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Journal articles on the topic 'Western comics'
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Ciraulo, Darlena. "Superhero Shakespeare in Golden Age Comics." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 137–51. http://dx.doi.org/10.18778/2083-8530.24.09.
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Albert Lewis Kanter launched Classic Comics in 1941, a series of comic books that retold classic literature for a young audience. Five of Shakespeare’s celebrated plays appear in the collection. The popularity of Classics Illustrated encouraged Seaboard Publishing to issue a competitive brand, Stories by Famous Authors Illustrated (1949-51), which retold three Shakespearean dramas. Although both these enterprises aimed to reinforce a humanist perspective of education based on Western literature, the classic comics belie a Posthuman aesthetic by presenting Shakespearean characters in scenes and postures that recall Golden Age superheroes. By examining the Shakespearean covers of Classic Illustrated and Stories by Famous Authors, this essay explores how Shakespearean characters are reimagined as Superhuman in strength and power.
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Kopylchak, K. "Особливості формування спільноти фанатів мальописів у сучасному інформаційному просторі." State and Regions. Series: Social Communications, no. 1(45) (July 17, 2021): 68. http://dx.doi.org/10.32840/cpu2219-8741/2021.1(45).10.
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<div><p><strong><em>The purpose.</em></strong><em> To trace the peculiarities of the formation of the community of fans of comics in the modern Ukrainian information space.</em></p></div><p><strong><em>Research methodology. </em></strong><em>During the research general scientific methods of synthesis, analysis and observation were used. System analysis was used to study the available Internet resources on comics.</em></p><p><strong><em>Results.</em></strong><em> Comics are more interested in society. Interest that arouses consumer interest. Today, comics are a unique product of publishing, an effective means of presenting and disseminating information from various fields of knowledge, as well as an artistic tool and already established art. Ukrainian comics have many genres, subgenres, touch on different topics and a wide range of issues, as well as aimed at readers of different ages, social status, type of activity.</em><em> </em><em>The tradition of comics and cartoons is an integral part of many cultures around the world, both Western and Eastern. Comic book readers are described as a unique sub cultural group. The main types of communication between readers and publishers of comics are formed. Described the main types of comic book promotion in Ukraine among different groups of readers. The main media resources used by publishers and readers of comics to promote and discuss new publications are listed. It is emphasized that the formation of a loyal community of comic book consumers will contribute to the development of the genre.</em></p><p><strong><em>Novelty.</em></strong><em> For the first time, the peculiarities of forming a community of comic book fans in the modern Ukrainian information space have been studied. It should be noted that comics and graphic novels are already present in the Ukrainian discursive field, but the discussion of these special cultural phenomena is conducted mainly in a journalistic way on «comic-oriented» Internet resources.</em></p><p><strong><em>Practical significance.</em></strong><em> The results of the work can be used for scientific work or to create lecture material.</em></p><p><strong><em>Key words:</em></strong><em> comics, promotion, communication, media.</em><em></em></p>
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Beck, Rose Marie. "Popular media for HIV/AIDS prevention? Comparing two comics: Kingo and the Sara Communication Initiative." Journal of Modern African Studies 44, no. 4 (November 1, 2006): 513–41. http://dx.doi.org/10.1017/s0022278x06002072.
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This paper draws attention to some assumptions implicit in HIV/AIDS communication or prevention campaigns which use popular culture media, in this instance comics. Theoretically the analysis is placed in a framework of popular culture as the arena of negotiations about claims over hegemonic discourses. Methodologically the internal logics of a local Swahili comic from the magazine Kingo and of a comic from the Sara Initiative in Swahili (UNICEF-ESARO) are explored through a comparative textual analysis, focusing on differences and convergences in the use of dramaturgy and characterisation of the protagonists. The transformations of locally known comic characters and the differences in dramaturgical strategies are made visible in the comparison, exposing the communicative, historical and social underpinnings of both comics. It is argued that as long as these preconditions of the international campaigns, as well as of local popular culture production are not thoroughly explored, hegemonic Western claims of knowledge of HIV/AIDS will be rejected by African people (and why not?). The paper recommends that prevention design allow for ‘moments of freedom’ understood ‘as the potential to transform one's thoughts, emotions and experience into creations that can be communicated and shared’ (Fabian 1998).
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Ojha, Amitash, Charles Forceville, and Bipin Indurkhya. "An experimental study on the effect of emotion lines in comics." Semiotica 2021, no. 243 (October 7, 2021): 305–24. http://dx.doi.org/10.1515/sem-2019-0079.
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Abstract Both mainstream and art comics often use various flourishes surrounding characters’ heads. These so-called “pictorial runes” (also called “emanata”) help convey the emotional states of the characters. In this paper, using (manipulated) panels from Western and Indian comic albums as well as neutral emoticons and basic shapes in different colors, we focus on the following two issues: (a) whether runes increase the awareness in comics readers about the emotional state of the character; and (b) whether a correspondence can be found between the types of runes (twirls, spirals, droplets, and spikes) and specific emotions. Our results show that runes help communicate emotion. Although no one-to-one correspondence was found between the tested runes and specific emotions, it was found that droplets and spikes indicate generic emotions, spirals indicate negative emotions, and twirls indicate confusion and dizziness.
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Boillat, Alain. "Perspectives on Cinema and Comics." European Comic Art 10, no. 1 (March 1, 2017): 9–23. http://dx.doi.org/10.3167/eca.2017.100103.
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This article focuses on the relatively little-known editorial context of children’s French-language comics serials at a time when they constituted the main distribution channel of the bande dessinée medium (before the album became the dominant format), from the immediate post-war years to the mid-1950s. I examine the importance given to the adaptation of films into bande dessinée by studying the editorial strategy to which this practice of adaptation contributes (focusing on the magazine L’Intrépide [The daredevil], which, at the time, specialised in adaptation) and the narrative and figurative aspects of the adapters’ approaches. I show in particular how bandes dessinées are inscribed in genres that structure the periodical publications, where these were previously established in the cinematographic domain such as the swashbuckler and the western. The processes of condensation or amplification of the narrative, as well as the use of the feuilleton, are at the centre of the case studies.
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Orrù, Marica. "American Influence and Representation in Japanese Manga and Anime—BNHA's All Might." REDEN. Revista Española de Estudios Norteamericanos 3, no. 1 (November 11, 2021): 109–24. http://dx.doi.org/10.37536/reden.2021.3.1454.
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When talking about manga, we are typically referring to Japanese comics. The term is often mistaken and used interchangeably with the word anime, which contrarily to the written comics refers to the animated adaptations of Manga or to original animation products. Since 1970, Japanese Manga and Anime have experienced an unprecedented popularity, introducing an innovative way of telling stories and portraying reality eventually absorbed into our Western culture. This article examines the animated series adaptation of Kohei Horikoshi's Boku No Hero Akademia, paying particular attention to one of the main characters: All Might.
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Rinehart, Robert E., and Jayne Caudwell. "Sport–war cartoon art." Media, War & Conflict 11, no. 2 (March 1, 2017): 223–43. http://dx.doi.org/10.1177/1750635217696435.
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In this article, We explore the extent to which political cartoons and comic strips – as mediated public and political visual art, the ‘ninth art’ according to Groensteen’s The System of Comics (2007[1999] – subvert/confirm institutional values of so-called Western democracies during times of war. Our concern, as sociologists of sport, is with the ways dominant sporting sensibilities are (re)presented in cartoon art, and how sport itself is conflated with patriotic ideologies of war as a vehicle for propaganda. In particular, We interrogate how competitive-sporting ideals are aligned with war and conflict, and mobilized by cartoons during periods of Western-asserted conflict. We are intrigued by how some cartoon illustrations have the visual power to misplace, simplify and essentialize – via sporting analogy – the intense and complex emotions surrounding war. The aim of the article is to examine how the visual within popular culture is used to dis-connect and dis-engage a public with the realities of war and human conflict.
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Paramita, Ashika Prajnya. "MS. MARVEL AS A REPRESENTATION OF THE STRUGGLE FOR AMERICAN IDENTITY." Rubikon : Journal of Transnational American Studies 3, no. 1 (July 18, 2019): 10. http://dx.doi.org/10.22146/rubikon.v3i1.44368.
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In early 2014, Marvel Comics released a new series called Ms. Marvel. The main character of this series is a Pakistani-American Muslim girl named Kamala Khan. Her story is a breakthrough against the negative representation of Islam in the Western world, especially after 9/11. This research examines five issues taken from the first volume of the Ms. Marvel comic book series. The paper discusses the reason why this series is substantial in the struggle of Muslim immigrants to survive as a minority group in the United States. The results show that Ms. Marvel serves as a medium of communication for the under-represented American Muslim community. Furthermore, by accepting the new superhero, the American society itself has also transformed and it is beginning to adapt to the idea that Muslim immigrants are members of their society.Keywords: Muslim, superhero, comic book, identity, popular culture
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Jatnika, Asep Wawan, and Ferry Fauzi Hermawan. "Menjadi Lelaki Sejati: Maskulinitas Dalam Komik Daring Webtoon Indonesia." Mudra Jurnal Seni Budaya 33, no. 1 (March 6, 2018): 60. http://dx.doi.org/10.31091/mudra.v33i1.158.
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Perkembangan teknologi telah mengubah cara penyebaran komik di Indonesia. Saat ini internet dan media sosial menjadi salah satu media utama penyebaran komik. Salah satu media yang menjadi pilihan tempat menyebarkan dan membaca komik adalah Webtoon. Tulisan ini bermaksud menganalisis wacana homoseksualitas dan maskulinitas yang terdapat dalam komik No Homo karya Apitnobaka yang diterbikan dalam Webtoon. Menggunakan pemahaman Foucault dan Bartkly tentang panoptikon dan gender hasil kajian menunjukkan bahwa pembicaraan masyarakat (gosip) merupakan alat utama dalam pengonstruksian gender di masyarakat. Gosip berperan sebagai pengawas perilaku seperti apa yang boleh dilakukan laki-laki dan sebaliknya. Gosip berperan sebagai panoptikon dalam mengawasi pelanggengan konstruksi maskulinitas di masyarakat. Selain itu, ditemukan juga salah satu penanda maskulinitas ideal di masyarakat yaitu, laki-laki harus menjadi seorang alfa dan tidak bergantung pada orang lain. Jika seorang laki-laki tidak mampu memenuhi hal tersebut dirinya akan digolongkan bukan laki-laki ideal. Dalam komik No Homo dipandang memiliki orientasi seksual lain yaitu homoseksual yang dianggap tabu dalam masyarakat. Selain itu, komik No Homo merefleksikan dan melanggengkan anggapan bahwa orientasi seksual yang bukan hetero seperti homoseksual bukanlah berasal dari Indonesia. Hal itu dipandang sebagai bagian dari budaya Barat.Technological developments have changed the way in which comics are circulated and distributed throughout Indonesia. Currently the internet and social media have become the primary media for the distribution of comics. One of the media that has been chosen for circulation, distribution and consumption of comics is Webtoon. This paper intends to analyze discourse in subjects such as homosexuality and masculinity as can be observed in Apitnobaka's No Homo comic as published on Webtoon. Using Foucault's and Bartkly's understanding of the panopticon and the gender; this study suggests that community talk (gossip) plays a major role in gender-building in society. Gossip serves as a supervisory behaviour that shapes gender norms in society i.e., what is considered as acceptable behaviour by a male or vice versa. Gossip serves as a panopticon in overseeing the construction of masculinity in consumer society. Moreover, it can be observed that one of the markers of ideal masculinity in the community is that a male must be an alpha and does not rely on the others can be found within this comic. If a male does not capably fulfil these terms, he will consequently be classified a as non-ideal man by consumer society. In No Homo comics, the male is portrayed as being of homosexual orientation and it is considered as taboo in society. In addition, No Homo comics reflect upon and perpetuate the assumption that sexual orientation other than heterosexual such as a homosexual is apart from Indonesian heteronormative culture. However, it is viewed as being a symptom of western culture.
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Leah Cross, Judith. "Aspects of a boy’s childhood as a complex social construct in comics." Visual Communication 16, no. 2 (March 30, 2017): 147–64. http://dx.doi.org/10.1177/1470357216680162.
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The depiction of boyhood in the Western world of comics underwent a subtle transformation in the shadow of the Second World War. Major artists of these sequential artistic texts (such as Schultz and Spiegelman) fine-tuned key elements in the set of resources they drew on, effectively changing how readers/viewers engage with the young male protagonists in comics. The shift in affect was realized in storylines; instead of these being driven by external, performance-oriented representations of ‘boyhood’ punctuated by mischievous deeds or heroic exploits, drama was created by a much more complex and nuanced depiction of boyhood that explored the internal emotional and psychological worlds of main boy characters. Drawing on representative examples from two different sets of comics, this article applies a bi-modal, semiotic approach that specifically addresses how facial expressions, gaze and speech/thought bubbles, elements of the interpersonal meta-function, construct a more complex representation of boyhood.
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Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary." Literatura i Kultura Popularna 23 (May 31, 2018): 93–107. http://dx.doi.org/10.19195/0867-7441.23.7.
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Religious beliefs from the perspectiveb of Japanese aesthetics: Mushishi by Yuki UrushibaraThe Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japanese culture and the aesthetics along with it is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.
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Farahsani, Yashinta, Ika Puspita Rini, and Patria Handung Jaya. "CODE-MIXING IN DIALOGUES AS SEEN IN ALICE COMIC BY ANGELLINA." HUMANIKA 26, no. 2 (December 3, 2019): 1. http://dx.doi.org/10.14710/humanika.v26i2.24119.
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Since English has become international language, Indonesian people prefer to mix their language using Indonesian and English rather than Indonesian and their mother tongue language. Indonesian comics are also showing this phenomenon. One of Indonesian comics which uses code-mixing in its dialogues is Alice by Angellina. Most of the dialogues in Alice use Indonesian-English code-mixing, besides the characters’ names are also use Western names, instead of Indonesian names. The study focused on determining the types of code mixing: insertions, alternations, congruent lexicalizations (dialect) and the forms of words in the process of word-formation (such as noun, verb, adjective, phrase, and sentences). The tendency in using the code mixing is because some words have been used so often in the people’s daily conversation in showing the emotions and sense.
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de Sousa, Ana Matilde. "‘Gaijin Mangaka’: The boundary-violating impulse of Japanized “art comics”." Mutual Images Journal, no. 7 (December 20, 2019): 3–26. http://dx.doi.org/10.32926/2019.7.sou.gaiji.
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This paper investigates the artistic strategies of Japanised visual artists by examining the emerging movement of manga-influenced international “art comics”—an umbrella term for avant-garde/experimental graphic narratives. As a case study, I take the special issue of the anthology š! #25 ‘Gaijin Mangaka’ (July 2016), published by Latvian comics publisher kuš! and co-edited by Berliac, an Argentinian neo-gekiga comics artist. I begin by analysing four contributions in ‘Gaijin Mangaka’ to exemplify the diversity of approaches in the book, influenced by a variety of manga genres like gekiga, shōjo, and josei manga. This analysis serves as a primer for a more general discussion regarding the Japanisation of twenty-first-century art, resulting from the coming of age of millennials who grew up consuming pop culture “made in Japan”. I address the issue of cultural appropriation regarding Japanised art, which comes up even on the margins of hegemonic culture industries, as well as Berliac’s view of ‘Gaijin Mangaka’ as a transcultural phenomenon. I also insert ‘Gaijin Mangaka’ within a broader contemporary tendency for using “mangaesque” elements in Western “high art”, starting with Pierre Huyghe and Philippe Parreno’s No Ghost Just a Shell. The fact that the link to Japanese pop culture in ‘Gaijin Mangaka’ and other Japanised “art comics” is often more residual, cryptic, and less programmatic than some other cases of global manga articulates a sense of internalised foreignness, embedding their stylistic struggles in an arena of clashing definitions of “high” and “low,” “modern,” “postmodern”, and “non-modern”, subcultures and negative identity.
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Yuliasri, Issy Yuliasri. "TRANSLATORS’ CENSORSHIP IN ENGLISH-INDONESIAN TRANSLATION OF DONALD DUCK COMICS." Indonesian Journal of Applied Linguistics 7, no. 1 (May 31, 2017): 105. http://dx.doi.org/10.17509/ijal.v7i1.6863.
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Not all aspects of Western culture, reflected in the language used in Walt Disney’s Donald Duck comics, are acceptable in Indonesia. So, in translating the comics, the translators have to manipulate the text for it to be acceptable by the target readers and parents. This research aims at finding out censorship through the translation techniques used by the translators in translating the English humorous texts in the Walt Disney’s Donald Duck comics into Indonesian and the reasons underlying the translators’ choice of the translation techniques. It also aims at analysing whether or not the choice of the translation techniques affects the rendering of meaning, maintenance of humour, and acceptability of the translation. For these purposes a qualitative method was employed with content analysis technique and reader response analysis. Content analysis was used in comparing the source text (ST) and target text (TT) to find out the translation techniques used as a means of censorship and to find out the translators’ reasons for choosing the techniques. Reader-response analysis was done to find out the readers’ response to the rendering of meaning and maintenance of humour in the translation. The research findings discovered that the translators performed censorship through the dominant use of reduction and generalisation techniques so as to reduce sarcasm and insults. The interview with the publisher’s Senior Editor also revealed that “decency” was the first priority in the translation decision making, followed by clarity of meaning and maintenance of humour. Further research to investigate other elements censored, and compared with other translated comics is recommended.
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Bumatay, Michelle. "Humor as a Way to Re-Image and Re-Imagine Gabon and France in La vie de Pahé and Dipoula." European Comic Art 5, no. 2 (December 1, 2012): 45–66. http://dx.doi.org/10.3167/eca.2012.050204.
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This article explores the strategies Gabonese cartoonist Pahé deploys to disrupt media-driven images of Africa in both his autobiographical series La vie de Pahé ['The Life of Pahé'] and the fictional series Dipoula, co-created with French cartoonist Sti. It focuses on the role of humor as a way to mock Western hegemony while exposing how sustained colonial logic informs Western representations of Africa. Using humor that thrives on misrecognition, Pahé thwarts readers' expectations and facilitates new possibilities for thinking through the relationship between Europe and Africa, while also drawing attention to the attendant relationship between Franco-Belgian bandes dessinées and other Francophone comics.
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Cañas Pelayo, Marcos Rafael. "No es tierra para superhéroes:." Neuróptica, no. 2 (May 17, 2021): 19–34. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025417.
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Resumen: Los Baldíos, creados por la imaginación de Mark Millar y Steve Mcniven, se han convertido en uno de los más interesantes enclaves de los cómics Marvel. El duro escenario de este mundo apocalíptico ha penetrado en la conciencia lectora desde su primera aparición en El Viejo Logan (2008). De cualquier modo, no ha sido hasta El Viejo Ojo de Halcón (2018) que público y crítica han apreciado el amplio abanico de posibilidades que este desesperanzador futuro alternativo ofrece. Ethan Sacks y Marco Checchetto han brindado una narración más orientada al público adulto, integrando los elementos superheroicos con el spaghetti western y el neo-noir. En este artículo, buscamos explorar las influencias de esta precuela distópica, prestando especial atención al cómic del Oeste europeo y la inspiración dinámica de las tiras norteamericanas.
Abstract: The Wastelands, created by the imagination of Mark Millar and Steve Mcniven, have become one of the most interesting places in Marvel Comics. The hard-boiled scenarios of this apocalyptic world had penetrated the reader´s cosciousness since their first appearance in Old Man Logan (2008). However, it was not until Old Man Hawkeye (2018) that public and critics realized the wide range of possibilities that this desperate alternative future offers. Ethan Sacks and Marco Checchetto have given a more adult-oriented narration, integrating superheroic elements with spaghetti western and neo-noir. In this article, we want to explore the influences of this dystopian prequel, focusing on the mixture of the Western in European comic strips, with punchier American inspired dynamism.
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Franco, Adela Pineda. "Review: Heroes of the Borderlands: The Western in Mexican Film, Comics, and Music, by Christopher Conway." Mexican Studies/Estudios Mexicanos 37, no. 1 (2021): 160–63. http://dx.doi.org/10.1525/msem.2021.37.1.160.
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Ostby, Marie. "Graphics and Global Dissent: Marjane Satrapi's Persepolis, Persian Miniatures, and the Multifaceted Power of Comic Protest." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 558–79. http://dx.doi.org/10.1632/pmla.2017.132.3.558.
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Marjane Satrapi's Persepolis has been embraced by critics and popular audiences alike as an accessible intercultural memoir-in-comics that challenges predominant Western stereotypes about Iran through the universality of its first-person narrator. But the text's global legibility goes beyond the familiarity of Satrapi's graphic avatar. In examining the surprising factors on which the text's globalism depends, I look closely at one of Persepolis's diverse inter-texts—the Persian miniature painting—and situate Satrapi in both Parisian bandes dessinées and Iranian diasporic artistic contexts to argue that the work's concurrent production of local, national, and global scales is inseparable from its connection to several genres and across several media, engaging its readers through multiple modes of perception. Persepolis draws on a global history of graphics as dissent by challenging preconceived notions about comics as a mass culture form, memoirs as limited confessionals, and Iranian women as silenced victims of an oppressive fundamentalist state. The global accessibility of this graphic novel exists not despite but because of porous categories of genre and culture, which are at once integral to its narrative structure and secondary to the aesthetic of protest that it ultimately embraces.
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Leroy, Fabrice. "Joann Sfar Conjures Marc Chagall." European Comic Art 4, no. 1 (January 1, 2011): 39–57. http://dx.doi.org/10.3828/eca.2011.4.
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The five episodes of Joann Sfar's The Rabbi's Cat (2002-2006), recently published in English translation in two volumes (2007-2008), and particularly the latest instalment of the series, Africa's Jerusalem, are rich in meta-narrative and meta-iconic elements. By staging various theological arguments about aniconism in Abrahamic religions, Sfar uses the comics medium to reflect on the prohibition of graphic representation in Judaism and Islam (following the Jyllands-Posten Danish cartoons controversy and the trial of the French satirical magazine Charlie-Hebdo ). He also distances his work from the usual Western stance on realistic mimesis and its pseudo-scientific epistemology by criticising the European constructs of race and exoticism. Between the anti-iconic prohibition of the East and the false iconicity of the West, Sfar finds a middle ground in the anonymous character of a Russian painter travelling through Africa in the 1930s, whose physical appearance and biographical background recall that of famous Franco-Russian Jewish painter, Marc Chagall. This article will explore how the painter's cultural hybridity and artistic idiosyncrasy allow Sfar to negotiate a perspective on graphic representation which resolves the problem of simulacrum as it is framed in this binary opposition. It will also discuss the manners in which Sfar borrows from Chagall's aesthetics and magic realism in the process, thus creating a new kind of image in the realm of comics.
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Fouad Selim, Yasser. "Performing Arabness in Arab American Stand-up Comedy." American, British and Canadian Studies Journal 23, no. 1 (December 1, 2014): 77–92. http://dx.doi.org/10.1515/abcsj-2014-0028.
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Abstract This article deals with the dramatic art of stand-up comedy. It locates Arab American stand-up comedy within a broader American humorous tradition and investigates the way Arab American performers use this art to negotiate and (re)construct their identity. The main question in this article is the way Arab American stand-up comedians define their relationship to the Arab and the western worlds in the process of establishing their Arab American identity. Three humor theories - the relief theory, the incongruity theory, and the superiority theory - are deployed in the study to examine the representation of Arabness in selected Arab American performances. The study argues that Arab American comics minstrelize their own diasporic origin through reinscribing a range of orientalizing practices in order to claim their Americanness.
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Wincencjusz-Patyna, Anita. "Ingrid Vang Nyman i Pippi Pończoszanka, czyli o Pippi – dziecięcej rebeliantce – i Pus – duńskiej artystce, która dokonała rewolucji w szwedzkiej książce dla dzieci." Studia Scandinavica 24, no. 4 (December 2, 2020): 30–48. http://dx.doi.org/10.26881/ss.2020.24.02.
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This article focuses on Ingrid Vang Nyman’s illustrations to various books about Pippi Longstocking, written by Astrid Lindgren, ranging from novels through picturebooks to comics. The core of the paper is an analysis of the Danish artist’s style, her use of means of artistic expression, and her attitude towards avant-garde movements in Western art in the 1930s and 1940s. The text briefly covers Vang Nyman’s biography, and the influence of her Danish background, taking mainly the period of her studies at the Royal Academy of Fine Arts in Copenhagen into consideration. Analysis makes it possible to indicate three main features of Vang Nyman’s “Pippi works”, which are a specific construction of space, anti-classical aesthetics, and a selfdiscilplined use of basic colours taken from modern painting, e.g. Neo-Plasticism.
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Pinho, Sergio Ronaldo, Paula Corrêa Henning, and Virgínia Tavares Vieira. "Um ideal romântico de natureza nas HQs do Chico Bento." REVISTA INTERSABERES 15, no. 36 (November 10, 2020): 785–803. http://dx.doi.org/10.22169/revint.v15i36.1987.
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RESUMO O presente artigo tem como objetivo estabelecer um diálogo em torno do conceito de natureza e de seu discurso veiculado nas histórias em quadrinhos (HQs) do personagem Chico Bento. As discussões articuladas ao campo da Educação se referem em especial à Educação Ambiental. Nesse artigo, apresentamos um dos enunciados que auxiliou na constituição do discurso de natureza por meio das Histórias em Quadrinhos, o qual nomeamos como “Um Ideal Romântico de Natureza”. Em uma perspectiva foulcaultiana, entendemos esse enunciado como uma das partes que sustentam o discurso de natureza emergente em determinadas práticas de Educação Ambiental produzidas na cultura ocidental contemporânea. A pesquisa traz como principal resultado possíveis contribuições para a análise crítica do discurso de natureza presente nas HQs, posto que, muitas vezes, há a definição de um tipo particular de sujeito, o ecologicamente correto. É preciso colocar sob suspeita uma única constituição de sujeito que nos leve a definições e determinações que definam um único modo de ser e viver o tempo presente. Palavras-chave: Histórias em quadrinhos; Educação ambiental; Chico Bento; Michel Foucault. ABSTRACT This article aims to establish a dialogue around the concept of Nature and its discourse conveyed in the Comic Books of the character Chico Bento. The discussions articulated in the field of Education refer, in particular, to the Environmental Education. In this article, we present one of the statements that helped to the constitution of the discourse of nature through Comics, which we call as: “A Romantic Ideal of Nature”. In a Foucauldian perspective, we understand this statement as one of the parts that sustains the discourse of emerging nature in certain Environmental Education practices produced in contemporary Western culture. The research presents as main result possible contributions to a critical analysis regarding the discourse of nature present in comics, since, there is, frequently, the definition of a particular type of individual: the ecologically correct. It is necessary to put under suspicion a single constitution of an individual that leads us to definitions and determinations that define a single way of being and living in the present time. Keywords: Comics; Environmental education; Chico Bento; Michel Foucault. RESUMEN Este artículo tiene como objetivo establecer un diálogo sobre el concepto de naturaleza y su discurso transmitido en los cómics del personaje Chico Bento. Las discusiones articuladas en el campo de la educación se refieren en particular a la educación ambiental. En este estudio, presentamos uno de los enunciados que ayudaron en la constitución del discurso de la naturaleza a través de los cómics, que llamamos: "Un ideal romántico de la naturaleza". Desde una perspectiva foucaultiana, entendemos ese enunciado como una de las partes que sostienen el discurso de la naturaleza que emerge en ciertas prácticas de educación ambiental producidas en la cultura occidental contemporánea. La investigación trae como resultado principal posibles contribuciones al análisis crítico del discurso de la naturaleza presente en los cómics, una vez que, a menudo, existe la definición de un tipo particular de sujeto, el ecológicamente correcto. Es necesario poner bajo sospecha una constitución única de sujeto que nos lleve a definiciones y determinaciones que definen una única forma de ser y vivir el tiempo presente. Palabras-clave: Cómics; Educación ambiental; Chico Bento; Michel Foucault.
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Basile, Jeff. "Heroes of the Borderlands: The Western in Mexican Film, Comics, and Music. ChristopherConway. U of New Mexico P, 2019. 344 pp. $65.00 cloth." Journal of Popular Culture 54, no. 1 (February 2021): 214–16. http://dx.doi.org/10.1111/jpcu.12989.
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Egerer, Juliane. "TEASING PEOPLE INTO HEALTH? SAMI CARTOONS, INDIGENOUS HUMOUR, AND PROVOCATIVE THERAPY." Tijdschrift voor Skandinavistiek 37, no. 1 (June 24, 2020): 19–37. http://dx.doi.org/10.21827/tvs.37.1.36930.
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Maren Uthaug's razor-sharp and self-deprecating cartoons reflect Sami people in a seemingly offensive way, addressing sensitive Indigenous issues such as cultural disorientation, racism, suicide, and addiction in an outspoken way. However, it was Sami people – Uthaug's relatives – who asked for and successfully published these cartoons. Why do Sami people request cartoons like these? Outlining some relevant aspects of highly divergent Western Comics Studies, the analysis and interpretation of selected cartoons is an opportunity to compare Uthaug's provocative strategies to the functions of humour in First Nations literature. Accordingly, the paper focuses on Indigenous humour as a means of emotional and social healing in the processes of decolonization and reconciliation and, additionally, adopts Frank Farrelly's concept of provocative therapy which is defined as a way of teasing people into health. Relying on Native American Terry Tafoya's (Taos Pueblo) description of Farrelly as a kind of medicine man, the paper asks whether also Uthaug acts as a cartoon-drawing Chiffoneti, a blend of priest, healer, and trickster regarding Indigenous and non-Indigenous readers.
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SMIRNOV, SERGEY A. "PAUL FEYERABAND: THE RESTLESS ANARCHIST." Chelovek.RU, no. 2021-16 (November 22, 2021): 150–80. http://dx.doi.org/10.32691/2410-0935-2021-16-150-180.
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The article provides a reflexive analysis of the autobiographical experience presented in the autobiography of Paul Feyerabend "Killing Time". The specificity of the genre and method of the author's work on his own biography is highlighted. It is shown that this experience is strikingly different both from that to which European continental thinkers or domestic philosophers are accustomed, and from that which is presented in the Western intellectual tradition. Feyerabend deliberately built his story as "light reading", comparable to comics, musical script and stand-up comedy genre. At the same time, it is shown that as the story progresses, the position of the narrator himself changes and his very intonation changes towards more personal and spiritual tones and topics related to personality changes. The author was least of all interested in his own intellectual pursuits, and most of all he was interested in emotional attachments and love for one's neighbor. For the sake of this love, he wrote, in essence, his autobiography, strangely similar to the genre of repentance of the restless atheist anarchist.
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McKenzie, Jon. "Collective thought-action: On lecture performances, transmedia knowledge and designing possible worlds." SAJ - Serbian Architectural Journal 11, no. 2 (2019): 321–40. http://dx.doi.org/10.5937/saj1902321m.
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The election of Donald Trump has exposed a politics of resentment dividing rural and urban populations, as well as communities and colleges. This division stretches back to Plato's Academy. When Plato threw the poets out of the Republic, he banished practices such as poetry, music, and dance from the realm of true, epistemic knowledge, which he opposed to doxa or common knowledge. Centuries later, this opposition would shape European colonialism's approach to indigenous life worlds, whose "primitive" rituals, myths, and fetishes would confront the "civilized" methods, histories, and objects of Western knowledge. These same oppositions structure ideological critiques of popular culture. However, the emergence of lecture performances, theory rap, and info comics within twenty-first century research universities suggests that traditional knowledge production is under stress inside and outside the academy. Emerging is a transmedia knowledge that engages different audiences by mixing episteme and doxa. At stake here: the role of aesthetics in post-disciplinary societies of control and in resistant modes of collective thought-action. Across both the arts and sciences, scholars worldwide are turning to transmedia knowledge not simply for communication but also for co-creation of research. Here transmedia knowledge can function as civic discourse and as a conduit of a generalized aesthetics.
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Manney, PJ. "Yucky gets yummy: how speculative fiction creates society." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 16, no. 2 (October 9, 2019): 243–54. http://dx.doi.org/10.5209/tekn.64857.
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Human biology creates empathy through storytelling and emulation. Throughout history, humans have honed their capacity to understand optimum storytelling and relate to others in new ways. The bioethical concepts of Leon Kass’s Wisdom of Repugnance and Arthur Caplan’s Yuck Factor attempt to describe, and in Kass’s case even support, society’s abhorrence of that which is strange, against God or nature, or simply the “other.” However, speculative fiction has been assessing the “other” for as long as we’ve told speculative stories. The last thousand years of social liberalization and technological progress in Western civilization can be linked to these stories through feedback loops of storytelling, technological inspiration and acceptance, and social change by growing the audience’s empathy for these speculative characters. Selecting highlights of speculative fiction as far back as the Bible and as recently as the latest movie blockbusters, society has grappled back and forth on whether monsters, superhumans, aliens, and the “other” are considered villainous, frightening and yucky, or heroic, aspirational and yummy. The larger historical arc of speculative fiction, technological acceptance and history demonstrates the clear shift from yucky to yummy. Works include The Bible, Talmud, stories of alchemists and the Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, gothic horror films of Germany and the U.S., Superman and the Golden Age of comics, and recent blockbusters, among others.
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Nikolajeva, Maria. "Comparative Children’s Literature: What is There to Compare?" Papers: Explorations into Children's Literature 18, no. 1 (June 1, 2008): 30–40. http://dx.doi.org/10.21153/pecl2008vol18no1art1180.
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Literary texts do not appear in a vacuum. Literature in Western society has been written for several thousand years, and literature written specifically for children has existed for at least two hundred years. Thousands of children’s books are published every year. Writers have usually read books by other writers or are at least aware of them. In the case of children’s writers, they are most likely to have read the major children’s classics, but they have probably also read mainstream literature. Whether conscious about this or not, writers are affected by what they read and even by what they have not read, but only heard about. Not all people today have actually read Shakespeare, but many know the plots and characters of at least the most famous plays. Literature is also disseminated through other channels, such as film, television, comics and computer games. When we read a book, we are often struck by its similarities to others we know. For instance, if we compare The Lion, the Witch and the Wardrobe and Harry Potter and the Philosopher’s Stone we will observe many similarities: events, happenings, settings, characters, symbols, and messages. At the same time, we will most likely note that in many ways the two novels are different and perhaps contemplate the nature of the difference.
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Winnerling, Tobias. "Eternal Recurrence of All Bits." Eludamos: Journal for Computer Game Culture 8, no. 1 (December 12, 2014): 151–70. http://dx.doi.org/10.7557/23.6432.
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Video games that feature historical content – what I term ‘historicizing’ video games – often come in series. Civilization (I – V), Age of Empires (I – IV), Anno (5 pts.), Monkey Island (5 pts.), Total War (7 pts.), Assassin’s Creed (I – IV), to name but a few, are heavily serialized in that they all, save for their respective first incarnations, point continuously to the other titles in their series’, be it on a structural level or with regard to content. That they do so has many reasons that are totally unconnected with everything they represent, economic ones foremost, but also the need to meet genre- and audience-imposed expectations as well as technical limitations. This aside, given that players who liked one in a bundle are likely to play the rest also, the mere factuality of the series carries implications for the content worth mentioning. First, semiotically such a set of game titles is aptly described in Deleuze/Guattari-terms as an instance of the paranoid-despotic regime of signs, where signs signify nothing but other signs, bound up in an endless virtual cycle. And second, philosophically this may be taken as a prime instance of the Nietzschean ‘eternal recurrence of all things’. Both readings converge in the implication that as these games’ series seemingly stage ‘history’, they unlink history and temporality, installing a chron-alogical framing. Thus, they effectively replave in themselves any factual history as the concept is traditionally understood in Western discourse since the middle of the 19th century with affective historicity. In this, they may reflect (as other media featuring historical content as literature, film, TV, radio, comics, re-enactment, ‘living history’, LARP etc.) popular demands not satisfied by academia, or foreshadow a conceptual transition as part of the digital revolution. Time will tell – if this will still be possible, then.
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McFarland, Ronald E. "David Wagoner's Comic Westerns." Critique: Studies in Contemporary Fiction 28, no. 1 (October 1986): 5–18. http://dx.doi.org/10.1080/00111619.1986.9937826.
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Pilkington, William T. "Aspects of the Western Comic Novel." Western American Literature 1, no. 3 (1996): 209–17. http://dx.doi.org/10.1353/wal.1996.0011.
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Sakon, I., T. Onaka, H. Takahashi, T. Miyata, S. Sako, Y. Y. Tajiri, Y. K. Okamoto, H. Kataza, H. Kaneda, and M. Honda. "The Mid-Infrared Properties of Embedded Super Star Clusters in He2-10 and IIZw40." Proceedings of the International Astronomical Union 2, S235 (August 2006): 329. http://dx.doi.org/10.1017/s1743921306010015.
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We observed embedded super-star clusters (SSCs) in blue compact dwarf galaxies (BCDs) IIZw40 and He2-10 with N-band and Q-band imaging and spectroscopy using the Cooled Mid-Infrared Camera and Spectrometer (COMICS) on board the 8m Subaru Telescope. Our infrared images of Henize 2–10 resolve the radio knots (knots I-V; Kobulnicky & Johnson 1999) and the N- and Q-band spectra show the strong [NeII] 12.8 μm and the [SIII] 18.71 μm together with relatively weak [SIV] 10.51 μm and [ArIII] 8.99 μm as well as the distinct unidentified infrared (UIR) bands at 8.6, 11.2 and 12.7 μm. We find the typical stellar spectral type of the members in the SSCs is O9 using the CoStar model (Stasinska & Schaerer 1997) and that the ionization environment in the most deeply embedded SSC(POS/#D) is the softest among those SSCs. The UIR bands exhibit a flat distribution over the galaxy and do not show a correlation with the MIR continuum, suggesting that polycyclic aromatic hydrocarbons (PAHs) are not strongly associated with the SSCs. We also find a possible decrease in the UIR 12.7 μm/11.2 μm ratio inside the embedded SSCs, suggesting that smooth-edged large PAHs are dominant (Hony et al. 2001) there. The small UIR to continuum ratio inside the embedded SSCs also suggests that the size distribution of the carbonaceous dust is skewed to the larger ones inside the embedded SSCs. Possible destruction of smaller species by harsh radiation field in the vicinity of massive stars due to the smaller heat capacity and/or the coagulation process that have been undertaken in dense dusty embedded SSCs would explain our results consistently. From the mid-infrared spectroscopy of IIZw40, the UIR bands are detected only in the south-western border of the mid-infrared peaks, suggesting the uneven distribution of PAHs within 4×106yr (Vanzi et al. 1996) after the nuclear starburst triggered in the merging of two small original galaxies.
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Morreall, John. "Comic vices and comic virtues." Humor - International Journal of Humor Research 23, no. 1 (January 2010): 1–26. http://dx.doi.org/10.1515/humr.2010.001.
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AbstractIn the face of some people's naive enthusiasm about the benefits of humor, Victor Raskin (Is humor always good for you?, Oklahoma, 1997) has explored the question “Is humor always good for you?” Rod Martin (Psychological Bulletin 12: 504–519, 2001) has shown how some kinds of humor foster unhealthy attitudes. Avner Ziv (Humor research in education: Enthusiasm vs. data, 1995) has warned that some claims about humor's value in education are exaggerated. Elliott Oring (Engaging humor, University of Illinois Press, 2003: Ch. 4) has shown how humor can express ethnic hatred. All these caveats are useful in a culture where the prevailing attitude toward humor is positive. If we consider attitudes toward humor through most of history, however, they were mostly negative. In Western religion and philosophy, indeed, no other human trait has been associated with so many vices. This article helps explain the cultural shift from a generally negative to a generally positive evaluation of humor by examining the traditional moral objections to humor, and providing modern rebuttals to them. It then develops the idea that humor in which we transcend our personal perspectives can foster virtues such as openmindedness, patience, tolerance, graciousness, humility, perseverance, and courage.
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Johnson, Michael. "Cowboys, Cooks, and Comics: African American Characters in Westerns ofthe 1930s." Quarterly Review of Film and Video 22, no. 3 (July 2005): 225–35. http://dx.doi.org/10.1080/10509200490474447.
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Mohd Bakhir, Norfarizah, Mohamad Omar Bidin, and Ahmad Amirul Bin Abdul Aziz. "Preserving and Promoting Malay Folklores and Legends Using Interactive Motion Comic: The Fang King (Raja Bersiong)." SHS Web of Conferences 45 (2018): 07001. http://dx.doi.org/10.1051/shsconf/20184507001.
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The Malay folklore is something that our ancestor inherits to us for so long now. Nowadays, Malaysian folklore is beginning to fade from the face of our country due to the western media that’s beginning to dominate the world. Youngsters nowadays prefer to watch western movies and western related stories rather than our own folklore. Not only that, youngsters nowadays is keen towards the western culture due to the innovation of modern technology such as tablets, smartphones, and other devices. There are three important objectives in this research. First is to determine the suitable Malaysian folklore to be converted into an interactive comic. Second is to give a new experience to the audience to enjoy and attract youngsters nowadays. The third is to test the effectiveness of this interactive comic to the young generation from age 13 to 15 years old. This interactive comic is for youngsters who nowadays don’t know about the Malaysian folklore and to prevent it from fading from the eyes of our country. As a conclusion, this research is to help preserve and protect our Malaysian folklore from extinction by using modern technologies.
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Berry, Chris. "The Chinese Side of the Mountain." Film Quarterly 60, no. 3 (2007): 32–37. http://dx.doi.org/10.1525/fq.2007.60.3.32.
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ABSTRACT Brokeback Mountain not only differs from most other Westerns by mixing in melodrama, but also uses a very specifically Chinese form of melodrama known as the ““family ethics”” film. Furthermore, it also draws on another regional subcultural tradition ——comics produced for and by straight women but about love between two young men.
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FENG, WEI. "Performing Comic Failure inWaiting for GodotwithJingjuActors." Theatre Research International 42, no. 2 (July 2017): 119–31. http://dx.doi.org/10.1017/s0307883317000256.
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Since the 1980s the Taiwanese theatre troupe Contemporary Legend Theatre (CLT) has been devoted to transformingjingjuby way of adapting world classics. Through an analysis of its adaptation of Samuel Beckett'sWaiting for Godot(2005), this article considers how CLT pushes the boundaries ofjingjuacting, which is made up of singing, speaking, dance-acting and combat. To meet Beckett's challenge of performing comic failure, CLT integratesjingjurestraint and Western slapstick. In so doing, CLT liberates the actors’ bodies fromjingjuconventions to produce a new aesthetic, which also gives the original play a new metaphysical interpretation.
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Burge, Daniel J. "Genocidal Jesting." Pacific Historical Review 91, no. 2 (2022): 163–89. http://dx.doi.org/10.1525/phr.2022.91.2.163.
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In the nineteenth century, writers such as James Fenimore Cooper and Henry Wadsworth Longfellow wrote best-selling works that shaped popular perceptions of Native American men. Historians and literary scholars have argued that literary characters representing Native men can be classified into two broad categories: Noble Savages and Bloody Savages. This article examines the literary origins and emergence of a third figure: the Comic Indian. Beginning with the various parodies of Longfellow’s Hiawatha in 1855, and continuing through the western humor of Bill Nye, this article examines how writers crafted comic characters that burlesqued stereotypical Native Americans. By the end of the century, the Comic Indian had become standard fare in U.S. literature. Understanding this history helps to explain why certain comic caricatures of Native men have persisted into the present and illustrates that humor can be used to justify genocidal policies.
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Ijaz, Saba, Muhammad Awais, Mudasar Ali Nadeem, and Farahat Ali. "Rendering Muslims as Terrorists in the English Comic Books: Analysis of Liberty for All and Holly Terror." Journal of Social Sciences Research, no. 68 (August 31, 2020): 785–96. http://dx.doi.org/10.32861/jssr.68.785.796.
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Comic books are not only designed to entertain the readers but they also become a medium to communicate something between the lines. Comic books are a popular medium in western countries. This paper investigated the depiction of terrorist incidents allegedly involving Muslims in English comic books. The study aimed to analyze the treatment that was given to the Muslim and non-Muslim characters especially as a part of terrorist organizations while showing real-life terrorism based incidents. It was also intended to explore how they induced fear appeal in their stories regarding particular characters. Through purposive sampling, two comic books have been selected to know how the Muslim characters in the comic book were portrayed in a derogatory manner and to know how they have recaptured the incident of September 11, 2001. Liberality for All and Holy Terror are the two books that were selected and analyzed by using the method of content analysis. Drawing upon the theoretical perspective of Agenda Setting (and Framing), it is assumed that the comic books were prepared deliberately to depict Muslims in a deprecating approach. The results ask the orientalist scholars to raise their eyebrows toward the depiction of Muslims in comic books whose audience is relatively younger and the particular portrayal in such manner can have a profound and longer effect on the young minds regarding Muslims.
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Beck, Günter. ""EINE ENTSCHEIDUNG FÜR DAS LEBEN": THE COMIC MODE IN ABBAS KHIDER’S NOVELS." RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 2 (November 7, 2019): 4–22. http://dx.doi.org/10.29038/2617-6696.2019.2.4.22.
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The article addresses the structuring function and pivotal role of the comic in the writings of German-Iraqi author Abbas Khider, focusing primarily on his 2008 debut novel Der falsche Inder (The Village Indian) which as autopoetic fiction depicts in its cyclic narrative structure the horrible experiences of a young Iraqi man under a brutal dictatorial regime and tells of his equally disturbing experiences on his further escape route to his final destination in Germany. Seemingly, in an almost cynical contrast to this grim topicality, stands the novel’s general and cohesive humorous tone, its manifold comic elements and even its abundant physical comedy.I argue, however, that actively employing a humorous mode of writing is firstly part and parcel of a literary survival strategy to partake in the healing process of past collective and personal traumata. Reading this novel as literature in the picaresque mode helps in understanding how this particular comic mode is furthermore used subversively by the author as a means to undermine established authoritative power structures as well as to revise “traditional” Western perceptions of the “refugee other” in an aesthetic act of resistance. Thus, Abbas Khider places himself not only in the Western humorous literary tradition but self-consciously expands its boundaries to include new modes of narration.
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Nippold, Marilyn A., Jill K. Duthie, and Jennifer Larsen. "Literacy as a Leisure Activity." Language, Speech, and Hearing Services in Schools 36, no. 2 (April 2005): 93–102. http://dx.doi.org/10.1044/0161-1461(2005/009).
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Purpose: Literacy plays an important role in the development of language in school-age children and adolescents. For example, by reading a variety of books, magazines, and newspapers, students gain exposure to complex vocabulary, and reading becomes a prime opportunity for learning new words. Despite the importance of reading for lexical development, little is known about the pleasure reading habits of today’s youth. The first goal of this investigation was to examine the preferences of older children and young adolescents with respect to reading as a leisure-time activity and its relationship to other free-time options that are likely to compete for their attention. The second goal was to examine the amount of time that young people spend reading for pleasure each day and the types of materials they most enjoy reading. The third goal was to determine if preferences for free-time activities and reading materials would evince age- and gender-related differences during the period of development from late childhood through early adolescence (ages 11–15 years). The findings could serve as a reference point for understanding what is reasonable to expect of students during this age range. Method: The participants were 100 sixth graders (mean age=11;7 [years;months]) and 100 ninth graders (mean age=14;8) attending public schools in western Oregon. Each group contained an equal number of boys and girls, all of whom spoke English as their primary language and were considered to be typical achievers. All participants completed a survey concerning their preferred free-time activities and reading materials. They also reported the average amount of time they spent reading for pleasure each day. Results: The most popular free-time activities were listening to music/going to concerts, watching television or videos, playing sports, and playing computer or video games. Least preferred activities were cooking, running or walking, writing, and arts and crafts. Reading was moderately popular. The most popular reading materials were magazines, novels, and comics; least popular were plays, technical books, and newspapers. Interest in pleasure reading declined during this age range (11–15 years), and boys were more likely than girls to report that they spentno time reading for pleasure. Clinical Implications: Given the importance of reading tolexical development in school-age children and adolescents, reading should be promoted as a leisure activity during these years. School-based speech-language pathologists (SLPs), in their role as language consultants, can benefit from understanding the pleasure-reading patterns of today’s youth. It is especially important for SLPs to monitor these patterns in students who have language disorders, as it is common for these young people to experience deficits in reading and in lexical development. Fortunately, much can be done in school settings to encourage strong literacy habits in all students if SLPs work collaboratively with teachers, principals, psychologists, librarians, parents, and students. Suggestions are offered for ways to encourage young people to spend more time reading for pleasure.
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Williams, Howard, and John Swogger. "What's Wat's Dyke? Wrexham Comic Heritage Trail." Offa's Dyke Journal 3 (November 18, 2021): 183. http://dx.doi.org/10.23914/odj.v3i0.325.
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We hope this comic heritage trail for Wrexham helps introduce you to Britain's third-longest ancient monument.Wat's Dyke was built in the early medieval period (most likely between the late 7th and early 9th centuries AD). Today, it is a fragmentary bank and ditch surviving in varied states of preservation. When newly built, it was most likely designed as a continuous construction by the Anglo-Saxon kingdom of Mercia to dominate and control its western frontier with Welsh rivals. It runs over c. 64km from Basingwerk (Flintshire) to Maesbury (Shropshire).The map shows you where you can visit the monument today, and the comic panels tell the story of Wat's Dyke at each location. And if you'd like to know even more about Wat's dyke and other similar monuments, there are suggestions for further reading as well as online links to recent research at the end of the booklet.
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Bohdanets, Svitlana. "Gastronomic Humor in Medieval European Literature: Topoi and Historiography." Text and Image: Essential Problems in Art History, no. 2 (2019): 34–43. http://dx.doi.org/10.17721/2519-4801.2019.2.02.
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The article looks at topoi in gastronomic images of European medieval humoristic texts and seeks to examine the connection between food and comic discourses. The author shall also highlight how these images were evaluated and interpreted by scholars of a different methodological background. The attention is paid to motives in gastronomic humour and comic plots related to food, which were widely spread in Western culture. Gastronomic humour is displayed through examples that are to be found in such medieval literary genres as farce, fabliau, Schwank etc. The study aims to propose a common food comic code, explain the principles of its implementation in the text and show its typical constituent elements. The essay starts with an examination of anthropological and social factors that might have shaped and symbolically and functionally determined gastronomic humour. It is assumed that mouth has a significant role in the processes of organization of nutrition and laughter on the bodily level. Then the author overviews in detail the literary origins of gastronomic jokes tracing their formation from the antique comedy. The development and establishment of food comedy are shown through examples from medieval urban literature. Attention is also drawn to the context in which the text functions, in other words, the specifics of its implementation in time and space. It is revealed that nutrition often appears as a background for comic plots, and culinary spaces are typical locations in humoristic stories. According to their professional activity comedy characters are also closely related to food. It is noticed that the food itself becomes a subject of conflict in a comic situation. Main characters actions are concentrated around the food, drinks or dishes. Another aspect of gastronomic humour involves a situation where eating resembles defecation. A typical comic tool on its own is the analogy between having a meal and sex. The paper also describes the features of food that often appear in humoristic texts and therefore has a higher level of comic value.
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Mosaleva, Galina V. "Ontology of humour in the novel “Oblomov” by Ivan Goncharov." Vestnik of Kostroma State University 28, no. 1 (April 20, 2022): 85–92. http://dx.doi.org/10.34216/1998-0817-2022-28-1-85-92.
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The article highlights the perception of laughter in ancient and Christian traditions (in the patristic heritage), in Russian and Western European cultures. Various points of view on the nature of the comic in the novel “Oblomov” by Ivan Goncharov , the specifics of the author’s humourous pathos, the ratio of the comic and the tragic, various aspects of the comic in the novel. Ilya Oblomov is understood as a character that combines comic and tragic features. The article proves that the features of humour in the novel are connected with Orthodox axiology, with the phenomenon of conciliarity that unites people. The general laughter that binds the Oblomovites is cosmic; it turns out to be a derivative of Oblomovka's natural joy. Ilya Oblomov is a joyful gospel child, a kind smile on his face remains unchanged until the end of the novel. The relationship between Ilya Oblomov and Zakhar is built on comical grounds, eliminating the hierarchical status barrier between them. The careless attitude to things Zakhar is symbolic – for both Ilya Oblomov and Zakhar, the inner life of the individual is a priority. Ivan Goncharov, in the person of Ilya Oblomov, acts as an opponent of the satirical trend in literature, declaring himself as Nikolai Gogol's successor. The mission of the artist, expressed by Ilya Oblomov, is to love the person he depicts and cry for his imperfection and fall.
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YAZICI, Nermin. "Cem: The First Comic Book in Western Sense in The Development of Turkish Humour." Journal of Turkish Studies Volume 6 Issue 3, no. 6 (2011): 1299–313. http://dx.doi.org/10.7827/turkishstudies.2588.
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Thomas, S., and M. Palmer. "The montane grasslands of the Western Ghats, India: Community ecology and conservation." Community Ecology 8, no. 1 (June 2007): 67–73. http://dx.doi.org/10.1556/comec.8.2007.1.9.
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de la Iglesia, Martin. "Has Akira Always Been a Cyberpunk Comic?" Arts 7, no. 3 (August 1, 2018): 32. http://dx.doi.org/10.3390/arts7030032.
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Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.
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Wojnowski, Konrad. "„Happy End”, czyli zaciemnianie Hanekego i rozjaśnianie Europy." Załącznik Kulturoznawczy, no. 6 (2019): 473–80. http://dx.doi.org/10.21697/zk.2019.6.24.
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The subject of this essay is the place and meaning of Michael Haneke’s latest film, Happy End (2017), in his filmography. The author, who analyses the comic strategies in the film, suggests that they express a change in the director’s attitude towards today’s Western European problems, which may be related to the point of view of the representatives of the youngest generation in the middle class – people who use different media and language than their parents.
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Sacerdoti, Yaakova. "A Transtextual Hermeneutic Journey." European Comic Art 12, no. 1 (June 1, 2019): 21–40. http://dx.doi.org/10.3167/eca.2019.120103.
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Gérard Genette’s transtextuality theory serves as the basis for a hermeneutic inquiry into Horst Rosenthal’s Mickey au camp de Gurs. Multiple levels of meaning emerge from transtextual links to other literary genres and works of Western culture, from Disney’s early animations to fairy tales and satire, concluding with Dante’s Inferno. This article analyses Rosenthal’s transtextual discourse and shows how his use of the comic genre to depict the horrors of the Gurs internment camp involves readers in what happened there and produces a text that speaks to all. Using Mickey Mouse, the international cartoon hero, alongside referencing the Inferno, a cornerstone of the Western canon, turns Rosenthal’s experience into a universal one and permits author and reader to focus on the emotional level that transcends all rationality.
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Pashayeva, S. "Some Features of Mark Twain’s Humorous Stories." Bulletin of Science and Practice 7, no. 7 (July 15, 2021): 412–18. http://dx.doi.org/10.33619/2414-2948/68/58.
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The article deals with the early short stories of Mark Twain. It illustrates the key features of the humor of Mark Twain’s short stories, and the role of American lifestyle, especially in the Western region’s historical culture, folklore and traditions of newspapers humor in the formation of Mark Twain as a writer. There is an analysis about the mutual relations between humor and critique in the article too. To our conclusion humor was not the main goal in the literary activity of Mark Twain, the main principle and goal of the writer’s works were to discover the materials coming from hypocrisy, dissimulation, ugliness and realities of those times, and their comic potential. That is why to use widely the ways and methods of the comic elements helped the writer to show and describe the personages, characters, things and objects in a conflicting manner with their full details and bareness in various colors.