Relevant bibliographies by topics / Underground comics

Contents

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

Academic literature on the topic 'Underground comics'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Underground comics"

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Robbins, Trina, and Jennifer K. Stuller. "Focus on Trina Robbins." Feminist Media Histories 4, no. 3 (2018): 119–34. http://dx.doi.org/10.1525/fmh.2018.4.3.119.

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This interview with Trina Robbins took place during a panel at the 2016 Comics Arts Conference conducted by Jennifer K. Stuller. Robbins, known both for her work as a groundbreaking cartoonist and for her histories of female comics creators, discusses her early days in New York during the 1960s, owning a clothing boutique and writing comics for the East Village Other; the creation of It Ain't Me, Babe, the first all-female comic compilation, and Wimmen's Comix, the long-running feminist underground comix series; and her work both as a “herstorian,” uncovering the overlooked role of women in comics production, and as a mentor to female creators. Fashion provides a through-line in Robbins's histories, underpinning her creative work and her feminist critiques.
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Hudoshnyk, O. "Documentary comics in modern scientific discourse and Ukrainian comics space." Communications and Communicative Technologies, no. 19 (May 5, 2019): 32–40. http://dx.doi.org/10.15421/291905.

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The characteristics of documentary comics in modern multidisciplinary scientific space is presented, the methods of nonlinear historiography (narrative, oral history, commemoration) and post-documentalism are presented. The scientific discourse focuses on the types of interpretation of reality in comics, the hybridity of genre and style features, the types and forms of empathic involvement of the reader, the compositional specifics of graphic journalism. Scientists’ particular attention is focused on the forms of representation of the “lost history and the history of the lost” (N. Chute), on the means of expanding the space of human memory and historical narrative. The modern direction of scientific research, where documentary comics act as a kind of memory archiver in the form of a visual narrative (N. Mickwitz), as an effective means of understanding and experiencing the historical trauma, brings comics’ studies into the space of global commemorative and historical perspective research. In its own working definition of the genre, narrative, temporal deferment, and veracity of subjective evaluation are actualized. Using the formation example of the Ukrainian comic-space, the principles of accelerated and almost simultaneous deployment of the heroic and documentary narratives are characterized, the features of documentalism in the comic “Will”, the graphic novel “Hole” by S. Zakharov are analyzed. Documentary storytelling in the format of comic journalism is investigated on the basis of the collection “Shadows of forgotten ancestors. Graphic stories”, multiplatform (dos-a-dos format book, comic book, audio performance on YuoTube) hybrid presentation of thematic narrative is illustrated within the “Underground Sky” publication.
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McCann, J. "Cancer Issues Infiltrate the Underground Comics." JNCI Journal of the National Cancer Institute 87, no. 1 (January 4, 1995): 9–11. http://dx.doi.org/10.1093/jnci/87.1.9.

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Simmons, Thomas E. "Why comics? From underground to everywhere." Journal of Graphic Novels and Comics 10, no. 4 (May 29, 2018): 479–80. http://dx.doi.org/10.1080/21504857.2018.1480510.

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Galvan, Margaret, and Leah Misemer. "Introduction: The Counterpublics of Underground Comics." Inks: The Journal of the Comics Studies Society 3, no. 1 (2019): 1–5. http://dx.doi.org/10.1353/ink.2019.0000.

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Vandenburg, Mary Claire. "Underground and Independent Comics, Comix, and Graphic Novels." Charleston Advisor 13, no. 4 (April 1, 2012): 51–54. http://dx.doi.org/10.5260/chara.13.4.51.

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Vieira, Scott, and Caitlin McGurk. "Alternative and Underground Comics: Interview with Caitlin McGurk." Serials Review 44, no. 1 (January 2, 2018): 57–63. http://dx.doi.org/10.1080/00987913.2018.1432968.

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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 (February 2019): 169–98. http://dx.doi.org/10.1111/jpcu.12763.

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Chute, Hillary. "Drawing Is a Way of Thinking." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 629–37. http://dx.doi.org/10.1632/pmla.2019.134.3.629.

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I'm gratified that the most widely circulated journal in literary studies has solicited the skill and attention of nine such erudite interlocutors, including both critics and creators, to formally respond to my book Why Comics? From Underground to Everywhere. It's also a bit of a surprise, albeit a pleasing one, since Why Comics? is my first single-authored book not aimed at the readership of PMLA.
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Najarian, Jonathan. "Arresting Development: Comics at the Boundaries of Literatureby Christopher Pizzino;Why Comics? From Underground to Everywhereby Hillary Chute." Twentieth-Century Literature 64, no. 4 (December 1, 2018): 518–26. http://dx.doi.org/10.1215/0041462x-7299906.

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Dissertations / Theses on the topic "Underground comics"

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Breytenbach, Jesse-Ann. "A critical analysis of South African underground comics." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002192.

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In a critical analysis of several independantly produced South African comics of the 1980s and early 1990s, close analysis of the comics leads to an assessment of the artists'intentions and purposes. Discussion of the artists' sources focuses on definitions of different types of comics. What is defined as a comic is usually what has been produced under that definition, and these comics are positioned somewhere between the popular and fine art contexts. As the artists are amateurs, the mechanical structure of comics is exposed through their skill in manipulating, and their initial ignorance of, many comic conventions. By comparison to one another, and to the standard format of commercial comics, some explanation of how a comic works can be reached. The element of closure, bridging the gaps between frames, is unique to comics, and is the most important consideration. Comic artists work with the intangible, creating from static elements an illusion of motion. If the artist deals primarily with what is on the page rather than what is not, the comic remains static. Questions of quality are reliant on the skill with which closure is implemented. The art students who produced these comics are of a generation for whom popular culture is the dominant culture, and they create for an audience of peers. Their cultural milieu is more visual than verbal, and often more media oriented than that of their teachers. They must integrate a fine art training and understanding into the preset rules of a commercial medium. Confronted with the problem of a separation of languages, they evolve a new dialect. Through comparative and critical analyses I will show how this dialect differs from the language of conventional comics, attempting in particular to explain how the mechanics of the cornie medium can limit or expand its communicative potential.
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Huxley, David. "The growth and development of British underground and alternative comics, 1966-1986." Thesis, Loughborough University, 1990. https://dspace.lboro.ac.uk/2134/7306.

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Initially the terms 'underground' and 'alternative' are defined British underground periodicals and comics displayed a distinct influence from American underground publications, both in terms of their political ideas and their visual styles. After 1973 a less politically motivated form of alternative comic developed. The comparative financial failure of the majority of these comics is discussed. It can be said that these comics reflect their ideas and meanings through their drawing styles as well as their obvious political and social content. A wide range of comics is then examined in terms of their construction and underlying narrative structure, using a series of empirical tests devised for this purpose. The aim of these tests is to see if underground or alternative comics can be distinguished from mainstream comics by their form and structure rather than just their content. The influence of alternative comics can be felt both in the growing sophistication of mainstream British comics and in the reuse of comic imagery in graphic design and advertising.
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Campbell, Maria E. "Inking Over the Glass Ceiling: The Marginalization of Female Creators and Consumers in Comics." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437938036.

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Parker, Samuel Tovarisch. "The Pink Passenger." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/59.

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The work I have created during my time as a graduate student is a reflection of the dialogues I have engaged in with other artists and acquaintances both in and outside of the academic arena. Stylistically this work is derivative of my involvement with graffiti, Tattooing, and underground comics. I have developed the icon of the rider to represent the agency and responsibility of myself as an artist in reflecting these various contexts.
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Dycus, Dallas. "Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/47.

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The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.
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Van, Staden Leonora. "Bitterkomix en Stripshow : pornografie en satire in Afrikaanse ondergrondse strippe." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1330.

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Rheeder, A. O. I. "Bitterkomix : teks, konteks, interteks, en die literere strokies van Conrad Botes en Anton Kannemeyer." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/930.

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Thesis (M.Phil) -- University of Stellenbosch, 2000
230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner.
ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine, for nearly a decade in South Africa. These comics are a structured satyrical attack on the South African and specifically Afrikaans culture. Both artists employ different narrative strategies to convey their sometimes shocking message. The reaction on their writing and drawing shows an unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix has drawn very little academic attention. This unwillingness is a product of the modernist approach to the comic as "low" literature. Modernists didn't regard comics as worthy material for critical analyses. The literary paradigm shift towards popular culture, and therefore comics, and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach towards this previously ill-treated art form. This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African underground comics magazine. As a backdrop the study looks at the development of comics in general, as well as the changes that took place in the traditional approach strategies to the modem comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how Bitterlwmix functions as an underground comic in the changing South African society. The writers draw upon methods and strategies used by underground comix artists in the United States during the sixties. Their specific employment of the drawing styles and narrative contents of artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative strategies gives Bitterlwmix a literary value that requires an academic approach.
AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is 'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae" literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk. Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n akademiese benaderingswyse vra.
Instituut vir Navorsingsontwikkeling van die Raad vir Geesteswetenskaplike Navorsing
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Lopata, Marine. "Le journal satirique El Papus (1973-1987) : expressions de la contre-culture dans la bande dessinée de la Transition espagnole." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA175.

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Au cours des années soixante et soixante-dix, des mouvements de contestation sociale, politique et culturelle voient le jour dans différents pays occidentaux. Les nombreuses similitudes que présentent ces mouvements, en dépit de leur éloignement géographique, conduisent à s’interroger sur la circulation de pratiques et d’idées contre-culturelles. La présente étude apporte une pierre à cet édifice en construction à travers l’analyse de la partie graphique de la revue « satirique et neurasthénique » El Papus, qui voit le jour le 20 octobre 1973. Le parti pris dans cette étude est de considérer que la contre-culture ne se manifeste pas uniquement dans sa dimension underground et que des formes d’expression empruntent les circuits de production et de diffusion classiques. Pour atteindre l’objectif assigné dans ce travail, le concept de « contre-culture » sera le point de départ de notre réflexion. Nous retracerons dans la première partie le contexte de diffusion de la contre-culture en Espagne et proposerons des pistes de réflexion pour comprendre comment les collaborateurs de El Papus se sont familiarisés avec de nouvelles idées et esthétiques venues de l’étranger, et tout particulièrement de France et des États-Unis. L’analyse que nous proposons dans la deuxième partie reposera sur un double objectif : montrer dans quelle mesure El Papus présente les caractéristiques esthétiques de la contre-culture (transgression, laideur et « mauvais goût »), et mettre en lumière la façon dont les collaborateurs de la revue se sont appropriés trois sources d’inspiration esthétique : la revue satirique française Hara-Kiri, le magazine américain Mad, et la bande dessinée underground américaine également
During the Sixties and the Seventies several social, political and cultural movements appear in different Western countries. The many similarities that these movements shared in spite of the geographical distance among them lead to wonder about the flows and exchanges of countercultural ideas and practices. This study adds its bit by means of the analysis of the « satirical and neurasthenic » magazine El Papus, which is born the 20th October 1973. The stance in this study is to consider that counterculture does not manifest only in its underground dimension and that some expression forms use classical production and distribution circuits. In order to attain the aim assigned to this work the concept of « counterculture » will be the starting point of our analysis. In the first part, we will explore the context of counterculture circulation in Spain and will propose clues to understand how El Papus cartoonists had access to the new ideas and aesthetic features coming from abroad, particularly from France and the United States. The analysis that we propose in the second part will have a double aim: to show how El Papus presents the aesthetic features belonging to counterculture (transgression, ugliness and « bad taste ») and demonstrate how the magazine cartoonists had three sources of aesthetic inspiration: the French satirical magazine Hara-Kiri, the American magazine Mad and also the American underground comic strip scene
Durante los años sesenta y setenta en diferentes países occidentales aparecen movimientos de contestación social, política y cultural. Las numerosas similitudes entre ellos, a pesar de la distancia geográfica que los separaba, suscitan reflexiones sobre la circulación de prácticas e ideas contraculturales. El presente estudio es una contribución a este edificio en construcción a través del análisis de la parte gráfica de la revista « satírica y neurasténica » El Papus, que aparece por primera vez el 20 de octubre de 1973. Este estudio considera que la contracultura no se manifiesta únicamente en su dimensión underground y que ciertas formas de expresión circulan a través de vías de producción y de difusión clásicas. El concepto de « contracultura » será el punto de partida de nuestro estudio. En la primera parte expondremos el contexto de difusión de la contracultura en España y propondremos pistas de reflexión para entender cómo los colaboradores de la revista llegaron a conocer las nuevas ideas y estéticas provenientes del extranjero, en particular de Francia y Estados Unidos. El análisis de la segunda parte tendrá un doble objetivo: mostrar en qué medida El Papus presenta las características estéticas de la contracultura (transgresión, fealdad y « mal gusto ») y poner de relieve de qué manera los colaboradores de la revista se apropiaron de tres fuentes de inspiración estética: la revista satírica francesa Hara-Kiri, la americana Mad y también el cómic underground americano
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Paz, Liber Eugenio. "Tecnologia e cultura nos quadrinhos independentes brasileiros." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2946.

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Esse estudo busca realizar reflexões sobre os significados, sentidos, tensões e contradições relacionados ao termo “independente” e sua contraparte, o termo “mainstream”, ligados ao processo de desenvolvimento das histórias em quadrinhos enquanto formação cultural. Essas reflexões são orientadas pelo conjunto de ideias de Raymond Williams, especialmente os conceitos de tecnologia, hegemonia e culturas alternativas, opositoras, residuais e emergentes. O trabalho está estruturado em cinco momentos. Primeiro as histórias em quadrinhos são abordadas como forma cultural e observamos as relações entre cultura e tecnologia no seu processo de formação. A seguir observamos particularidades desse processo dentro do contexto brasileiro. O terceiro momento apresenta os conceitos de Williams sobre culturas alternativas e antecipa a parte voltada para as intensas manifestações culturais da década de 1960 e seus desdobramentos. Finalmente, busca-se traçar uma visão geral do cenário de mudanças que se desenvolve a partir da década de 1980, enfatizando as histórias em quadrinhos publicadas no Brasil. A partir da observação do surgimento e consolidação de eventos como o Troféu HQ Mix e as feiras e bienais de quadrinhos, relacionados a novos processos de publicação e distribuição, buscamos analisar as obras e perfis de quatro autores contemporâneos de quadrinhos e compreender melhor os significados de termos como “independente”, “autoral”, “comercial”, “mainstream”, “alternativo” e outros, de uso comum nas diversas práticas das histórias em quadrinhos. Entre os resultados obtidos, notamos que: muitas das produções “independentes” contemporâneas apresentam características temáticas, estilísticas e materiais praticamente indistinguíveis das produções “mainstream”; algumas produções “mainstream” incorporam temas e propostas de culturas alternativas à hegemonia; o uso termo “independente” muitas vezes encobre as condições desfavoráveis de produção e sustento de diversos profissionais; considerando rigorosamente as culturas opositoras como um conjunto de ações de dimensão revolucionária, é difícil encontrar obras que efetivamente atendam a essa condição.
This study seeks to reflect on the meanings, senses, tensions and contradictions related to the term “independent” and its counterpart, the term “mainstream”, connected to the process of development of comics as a cultural formation. These reflections are guided by Raymond William’s set of ideas, especially the concepts of technology, hegemony and alternative, oppositional, residual, and emerging cultures. We structured the work in five moments. First, we approach comics as a cultural form and observe the relations between culture and technology in its process of formation. Next, we observe particularities of this process within the Brazilian context. In a third moment, we present Williams’ concepts on alternative cultures and anticipate the part devoted to the intense cultural manifestations of the 1960s and their unfolding. Finally, we attempt to give an overview of the scenario of changes that develops from the 1980s, emphasizing the comics published in Brazil. From the observation of the emergence and consolidation of events such as the HQ Mix Trophy and the comics fairs and biennials related to new publication and distribution processes, we sought to analyze the works and profiles of four contemporary comic authors and to better understand the meanings of terms such as "independent", "authorial", "commercial", "mainstream", "alternative" and others, commonly used in various comic book practices. Among the results obtained, we noticed that: many contemporary "independent" productions present thematic, stylistic and material characteristics practically indistinguishable from "mainstream" productions; some "mainstream" productions incorporate themes and proposals of cultures that are alternatives to hegemony; the use of the term “independent” often covers the unfavorable conditions of production and livelihood of several professionals; rigorously considering the opposing cultures as a set of actions of a revolutionary dimension, it is difficult to find works that effectively meet this condition.
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Dejdarová, Linda. "Podzemní život a literatura: Undergroundová kultura ve Finsku na přelomu 60. a 70. let 20.století." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-307457.

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Name of the author: Linda Dejdarová School: Charles University in Prague, Faculty of Arts Institute of Linguistics and Finno-Ugric Studies Nám. Jana Palacha 2, 116 38 Prague 1 Program: Finnish philology Title: Life and Literature under the Ground: Underground culture in Finland in the late 60s and the early 70s Consultant: Mgr. Jan Dlask, Ph.D. Number of pages: 131 (117 + 14 pages of Attachments) Number of attachments: 4 Year: 2012 Key words: Finnish underground, alternative culture, underground literature, underground comics, anarchism, avant-garde, beat-generation, beatniks, hippies, yippies This Master's thesis aims to chart the Finnish underground culture and the ways it was expressed. The time period covered is mainly the late 60s and the early 70s, which was the period of the most significant underground activity. First I deal with the reasons behind the birth of underground culture in general and with its impact on the birth of Finnish underground. This Master's thesis deals with the Finnish underground-culture from the cultural and sociological point of view. I introduce its most important personalities and their work as well as some important cultural events and other sociological links. In this Master's thesis underground-culture is perceived as a complex of many forms of art including...
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Books on the topic "Underground comics"

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Gon underground. New York: Paradox Press, 1999.

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Estren, Mark James. A history of underground comics. Berkeley, Calif: Ronin Pub., 1987.

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Estren, Mark James. A history of underground comics. London: Airlift Book Co., 1987.

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Estren, Mark James. A history of underground comics. 3rd ed. Berkeley, Calif: Ronin Publishing, 1993.

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Moran, Kenny. Canadian comics group of seven: Underground comics in Canada. Winnipeg, MB: K. Moran, 2006.

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Moran, Kenny. Canadian Comics Group of Seven: Underground comics in Canada. Winnipeg, Man: [K. Moran], 2006.

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Seyfried, Gerhard. Die Comics: Alle! Frankfurt am Main: Zweitausendeins, 2007.

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Kominsky, Aline. The complete dirty laundry comics. [San Francisco: Last Gasp of Echo Funnies, 1993.

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Dinter, Stefan. Good comics: Underground comix 1968-1976 : eine kurze Anthologie. [Stuttgart]: The Author, 1993.

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Radovan, Popović, ed. Invisible comics: Alternative comics in Serbia 1980-2010. Belgrade: National Library of Serbia, 2011.

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Book chapters on the topic "Underground comics"

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Stoll, Jeremy. "Between Art and the Underground: From Corporate to Collaborative Comics in India." In Cultures of Comics Work, 35–50. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55090-3_3.

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Gray, Maggie. "The Marks of the Arts Lab: Comics, Performance, and the Counterculture." In Alan Moore, Out from the Underground, 21–101. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66508-5_2.

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Gray, Maggie. "The Sound of the Underground: Comics, Music, and the Politics of Punk." In Alan Moore, Out from the Underground, 183–254. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66508-5_4.

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Reati, Fernando. "Argentina’s Montoneros: Comics, Cartoons, and Images as Political Propaganda in the Underground Guerrilla Press of the 1970s." In Redrawing The Nation, 97–110. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230103184_6.

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Oware, Matthew. "Coming Straight from the Underground." In I Got Something to Say, 115–52. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90454-2_5.

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Morris, Jeremy. "Informal Economy: Going Underground but Coming Out of the Shadows." In Everyday Post-Socialism, 87–121. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-95089-8_3.

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Sabin, Roger. "3. Underground and Alternative Comics." In Comics Studies, 40–52. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813591452-004.

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"Underground and Alternative Comics." In The Routledge Companion to Comics, 50–59. New York : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315851334-14.

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Kitchen, Denis. "Comic Art in Museums: An Overview." In Comic Art in Museums, 14–22. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0003.

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This 2017 essay by cartoonist, publisher, and curator Denis Kitchen touches on many of the business and practical aspects of comic art exhibitions, as well as providing us with a first-person view of the rapid evolution of comics from early strips to today’s diverse range of award-winning graphic novels. He discusses the importance of exhibit catalogs, particularly Masters of American Comics, the increasing valuation of comic art drawings, importance of collectors, Al Capp (Li’l Abner), R. Crumb, Harvey Kurtzman, Will Eisner, underground comix, having the “eye,” and the importance of narrative. Images: Will Eisner (P’Gel), catalog covers Underground Classics and Masters of American Comics
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"The Renewed Focus On Comics As Art After 1970." In Comic Art in Museums, edited by Kim A. Munson, 113–19. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0011.

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This is a brief interstitial introduction by art historian Kim A. Munson describing the rediscovery of original comic art following the Pop Art movement and influential publications of the late 1960’s. A wave of large survey shows were organized that took on a more formal appearance and established a loose canon of comic artists. The National Cartoonist Society’s Cavalcade of Comics toured the US. Well reviewed shows of the early 70s included The Art of the Comic Strip (U of Maryland, 1971), The Comics as an Art Form (U of Nevada Las Vegas), and 75 Years of the Comics (New York Cultural Center). Many shows included underground comix. Comics speciality museums opened and flourished, such as the Museum of Comic Art (Rye Brook, NY, 1975), The Cartoon Art Museum (San Francisco, 1987), and the ToonSeum (Pittsburgh, 2007). Images: The Muller Comics Collection, 1976, Cartoon Art Museum, 2016.
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Conference papers on the topic "Underground comics"

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Kesar, Amit S. "Underground anomaly detection by electromagnetic shock waves." In 2011 IEEE International Conference on Microwaves, Communications, Antennas and Electronic Systems (COMCAS). IEEE, 2011. http://dx.doi.org/10.1109/comcas.2011.6105838.

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Gonzalez-Huici, Maria A., Udo Uschkerat, Viktor Seidel, and Christopher Pedlow. "A preliminary study of the radiation characteristic of an experimental GPR antenna for underground cavity detection." In 2011 IEEE International Conference on Microwaves, Communications, Antennas and Electronic Systems (COMCAS). IEEE, 2011. http://dx.doi.org/10.1109/comcas.2011.6105908.

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Shi, Kun, and Zhixiang Duan. "Current Situation and Prospect of Underground Gas Storage Well." In ASME 2020 Pressure Vessels & Piping Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/pvp2020-21369.

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Abstract Gas storage well (GSW) is a sort of pressure vessel and a typical model of underground pressure vessel. Now the media of GSW is mainly compressed natural gas (CNG). The main advantages of GSW are analyzed, such as safety and economy are discussed. The current application field and the potential application field of GSW are also explained. Since the idea of GSW originated from oil-gas engineering, GSW has the absolute merit as well as connatural deficiency comparing to the conventional pressure vessel. The problems on material, design, manufacture, inspection, etc. of GSW based on current situation are discussed, forward analysis and expectation for its prospect are brought. With the idea of GSW, some special type underground pressure vessel appeared, such as the underground cylinder type pressure vessel. The structure, design, manufacture of the underground cylinder type pressure vessel is discussed. With the development of new energy, the application field of the GSW is gradually expanded. The hydrogen storage GSW (HGSW) comes into being. The advantage such as safety and economy of HGSW, and the disadvantage are also analyzed. The key questions for the HGSW used in the hydrogenation fueling station are also summarized. The solution for material-hydrogen compatibility and tightness of high pressure HGSW is discussed finally.
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Neković, Safet, and Damir Jagodić. "ANALYSIS OF FOUNDATION STRUCTURE LOADED ON UPLIFT DUE TO HYDROSTATIC PRESSURE AND DESIGN OF TENSION ELEMENTS BASED ON THE FIELD RESULTS OF TENSION LOAD TESTING." In GEO-EXPO 2020. DRUŠTVO ZA GEOTEHNIKU U BOSNI I HERCEGOVINI, 2020. http://dx.doi.org/10.35123/geo-expo_2020_7.

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In the last ten years, the number of buildings in Bosnia and Herzegovina that is carried out with underground floors has been steadily increasing. An additional useful area that comes with underground floors brings with it a number of technical problems. In addition to securing the construction pit, the most common problem with such facilities is groundwater problems. One of the problems that arise from the action of groundwater is the load on the base plate to the uplift. In the case of an object, or part of an object, which is fewer floors, then this part of the building may cause elevation as a result of the action of the hydrostatic pressure. This paper will analyze the residential and business building in Banja Luka, which consists of two high parts and a floor part. The part of the building consists of only two underground floors, and this part of the building is burdened with uplift and after the completion of all works. At the end of the paper, the results of computational analyses and field tests will be compared.
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da Cruz Nunes, João Arthur, Angelo Roncalli Oliveira Guerra, Kleiber Lima de Bessa, and Carlos Magno de Lima. "Study about the rigor of tightness tests and the existance of an empirical constant to validate theoretical simulations to approximate the real model." In The 7th International Workshop on Simulation for Energy, Sustainable Development & Environment. CAL-TEK srl, 2019. http://dx.doi.org/10.46354/i3m.2019.sesde.003.

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"Due to the great risk of contamination by leaking in underground fuel storage tanks (UST) of gas stations all over the world, the establishment of effective monitoring methods in this environment is extremely necessary. Among UST monitoring methods the tightness test is one of the most effective ones in identifying leaks, it can be done in two different ways, either wet part test or dry part test. But while both of the tests are permitted, they show a great difference in rigorousness, when it comes to approving or not a tank. This study envisions to deeply explore the causes of the difference of rigorousness between both tests, and discover ways in which simulations can approach the real situation. The research allowed us to identify not only the cause of such difference in rigor, but also to establish a constant that approximates the theory to the real situation."
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Tuffner, Francis, and Ruchi Singh. "Analysis of Distribution Feeder Losses due to Addition of Distributed Photovoltaic Generators." In ASME 2011 5th International Conference on Energy Sustainability. ASMEDC, 2011. http://dx.doi.org/10.1115/es2011-54792.

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Distributed generators (DG) are small scale power supplying sources owned by customers or utilities and scattered throughout the power system distribution network. Distributed generation can be both renewable and non-renewable. Addition of distributed generation is primarily to increase feeder capacity and to provide peak load reduction. However, this addition comes with several impacts on the distribution feeder. Several studies have shown that addition of DG leads to reduction of feeder loss. However, most of these studies have considered lumped load and distributed load models to analyze the effects on system losses, where the dynamic variation of load due to seasonal changes is ignored. It is very important for utilities to minimize the losses under all scenarios to decrease revenue losses, promote efficient asset utilization, and therefore, increase feeder capacity. This paper will investigate an IEEE 13-node feeder populated with photovoltaic generators on detailed residential houses with water heater, Heating Ventilation and Air conditioning (HVAC) units, lights, and other plug and convenience loads. An analysis of losses for different power system components, such as transformers, underground and overhead lines, and triplex lines, will be performed. The analysis will utilize different seasons and different solar penetration levels (15%, 30%).
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Bhende, Gaurav P., Pallavi B. Kulkarni, and Priyanka M. Kale. "Analyzing Effects of Soil Parameters on Buried Pipe Behavior and Deciding Governing Parameter Using Statistical Approach." In ASME 2015 India International Oil and Gas Pipeline Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/iogpc2015-7908.

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One of the most common and practical difficulties a pipeline engineer faces at the initial stage of the project is the lack of Soil survey data. Hence, various soil parameters like soil type, density, friction angle, cohesive pressure, depth of cover, pipe coating etc. are needed to be assumed. The critical designs like anchor block requirement, pipe route changes, support loads which involve a huge cost are required to be ‘Issued for Construction’ based on assumed data. This paper briefly illustrates and compares the results obtained from the two most common buried pipe stress analysis methods viz. ‘American Lifeline Alliance - Appendix B’ (1) and ‘Stress Analysis Methods for Underground Pipelines’ (2) and shows their effects graphically on the various Stress Analysis results like pipe movement, end force, active length (virtual anchor length) and bending stress generated in the buried pipeline. Further, this paper comes up with an unique application of ANOVA, a Statistical method, to find out the most significant soil parameter affecting the said results. The paper explains this method with a solved example. These results are useful for a pipeline engineer to determine the governing soil parameter in the design and thus provide a useful tool to make optimum assumptions in absence of soil data so as to minimize the changes in future design and helps saving the cost of the project due to rework.
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Munteanu, Răzvan Aurelian. "Innovative Solutions for Local Public Administration in the Process of the Waste Collection." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/11.

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Sustainable development has always been one of the most important policies implemented by the European Union, mentioned in different treaties over time. In 2015, European Union is setting 17 Sustainable Development Goals (SDG) with 169 targets within the 2030 Agenda for Sustainable Developement. European Union is preseting the SDG 11 Goal aim ”to renew and plan cities and other human settlements in a way that they offer opportunities for all, with access to servicies, energy, housing, transportation, green public spaces, while improving resource use and reducing environmental impacts”. The EU is monitoring the progress towards SDGs for all member states through different indicators, like the recycling rate of municipal waste for SDG 11. In 2018, Romania has the recyling rate of municipal waste of only 11,11%, far away from the average of EU of 47,4%. The local public administrations have an important role in increasing the recyling rate, by providing the best services for the citizens and, in the same time, by reducing the costs of these services. In this matter, the paper presents an innovative solution regarding the waste collection in the largest District from Bucharest, Romania. The underground waste collection platforms represent and alternative for the classic platforms and the innovation comes from the smart component that they integrate, represented by the filling sensors that communicate directly to the sanitation operator. The monitoring system has direct effect by incresing the efficiency of the waste collections process, as follows: reduces the waste collection cost by 50%; improves the services provided for the citizens; predicts waste generation patterns based on data; refines waste collection processes over time; optimizes routing and navigation etc.
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Miller, Harry, Anders T. Johnson, Markus Ahrens, and T. Kenton Flanery. "Totally Enclosed Inline Electric Motor Driven Gas Compressors." In 2000 3rd International Pipeline Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/ipc2000-261.

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A team forms to address the challenge of low cost, low maintenance gas compression that can be quickly ramped up to meet peak demands. The Natural Gas Industry recognizes the importance of efficient, flexible compression equipment for the transmission of gas. In the early 1900s the Gas Industry met its compression objectives with many small reciprocating compressor units. As competition increased, Gas Companies began employing more cost effective larger units 3.7 MW (5,000 bhp) and eventually gas turbines 11+ MW (15,000+ bhp) became the prime mover of choice. While gas fired engine driven compressors are convenient for gas companies; they are becoming increasingly difficult to install. Environmental restrictions have tightened making permitting difficult. The larger gas turbine units seemed a solution because they were the low capital cost prime mover and clean burning. However, gas turbines have not yet achieved the high degree of flexibility and fuel efficiency gas transporters hoped. Flexibility has become an increasingly important issue because of the new “Peaking Power Plants” that are coming online. Gas companies are trying to solve the problem of low cost, low maintenance compression that can be quickly ramped up to meet peak demands. The idea of using electric motors to drive compressors to minimize the environmental, regulatory, and maintenance issues is not new. The idea of installing an electrically powered, highly flexible, efficient, low maintenance compressor unit directly into the pipeline feeding the load, possibly underground where it won’t be seen or heard, is a new and viable way for the gas and electric industries to do business together. This paper examines the application of totally enclosed, variable speed electric motor driven gas compressors to applications requiring completely automated, low maintenance, quick response gas pressure boosters. In this paper we will describe how a natural gas transporter, compressor manufacturer, motor manufacturer, and power company have teamed up to design the world’s first gas compressor that can be installed directly in the pipeline. We will discuss methodologies for installing the proposed compressor, the environmental benefits — no emissions, a small footprint, minimal noise — and the benefit of being able to install compression exactly where it is needed to meet the peaking requirements of today’s new loads.
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Michael, Andreas. "The True Market Value of a Good Petroleum Engineer: A Technical Perspective." In SPE Annual Technical Conference and Exhibition. SPE, 2021. http://dx.doi.org/10.2118/206272-ms.

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Abstract Defined by SPE as the application of basic and engineering sciences to the finding, development, and recovery of oil, gas and other resources from wells, petroleum engineering (PE) has been throughout the years falsely thought of as an amalgamation of other disciplines applied to the exploration and recovery of hydrocarbons. Integrating all PE subdisciplines in a manner efficient for teaching and learning is essential for securing the abundance of well-rounded market-attractive professionals. This paper discusses advantages individuals with PE background experience should exhibit in their employment in the oil and gas industry and academia. There is no point for students in going to school for a degree that will not hand them a competitive edge within their discipline. For graduate PEs, the job market is dependent on the quality of their respective academic programs and by extension to the quality of the teaching faculty. A steady oil and gas job market may not necessarily warrant robust employment opportunities, particularly straight after graduation. In a discipline like PE, where almost everything that matters takes place thousands of feet underground, apportioning credit for successes or responsibility for failures is itself a challenge. Decreases in student enrollments in PE programs reported by various universities during times of low oil and gas prices poses questions about the future of the PEs discipline, despite the steady demand for oil and gas in the world's energy mix. Academic programs interested in facilitating a smooth transition of their graduates into the industry should work in conjunction with practitioners to provide the correct balance between theory and practice in their coursework ensuring that once employment opportunities are created, they get filled with candidates of relevant education and training. PE degree-holding candidates should be the natural first choice for PE positions. This means that their educational and professional backgrounds should be providing them with an undisputed advantage which places them a leg above candidates from other disciplines. For instance, for a well completions job opening, there should not be a better alternative than a good PE specialized in well completions. If every PE graduate comes out of his or her program with a skillset which is superior to that of his or her competition, he or she will be the preferred choice for an oil and gas job.
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