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Bibliografias temáticas / A Comic books, strips

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Literatura científica selecionada sobre o tema "A Comic books, strips"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 30 de julho de 2024

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Artigos de revistas sobre o assunto "A Comic books, strips"

1

Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas." Reference & User Services Quarterly 54, no. 4 (2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.

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Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and

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2

Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.

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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419

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3

Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.

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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comic

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4

Engel, E. A., and M. V. Deneko. "Linguacreative Foundations of the German Comic Book "Dig, Dag, Digedag"." Bulletin of Kemerovo State University 21, no. 4 (2019): 1139–49. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1139-1149.

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The paper features linguistic and creative foundations in the German comic book "Dig, Dag, Digedag". Modern linguacultural, cognitive studies, and discursive practices are aimed at studying comics, which are a series of drawings with brief accompanying texts. However, comic books consist of two components – verbal and nonverbal, which means that graphic novels and strips have linguacreative foundations. The author performed philological and semiotic analyzes to identify the linguistic and creative foundations of the German comic book. The algorithm of the philological analysis included literar

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5

Dozier, Ayanna. "Wayward Travels." Feminist Media Histories 4, no. 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.

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Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black w

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6

Plekhanov, A. A. "The magazine Krokodil as a space of the Soviet comic strip in the 1940s." Shagi / Steps 9, no. 3 (2023): 192–217. http://dx.doi.org/10.22394/2412-9410-2023-9-3-192-217.

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The article is devoted to the history of Soviet comics in the 1940s through the example of the Krokodil magazine. The first part discusses stereotypes about the history of comics in the USSR, analyses the concept of the comic strip as the main form of comics in the Soviet period, and considers the use of Media studies as a framework. The purpose of the article is to examine the work of Krokodil as a space for the development of the Soviet comic strip, through R. Duncan’s and M. J. Smith’s communication model of the comic book. The second part explores the process of work of the magazine’s arti

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7

Kühn Paulsen, Felix. "Rytme og netværk i Homo Metropolis." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (2018): 47–59. http://dx.doi.org/10.7146/pas.v33i79.127527.

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   This article investigates serialization in newspaper comic strips (exemplified by Danish Nikoline Werdelin’s strip Homo Metropolis) with a dual focus on publication structure and composition of individual strips. Reading the forms of Rhythm and Network as symptoms of serialization, the analysis seeks to outline the difference between meeting the comic strip in daily newspapers or in collected books. Furthermore, it investigates how the actual punchlines takes form through constant fluctuation between repetition and interruption. In this way, the article reads Homo Metropol

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8

Li, Yuzhang. "The Development and Evolution of Narrative Characteristics from Comic Strips to Original Chinese Picture Books." Communications in Humanities Research 26, no. 1 (2024): 216–26. http://dx.doi.org/10.54254/2753-7064/26/20232066.

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After nearly one hundred years of interpretation, comic strips can be chronologically sorted into emergent, prosperity, change and bottleneck. Through research, this paper discusses the comprehensive impact of social and economic factors on each of these periods and deduces and summarizes the characteristics of differentiated narratives. In the new period, Chinese comic strips gradually receded due to market factors, while original Chinese picture books grew. Although there is a difference in the visual presentation form between the two, they have partly inherited the characteristics of the co

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9

John, A. L. "Comic Books and Comic Strips: A Bibliography of the Scholarly Literature." Choice Reviews Online 44, no. 11 (2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.

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10

Derkachova, Olga, Oksana Tytun, and Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 16–22. http://dx.doi.org/10.15330/msuc.2022.26.16-22.

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The article deals with the research on comics' educational and cultural potential, particularly inclusive comic books, and their influence on inclusive culture formation. Inclusive graphic stories have long been part of the readership abroad. Gradually, this tradition is becoming popular in the Ukrainian cultural space. The chronology of the implementation of inclusive education in Ukraine is established, a brief overview of the regulatory framework is given. There is more and more inclusive literature on the Ukrainian book market: it is both translations and works of domestic writers, it is l

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