedagogical faculties are considered. In our research, we will demonstrate the work with such books “Cripple Bunny and his brave mother” by Oksana Drachkovskaya, “Trustees for the Giraffe” by Oksana Luschevska and Yevhenia Haydamaka, “Just because” by Rebecca Elliott, “Magda and her Wind” by Iryna Morykvas, “Planet Willi” by Birta Müller, “Yes! I can!: The girl and her Wheelchair” KendryJ. Barrett, Jacqueline BiuToner, Kler A. Friland, Violet Limey and the trilogy on Pearl of Tuuli Pere. The main heroes of these books are children with disabilities and special educational needs. Narrators mostly are their elder or younger brothers or sisters. The reason of the choosing children’s literature on inclusion is that it is modern important literature, which demonstrates the world of children with disability and highlights such serious topics as decease and death. Its aim is to show that variety makes world wonderful and grate. The introduction of holographic design of vita technologies (calligarm, creative games, the pyramid of hero and author) is considered as well, the application of methods of critical thinking (mind-mapping, swot-analysis, six hats, Bloom’s taxonomy) in the analysis of fiction is substantiated. Potential online resources helping work with literature are examined. In addition, the possibilities of online resources (rebus, comics’ generator, the creating of mind maps, crosswords on different platforms) are determined as important part of the work with text. It has proved that such innovate approaches help to develop creative potential of students, allows analyzing literary text in a new way. Such approaches will be helpful in professional activity of teachers in primary school.
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Arffman, Päivi. "Comics from the Underground: Publishing Revolutionary Comic Books in the 1960s and Early 1970s." Journal of Popular Culture 52, no. 1 (2019): 169–98. http://dx.doi.org/10.1111/jpcu.12763.
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Carney, James, and Pádraig Mac Carron. "Comic-Book Superheroes and Prosocial Agency: A Large-Scale Quantitative Analysis of the Effects of Cognitive Factors on Popular Representations." Journal of Cognition and Culture 17, no. 3-4 (2017): 306–30. http://dx.doi.org/10.1163/15685373-12340009.
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Abstract We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should (1) be punitively prosocial, (2) be quasi-omniscient, (3) exhibit kin-signalling proxies and (4) be minimally counterintuitive. We gauge these predictions against a large sample of 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture.
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Battles, Paul. "Beowulf’s Popular Afterlife in Literature, Comic Books, and Film. Kathleen Forni. New York: Routledge, 2018. Pp. xii+207." Modern Philology 117, no. 3 (2020): E159—E161. http://dx.doi.org/10.1086/707110.
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Lewis, Megan. "Lagniappe: Comics Go to College." North Carolina Libraries 62, no. 3 (2009): 166. http://dx.doi.org/10.3776/ncl.v62i3.128.
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or many of us, reading comic books is a formative childhood experience. Indeed, we can “read” comics pictorially before we can actually read. Comics are often the first reading material we select for ourselves and buy with our own money. The small-town newsstand where my brother and I bought Archie comics in the mid-’70s is etched into a corner of my brain: the ring of the bell as we opened the wooden door, the mingled smells of newsprint and tobacco, and the furtive glances towards the counter whilewe read as many comics as possible just out of the proprietor’s sight. Since the 1930s, comics have been an integral part of the American scene. They have both influenced our collective imagination and reflected the eras in which they were published. From movies (The Matrix) to literature (Michael Chabon’s The Amazing Adventures of Kavalier & Clay) to art (Roy Lichtenstein), the footprint of comics on the culture at large is a deep one.
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Layne, Priscilla. "Ewa Stańczyk, editor. Comic Books, Graphic Novels and the Holocaust: Beyond Maus." Seminar: A Journal of Germanic Studies 56, no. 3-4 (2020): 396–98. http://dx.doi.org/10.3138/seminar.56.3-4.rev004.
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Precup, Mihaela. "Comic Books, Graphic Novels and the Holocaust: Beyond Maus, Ewa Stańczyk (ed.) (2019)." Studies in Comics 11, no. 2 (2020): 443–47. http://dx.doi.org/10.1386/stic_00040_5.
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Graziosi, Marco. "Edward Lear." European Comic Art 12, no. 2 (2019): 17–44. http://dx.doi.org/10.3167/eca.2019.120203.
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Edward Lear has secured a prominent position in the history of literature and travel writing thanks to his nonsense books and his journals; he is considered one of the most innovative zoological illustrators of the nineteenth century and is being rediscovered as a landscape painter in watercolour and oil. This article argues that he also deserves to be remembered among the precursors of modern comic art. His picture stories, though never published in his lifetime, represent an early instance of autobiographical graphic narrative, while his limericks, never out of print since 1861, introduced a radically innovative caricatural style and a conception of the relationship between pictures and text that strongly influenced modern comic artists.
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Venezia, Tony. "Of comics and men: a cultural history of American comic books, by Jean-Paul Gabilliet." Journal of Graphic Novels & Comics 1, no. 1 (2010): 85–88. http://dx.doi.org/10.1080/21504851003798710.
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