Relevant bibliographies by topics / Little Nemo in Slumberland (McCay, Winsor)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Little Nemo in Slumberland (McCay, Winsor)'

Author: Grafiati
Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Little Nemo in Slumberland (McCay, Winsor)"

1

Boillat, Alain. "Récit(s) en fragments. Logiques sérielle et mondaine dans Little Nemo in Slumberland de Winsor McCay." Études de lettres, no. 3-4 (December 15, 2013): 93–124. http://dx.doi.org/10.4000/edl.576.

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Jutkiewicz, Michał. "On Comprehending Comics, or Little Nemo in the Land of (Meta)narratology." Tekstualia 4, no. 43 (2015): 37–56. http://dx.doi.org/10.5604/01.3001.0013.4244.

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The paper proposes a model of reading comics that combines the perspectives of postclassical narratology and comics studies. A few prominent narratology scholars, such as David Herman, have used comics as a basis for revisions of their theories of narration as a cognitive construct. However, they tend to overlook the formal and medium- -specifi c aspect of graphical narration. On the other hand, comics studies scholars tend to focus on the formal elements of comics systems and overlook the infl uence of those elements on storytelling. The article tries to connect these perspectives through a r
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Jutkiewicz, Michal. "On Comprehending Comics, or Little Nemo in the Land of (Meta)Narratology." Tekstualia 1, no. 3 (2017): 17–32. http://dx.doi.org/10.5604/01.3001.0013.5927.

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The paper proposes a model of reading comics that combines the perspectives of postclassical narratology and comics studies. A few prominent narratology scholars, such as David Herman, have used comics as a basis for revisions of their theories of narration as a cognitive construct. However, they tend to overlook the formal and medium-specifi c aspect of graphical narration. On the other hand, comics studies scholars tend to focus on the formal elements of comics systems and overlook the infl uence of those elements on storytelling. The article tries to connect these perspectives through a refer
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4

Roh, Jungyeon, and Kyungsun Kymn. "Production of a One-Page Comic Series Using a Six-Stage Story Structure: The Initial Work Analysis of Windsor McCay"s "Little Nemo in Slumberland"." Design Works 7, no. 2 (2024): 35–47. http://dx.doi.org/10.15187/dw.2024.06.7.2.35.

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Kasioumi, Eirini, Anna Plyushteva, Talya Zemach-Bersin, et al. "Book Reviews." Transfers 8, no. 1 (2018): 134–55. http://dx.doi.org/10.3167/trans.2018.080113.

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Max Hirsh, Airport Urbanism: Infrastructure and Mobility in Asia (Minneapolis: University of Minnesota Press, 2016), 216 pp., 80 black-and-white illustrations, 20 color plates, $25 (paperback), $87.50 (hardback)Laura Bang Lindegaard, Congestion: Rationalising Automobility in the Face of Climate Change (Frankfurt: Peter Lang, 2015), 214 pp., $54.95 (hardback)Neriko Musha Doerr and Hannah Davis Taïeb, eds., The Romance of Crossing Borders: Studying and Volunteering Abroad (New York: Berghahn Books, 2017), 302 pp., $90 (hardback)Ehren Helmut Pflugfelder, Communicating Mobility and Technology: A M
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Dissertations / Theses on the topic "Little Nemo in Slumberland (McCay, Winsor)"

1

Tellez, Benoît. "Rêves et cauchemars de la modernité New-Yorkaise : sociologie de l'œuvre en songes de Winsor McCay." Thesis, Besançon, 2015. http://www.theses.fr/2015BESA1032/document.

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Il y a quelque chose à prendre au sérieux à la lecture des bandes dessinées de Winsor McCay. C’est sur ce postulat, qu’après avoir décidé que mon corpus se limiterait à son œuvre en songes (toutes les planches qui finissent par une case où le personnage se réveille et réalise qu’il vient de rêver), j’ai envisagé de découvrir ce que l’on pouvait apprendre de la modernité new-yorkaise à lecture de Little Nemo in Slumberland (publié de 1905 à 1927) et de Dreams of the Rarebit Fiend (Les cauchemars de l’amateur de fondue au chester, publié de 1904 à1914). Cette thèse débute par une réflexion sur l
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Books on the topic "Little Nemo in Slumberland (McCay, Winsor)"

1

Pè, Frank. Little Nemo: D'après Winsor McCay. Dupuis, 2020.

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2

Winsor, McCay, Ciment Gilles, and Groensteen Thierry, eds. Little Nemo au pays de Winsor McCay. Editions Milan, 1990.

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3

Little Nemo - Dream Another Dream. Locust Moon, 2014.

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4

The Complete Little Nemo. TASCHEN, 2022.

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5

Braun, Alexander. Winsor McCay. The Airship Adventures of Little Nemo. TASCHEN, 2017.

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6

Braun, Alexander. Winsor McCay. The Complete Little Nemo 1905-1909. TASCHEN, 2017.

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7

Braun, Alexander. Winsor Mccay. les Aventures aériennes de Little Nemo. TASCHEN, 2017.

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8

Braun, Alexander. Winsor McCay. The Complete Little Nemo 1910&Ndash; 1927. TASCHEN, 2019.

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9

Braun, Alexander. Winsor Mccay. les Aventures Complètes de Little Nemo 1905-1909. TASCHEN, 2017.

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10

Winsor McKay: The Complete Little Nemo, 2 Volumes XL. Taschen America, 2014.

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Book chapters on the topic "Little Nemo in Slumberland (McCay, Winsor)"

1

canemaker, john. "little nemo on broadway." In winsor mccay. CRC Press, 2018. http://dx.doi.org/10.1201/b22526-7.

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2

Cutler, Cecelia. "New York City dialect, speech acts, and anti-blackness in Winsor McCay's Little Nemo in Slumberland." In Stylistic Approaches to Pop Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781003147718-10.

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3

Ioniță, Maria. "McCay, Winsor (c.1867–1934)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2061-1.

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Winsor McCay (born Zenas Winsor McKay) was an American graphic artist and animator, best known for his Art Nouveau-inflected landmark comic strips Little Nemo in Slumberland (1905–14; 1924–6), Little Sammy Sneeze (1904–6), and Dream of the Rarebit Fiend (1904–25), and his pioneering cartoon shorts Gertie the Dinosaur (1913), How a Mosquito Operates (1912), and Bug Vaudeville (1921). McKay’s early comic strips are notable for their meta-humour, exploiting the idiosyncrasies of their medium: little Sammy’s apocalyptic sneezes, for example, would often demolish the panel borders of the last few frames.
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Domsch, Sebastian. "18 Winsor McCay: Little Nemo in Slumberland." In Handbook of Comics and Graphic Narratives. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110446968-022.

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Eller, Jonathan R. "A Most Favorite Subject." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0020.

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Bradbury’s fascination with genre fiction art resulted in “1982: A Helicon Year for the Artists of Science Fiction.” Chapter 19 goes on to describe how Byron Preiss assembled a range of well-known artists to illustrate a new collection of Bradbury stories, Dinosaur Tales. These included Gahan Wilson, Jim Steranko, Jean Henri Giraud, David Wiesner, and Overton Loyd. The chapter also explores Bradbury’s high regard for traditional poets Phyllis McGinley and Helen Bevington in the context of his second and third Knopf volumes of his own poetry. The chapter concludes with Bradbury’s ill-fated collaboration with Japanese producer Yutaka Fujioka, Roger Allers, and Chris Lane on the juvenile animated feature, Little Nemo in Slumberland, inspired by the comic strip character by Winsor McCay.
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Brinker, Felix. "Winsor McCay’s Little Nemo in Slumberland and the Times of Newspaper Comics, 1905–06." In Modernity and the Periodical Press. BRILL, 2022. http://dx.doi.org/10.1163/9789004468269_014.

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