Thematische Bibliographien / Cats – Comic books, strips, etc

Auswahl der wissenschaftlichen Literatur zum Thema „Cats – Comic books, strips, etc“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "Cats – Comic books, strips, etc"

ADAMS, JIMI. „Glee's McKinley High: Following Middle America's sexual taboos“. Network Science 3, Nr. 2 (13.05.2015): 293–95. http://dx.doi.org/10.1017/nws.2015.16.

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Writers for popular media frequently draw on insights known about social networks in developing their plotlines and character biographies (whether in books, television, movies, etc.). Perhaps most known to network analysts in this respect, Freeman (2000) presents a collection of network concepts represented in comic strips. These depictions often are consistent with the patterns network analysts observe in real-world empirical examples. For example, the long-running sitcom Friends exhibited strong homophily (McPherson et al., 2001) or assortative mixing on race and socioeconomic status among the main characters. Other times the violation of these typical patterns can serve to generate dramatic tension or a source of comedy. For example transitivity—or the tendency of one's friends to also become friends (Holland & Leinhardt, 1972)—is absent in the movie Hush where Jessica Lange's character plots to kill the daughter-in-law she does not like. P-O-X social balance (Heider, 1948) describes the tendency for friends to share common interests, which was violated to comedic effect in the Seinfeld episode where Jerry's character simply cannot accept his date's refusal to try a taste of the pie he finds delicious, bothering him for days and ultimately leading to his ending the relationship.

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Boyd, Kelly. „Big Nate Makes the Grade by L. Peirce“. Deakin Review of Children's Literature 2, Nr. 3 (24.12.2012). http://dx.doi.org/10.20361/g27w2j.

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Peirce, L. Big Nate Makes the Grade. Missouri: Andrews McMeel Publishing, LLC, 2012. Print. Nate Wright is back in another dynamic graphic novel by author and illustrator Lincoln Peirce. For fans of the series, Big Nate Makes the Grade will not disappoint. Readers will find Nate to posses the same mischievous personality that has made him famous. He still holds the school record for detentions and continues to try and outdo his nemesis at every opportunity. In Big Nate Makes the Grade, readers are treated to Nate’s old tricks as he tries to navigate through an entire school year at P.S. 38. An ensemble of middle school characters like Mrs. Godfrey, Principal Nicholas, custodian Emmitt and Nate’s buddies are a comical supporting cast. Lincoln Peirce has been drawing the Big Nate comic strip for the past 20 years. A former high school teacher, Peirce knows all about classroom antics. This experience coupled with his passion for cartooning has led to a successful career as an author/cartoonist. Peirce has adopted the traditional comic book storytelling pattern, with sequences of pictures in a four panel format. He also uses a spattering of less uniformed pages dispersed throughout the book. These pages aid readers in following the storyline as there are no chapter breaks. The purposeful use of font by Peirce supports the humorous overtone of the text and conventional black and white sketches capture the full range of emotion. It would be remiss if I did not mention the misleading nature of the cover. Nate does not in fact receive an A+ on a test at any point throughout the book. Cautionary note: some of the humour belittles others (name calling etc.). This is a book that will appeal to young readers, especially boys or those reluctant to delve into longer texts. For anyone still needing their “Big Nate” fix, check out www.bignatebooks.com! Recommended: 3 out of 4 stars Reviewer: Kelly Boyd Kelly Boyd is a teacher-librarian and Social Studies teacher at Summerside Intermediate School in Summerside, PEI. She loves to read and sharing this passion with her students is one of the highlights of her job. She is excited to make selections and recommend books that will hook reluctant readers and open the world of reading to them.

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Dissertationen zum Thema "Cats – Comic books, strips, etc"

Lorenz, Peter. „Maßnahmen zur Schaffung einer zukunftsfähigen Organisation der Comic-Spezialbibliothek "Bei Renate"“. Berlin : Humboldt-Universität zu Berlin, 2005. http://books.google.com/books?id=SYtQAAAAMAAJ.

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Pevey, Aaron. „From Superman to superbland the Man of Steel's popular decline among postmodern youth /“. unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04172007-133407/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Chris Kocela, committee chair; Paul Schmidt, Michael Galchinsky, committee members. Electronic text (95 p. : ill. 9some col.)) : digital, PDF file. Description based on contents viewed Nov. 16, 2007. Includes bibliographical references (p. 78-81).

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Herman, Janique Luschan Vogl. „An interrogation of morality, power and plurality as evidenced in superhero comic books: a postmodernist perspective“. Thesis, University of Fort Hare, 2013. http://hdl.handle.net/10353/d1005646.

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The desire for heroes is a global and cultural phenomenon that gives a view into society’s very heart. There is no better example of this truism than that of the superhero. Typically, Superheroes, with their affiliation to values and morality, and the notion of the grand narratives, should not fit well into postmodernist theory. However, at the very core of the superhero narrative is the ideal of an individual creating his/her own form of morality, and thus dispensing justice as the individual sees fit in resistance to metanarrative’s authoritarian and restrictive paradigms. This research will explore Superhero comic books, films, videogames and the characters Superman, Spider-Man and Batman through the postmodernist conceptions of power, plurality, and morality.

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Young, Hiu-tung. „Problems of translating contemporary Japanese comics into Chinese the case of Crayon Shinchan /“. Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39848863.

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Gay, Stephanye Anne. „ShieldCross an exploration of sequential art ; an honors project /“. [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Gay_Stephanye_Anne.pdf.

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Frail, James H. „Powers and abilities far behind those of mortal men an examination of the comic book industry and subculture through a feminist sociological perspective /“. Huntington, WV : [Marshall University Libraries], 2004. http://www.marshall.edu/etd/descript.asp?ref=424.

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McCoy, Kuleen O. „The funnies are a serious business : how local newspaper editors make decisions concerning diverse and controversial comic strips /“. Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08222009-040404/.

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Du, Plessis Carla (Carla Susan). „Reconsidering the conventions employed in comix and comix strips“. Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21211.

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Young, Hiu-tung, und 楊曉彤. „Problems of translating contemporary Japanese comics into Chinese: the case of Crayon Shinchan“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39848863.

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Brienza, Casey Elizabeth. „Domesticating Manga : Japanese comics, American publishing, and the transnational production of culture“. Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648154.

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Bücher zum Thema "Cats – Comic books, strips, etc"

author, Puttkammer Kyle, Williams, Marcus (Comic book artist), ill, Sellers, Ryan (Graphic designer), ill, aSchultz Omaka ill und Higgins Briana ill, Hrsg. Hero cats of Stellar City: New visions. Pittsburgh, PA: Action Lab, 2017.

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Mike, Peters. Grimmy: Friends don't let friends own cats. New York: Tom Doherty Associates, 1996.

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translator, McElheny Marlaina, Hrsg. FukuFuku: Kitten tales. New York, NY: Vertical, Incorporated, 2017.

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Hoshi, Yoriko. Kyō no Nekomura-san. Tōkyō: Magajin Hausu, 2006.

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Hoshi, Yoriko. Kyō no Nekomura-san. Tōkyō: Magajin Hausu, 2008.

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Hoshi, Yoriko. Kyō no Nekomura-san. Tōkyō: Magajin Hausu, 2005.

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Schulz, Charles M. Dogs Are from Jupiter (Cats Are from the Moon). San Francisco: CollinsPublishersSanFrancisco, 1996.

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Antonello, Dalena, Giorgilli Cristina ill, Ferrari, Alessandro (Alessandro Q.), author, Forlini Valentino, Grasso Emilio, Usai Luca, Frare Michela 1976 ill, Walt Disney Pictures und Pixar (Firm), Hrsg. Disney-Pixar Cars comics treasury. Toronto, Ontario: Joe Books, 2017.

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Little, Jean. Garfield hams it up. New York: Ballantine Books, 1997.

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Yuko, Ota, Hrsg. Our cats are more famous than us: A Johnny Wander collection. Portland, OR: Oni Press, Incorporated, 2017.

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Buchteile zum Thema "Cats – Comic books, strips, etc"

Tichi, Cecelia. „Comics, Movies, Music, Stories, Art, 1V-on-1V, Etc.“ In Electronic hearth, 208–32. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195079142.003.0011.

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Abstract The TV environment ratifies itself everywhere. Cartoons, comic strips, fabric prints, sculpture, music, paintings, flip books, T-shirts, jewellry, movies, and TV itself—these, along with printed texts, have featured television prominently, often critically, both attacking television and at the same time exploiting its resources, but above all affirming and validating the TV environment. Television is by now ubiquitous in virtually every cultural format and venue in the United States. It takes shape as familial hearth, as the illuminator/corruptor of children, as the paradoxical site of sedentary activism, as the locus of a new, multivalent consciousness. It is a source of language, virtually a contemporary phrasebook, and certifies human experience in contexts ranging from sports stadiums to personal spaces where camcorder cassette tapes are played on personal screens. Every sign of it, from a T-shirt front to a refrigerator magnet reinforces the idea of the TV environment, one extending from the Magic Screen on “Pee-Wee’s Playhouse” to the video apparatus (video camera, VCR, big-screen monitor) on which the pantomime, Will Irwin, the electronic-age Charlie Chaplin, performs onstage in his one man video vaudeville act. Everywhere television is ratified as it is reified in contemporary culture.

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