Thematische Bibliographien / Political comic books, strips

Auswahl der wissenschaftlichen Literatur zum Thema „Political comic books, strips“

Autor: Grafiati

Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Political comic books, strips"

Engel, E. A., und M. V. Deneko. „Linguacreative Foundations of the German Comic Book "Dig, Dag, Digedag"“. Bulletin of Kemerovo State University 21, Nr. 4 (31.12.2019): 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 literary description of the time and place, the most original and interesting scenes in several editions, lexical expressive means and stylistic devices. The semiotic analysis featured the graphics related to the non-verbal component. The linguistic and creative foundations of the comic are manifested in original plots that allow its readers to escape from everyday and political problems through fun, exciting, and informative trips to Ancient Rome, Sicily, ancient Arab countries, the Moon and Mars, as well as to an uninhabited island. The carefully selected scientific and mundane knowledge is transmitted through verbal means and comic book graphics, making young readers expand their horizon. The use of such tools as hyperbole, metaphor, pun, as well as diverse vocabulary within the text of the comic, also suggests linguistic creativity of the German comic book "Dig, Dag, Digedag".

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Redwood, Henry, und Alister Wedderburn. „A cat-and-Maus game: the politics of truth and reconciliation in post-conflict comics“. Review of International Studies 45, Nr. 04 (14.05.2019): 588–606. http://dx.doi.org/10.1017/s0260210519000147.

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AbstractSeveral scholars have raised concerns that the institutional mechanisms through which transitional justice is commonly promoted in post-conflict societies can alienate affected populations. Practitioners have looked to bridge this gap by developing ‘outreach’ programmes, in some instances commissioning comic books in order to communicate their findings to the people they seek to serve. In this article, we interrogate the ways in which post-conflict comics produce meaning about truth, reconciliation, and the possibilities of peace, focusing in particular on a comic strip published in 2005 as part of the Sierra Leone Truth and Reconciliation Commission Report into the causes and crimes of the 1991–2002 Civil War. Aimed at Sierra Leonean teenagers, the Report tells the story of ‘Sierrarat’, a peaceful nation of rats whose idyllic lifestyle is disrupted by an invasion of cats. Although the Report displays striking formal similarities with Art Spiegelman's Maus (a text also intimately concerned with reconciliation, in its own way), it does so to very different ends. The article brings these two texts into dialogue in order to explore the aesthetic politics of truth and reconciliation, and to ask what role popular visual media like comics can play in their practice and (re)conceptualisation.

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Amey, Evgenia. „The distant snowy land where rounded creatures dwell“. Matkailututkimus 19, Nr. 2 (14.12.2023): 6–31. http://dx.doi.org/10.33351/mt.124944.

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With the release of the Moominvalley (2019–) animated TV series, the Moomin characters have once again appeared on screens across the world. Whether this newest adaptation of Tove Jansson’s books and comic strips will initiate a new ‘Moomin boom’ remains to be seen. Nevertheless, the re-appearance of the Moomins in domestic (Finnish) and international media has sparked a resurgence of nostalgia among audiences already familiar with the characters. The present study examines what meanings are attributed to the Moomin stories and sites associated with them in the context of media-induced tourism. The study draws on seven English-language press articles featuring authors’ observations and reflections on their visits to places with connections to the Moomins and/or Tove Jansson in Finland. The personal importance of Jansson’s works and associated locations for these members of the audience is revealed through analysis of the notions of belonging and nostalgia in their accounts. On a wider sociocultural level, the findings demonstrate that values associated with Jansson’s texts are (re)negotiated in new contexts and found relevant in times of contemporary socioeconomic, political and environmental crises, and that it reflects in how places with connections to her and her works are viewed and experienced. The data further show that themes in the Moomin books are viewed in parallel to what is perceived as Finnish values, such as care for others, equality and respect for nature. Finland is also imagined as a fairytalesque land, both the home of the writer and even of the Moomins themselves.

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Moroz, Nina A. „“Dr. Seuss of Beasts and Men: the Cartoonist’s Experience and the Illustrated Tales of the 1930–1950s“. Literature of the Americas, Nr. 15 (2023): 250–75. http://dx.doi.org/10.22455/2541-7894-2023-15-250-275.

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The paper deals with the first decades in the work of Dr. Seuss (the pseudonym of Theodor Geisel, 1904–1991), one of the most prominent children’s authors of the 20th century. Seuss was not only the author of children’s tales, but also a talented artist who illustrated his own books and whose manner was deeply influenced by his 15-year experience as a cartoonist. In 1920–1940s he worked for different print media, from humor magazines to a political newspaper, drew cartoons and commercial advertisements. Our aim is to study the mutual influence of Seuss-thecartoonist and Seuss-the-writer and illustrator. Our main focus is the “bestiary” of Dr. Seuss, the animal characters of his cartoons and tales. Seuss created his first eccentric animals in the series of cartoons and anecdotes for a weekly satirical magazine Judge in 1927; he blended the Victorian tradition of nonsense and the features of newspaper cartoons and comic strips of the first decades of the 20th century. The motif of eccentricity is developed in the first children’s tales that Seuss published at the turn of the 1930–40s. The same motif is significantly transformed in his political cartoons for a daily newspaper PM in 1941–1942. Seuss puts the familiar animal images into the context of World War II and gives them different political meaning, from the totalitarian insanity of the Axis leaders to the carelessness and blindness of the “America First” supporters. Interestingly enough, Dr. Seuss used in his political cartoons some plot elements of his tales for children, as well as his old sketches and drawings. In its turn, his post-war tales are peculiar parables that absorb the political issues of the previous historical period. Creating his images of tyrants, Seuss makes use of the techniques of political cartoons. He puts his human and animal characters into the situations of tyranny or isolationism, that can be overcome with the help of common sense.

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John, A. L. „Comic Books and Comic Strips: A Bibliography of the Scholarly Literature“. Choice Reviews Online 44, Nr. 11 (01.07.2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.

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Li, Yuzhang. „The Development and Evolution of Narrative Characteristics from Comic Strips to Original Chinese Picture Books“. Communications in Humanities Research 26, Nr. 1 (03.01.2024): 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 comic strips in the 80's and 90's. The thesis conducts a comparative study on the differences and similarities between the two and discusses their creative value and contemporary significance.

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Wahyudi, Luqman, und Sri Hesti Heriwati. „Social Criticism about the 2019 Election Campaign in the Comic Strip Gump n Hell“. Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, Nr. 1 (05.05.2021): 56–66. http://dx.doi.org/10.33153/dewaruci.v16i1.3231.

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Comic strips are a top-rated entertainment product. Supported by growing information technology, comic strips today are very accessible to almost all people. In addition to serving as a medium of entertainment, comic strips are often used as a means of opinion and convey criticism creatively from the comic artist. One of the comic strips that are vocal in expressing social criticism is Gump n Hell comic strip by Errik Irwan Wibowo. This comic strip depicts political events that occur, then publishes the comics through social media. This research is qualitative descriptive research using Charles Sanders Peirce's semiotic theory to determine the meaning of social criticism in the comic strip Gump n Hell. The researcher took three Gump n Hell comic strip samples relating to the moment of the 2019 General Election to analyzed the meaning. From the study results, there was an implicit meaning in the comic strip, namely criticizing and satirizing specific political figures related to the phenomenon. Criticism in comics is represented subtly or indirectly through pop culture icons that become representations or parodies of exact political figures and wrapped in narratives according to political phenomena.

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Sputnitskaya, Nina. „The USSR State Leader in the U.S. Superhero Comic Strips in the 1980s: Constructing and Broadcasting Stereotypes About “Russians” in the Historical Context of the Cold War“. Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, Nr. 1 (März 2024): 55–76. http://dx.doi.org/10.15688/jvolsu4.2024.1.6.

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Introduction. There has been a rich tradition of using stereotypes and cliches of Russians in U.S. comic strips since the 1940s. Russian characters represent statehood, cultural dominants, and ethnic stereotypes. They convey the political agenda and civic values and demonstrate reactions to historical cataclysms. The leaders of the USSR represent the state as a political system in comic strips. In the 1980s, the interpretation of the “Russian threat” changed significantly, as did the methods of representing the General Secretary of the Soviet Union. Methods and materials. The article is based on the principles of historicism. The analysis was carried out using a set of methods: descriptive, elements of discourse analysis, and semiotic tools. The work used a range of sources, among which the most important were the issues of graphic comic strips regulating censorship documents and visual representations of Russians. Analysis. The author analyzed the dramaturgy of the 1986–1989 comic strips about the “Russian threat,” in which Mikhail Gorbachev appears. The key motifs that made up the image were identified, an iconological analysis was performed, and the speech characteristics of the protagonists and antagonists of superheroics were analyzed. The dynamics of the image of the leader of the USSR in superhero comic strips were determined by the transition from a caricature image to a Machiavellian ruler of the “Evil Empire,” ready, among other things, to collaborate with the United States. Results. From the point of view of iconography, a number of techniques for depicting Mikhail Gorbachev in comic strips correlate with the techniques of representation of Ronald Reagan. In some comic strips, the strategic superiority of the leader of the USSR over American superheroes is indirectly emphasized. The appearance of realistic features in the image of Gorbachev makes it possible to talk about the expansion of cultural ties between the USSR and the United States, a well-known social demand of the target audience, completely dissatisfied with the stereotypical images of the leaders of the USSR and the country itself.

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Whatley, Edward. „Sources: Comics Through Time: A History of Icons, Idols, and Ideas“. Reference & User Services Quarterly 54, Nr. 4 (19.06.2015): 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 obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.

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Pilch, Pavel. „Smrt kao politička roba u stripu Ljubazni leševi Zorana Panevskog i Ivice Stevanovića“. Slavica Wratislaviensia 168 (18.04.2019): 607–14. http://dx.doi.org/10.19195/0137-1150.168.51.

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Death as a political commodity in the comic book Ljubazni leševi by Zoran Panevski and Ivica StefanoviThe paper deals with the motif of death shown in the comic book Ljubazni leševi by Ivica Stevanović and Zoran Penevski. The author focuses on death “stolen” by the government of the fictional country, which is then used as a commodity in the process of controlling citizens. Death is not feared any more by anyone, which may have catastrophic consequences. Enslaving death may lead to the furious destruction of ethics in society, which is one of the main messages of this comic book allegory. Smrt jako politické zboži v komiksu Ljubazni leševi Zorana Panevského a Ivici StefanovićeČlánek se zabývá motivem Smrti, jak je představena v komiksové knize Ljubazni leševi Ivici Stevanoviće a Zorana Penevského. Soustředíme se na Smrt, která byla „ukradena“ vládou fiktivní země a následně zneužita jako obchodní artikl v procesu kontroly obyvatelstva. Smrti se již nikdo nebojí, což má za může přinášet katastrofické následky. Zotročení smrti může vést ke zběsilému ničení morálky lidské společnosti, což je jedno ze zásadních poselství této komiksové alegorie.

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Dissertationen zum Thema "Political comic books, strips"

Ehritz, Andrew A. „FROM INDOCTRINATION TO HETEROGLOSSIA: THE CHANGING RHETORICAL FUNCTION OF THE COMIC BOOK SUPERHERO“. Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1155044370.

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Chen, Shangyu. „Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /“. online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.

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Bryant, Emi. „"I am Michi!" identity politics in Osamu Tezuka's Metropolis /“. Diss., Connect to the thesis, 2006. http://thesis.haverford.edu/174/01/2006BryantE.pdf.

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Johnston, Patrick James. „Working with comics : labour, neoliberalism and alternative cartooning“. Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65444/.

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The 21st century has seen an unprecedented rise in the volume of comics and graphic novels being produced and consumed and in scholarly interest in the form, with the interdisciplinary field of Comics Studies rising to become a vibrant global community with a significant body of work and an established academic infrastructure. Alternative comics and graphic novels - those outside of the superhero genre-dominated corporate publishing structures of Marvel and DC - have driven this rise and the ensuing legitimation of the form. What defines the specific nature of alternative comics and what they are is the particular work and labour of alternative cartoonists. This work is, in turn, characterized and defined by specific tensions between auteurism (driven by neoliberalism and late capitalism's veneration of the individual and the entrepreneur) and collective production (driven by the sociological perspective of works of art always being the product of many hands). This thesis is an attempt to present specific examples of where these tensions are exhibited and, as a result, to offer new accounts of the specific nature of comics work. It is also an attempt to move away from the formalism that has dominated the field of comics studies and to move towards an understanding of comics as cultural work, informed by an understanding of comics through their creators and an approach that allows comics practice to inform comics theory. Each chapter of this thesis examines a specific aspect of the culture of working in contemporary comics, contextualised within neoliberal political economy and consistently bridging the gap between auteurism and collective production. These include the portrayal of art school and comics' engagement with institutions; the direct portrayal of work itself in alternative comics; the use of colour in comics, which here facilitates a reading of the effects of the technical conditions of production on the content and construction of comics; and finally, the effects of digital culture and new disruptive technologies on the production, distribution and consumption of comics, and how this contributes to a present and future understanding of the figure of the auteur cartoonist. Drawing these chapters together, the thesis concludes with a presentation of the auteur cartoonist as one who drives the contemporary culture of comics and graphic novels in the emerging dialectic of comics work. Comics work is thus situated as a political act and a site of resistance and rebellion through collective production.

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Burton, Benjamin Robert. „The Revolution Will Not Be Politicized: Political Expression in the Manga Adaptations of Kanikōsen“. PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4157.

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Kobayashi Takiji's (1903-1933) Kanikōsen (The Crab Cannery Ship, 1929), the outstanding work from the proletarian literary movement, experienced an influx of new adaptations into various mediums during the years that preceded and followed the "Kanikōsen boom" of 2008. This thesis focuses on two manga adaptations that provide readers with starkly different takes on the original story. Using theories by Scott McCloud and Azuma Hiroki, I first attempt to draw parallels between the form of manga and that of the novel. Then, I examine the manner in which the most explicitly political content of the novel is adapted into the manga versions. Through this examination of form and content, it becomes apparent that, despite their differences, both adaptations reinforce a vague, individualist-humanist ideology that undermines the notions of class consciousness and class struggle that are central to the narrative of Kanikōsen. This diminishing of the explicitly "Red" aspects of the original reflects the Japanese public's general aversion to politics that has persisted since the early 1970's until this day.

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Moody, Kyle Andrew. „"Why so serious?" comics, film and politics, or the comic book film as the answer to the question of identity and narrative in a post-9/11 world /“. Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1249507295.

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Dedman, Stephen. „Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation)“. University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.

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Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.

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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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Bücher zum Thema "Political comic books, strips"

Breathed, Berkeley. Politically, fashionably, and aerodynamically incorrect: The first Outland collection. Boston: Little, Brown, 1992.

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P, McAllister Matthew, Sewell Edward H. 1944- und Gordon Ian 1954-, Hrsg. Comics & ideology. New York: P. Lang, 2001.

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Douglas, Allen. Arab comic strips: Politics of an emerging mass culture. Bloomington: Indiana University Press, 1994.

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Cossio, Jesús. Barbarie: Comics sobre violencia política en el Perú, 1985-1990. [Lima, Perú]: Contra Cultura, 2010.

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), Dony (Ed. La bande dessinée en dissidence / Comics in dissent: Alternative, indépendance, auto-édition / Alternative, independence, self-publishing. Liège: Presses Universitaires de Liège, 2014.

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Rossell, Luis. Rupay: Historias gráficas de la violencia en el Perú, 1980-1984. Lima: Ediciones ContraCultura, 2008.

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Cagle, Susie. Remainders. San Francisco, California: the artist, 2009.

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artist, Terreur Graphique 1977, Hrsg. La communication politique: L'art de séduire pour convaincre. Bruxelles]: Le Lombard, 2017.

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Foundation, Nelson Mandela, und Umlando Wezithombe (Firm), Hrsg. Nelson Mandela: The authorized comic book. New York: W.W. Norton, 2009.

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Group, Marvel Comics, Hrsg. Secret identity crisis: Comic books and the unmasking of Cold War America. New York: Continuum, 2009.

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Buchteile zum Thema "Political comic books, strips"

Nitsch, Cordula. „Content Analysis in the Research Field of Fictional Entertainment“. In Standardisierte Inhaltsanalyse in der Kommunikationswissenschaft – Standardized Content Analysis in Communication Research, 265–75. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-36179-2_23.

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AbstractFictional entertainment accounts for a large share of the overall media content and is very popular with the audience. It is highly diverse in form and content, and differs, for example, regarding media type, genre, and target group. Fictional entertainment comprises novels (e.g., thriller, romance), comic books, TV series (e.g., crime series, daily soaps, medical shows, political drama), children’s programs, feature films, cartoons, box office hits, audio plays, etc. Research on fictional entertainment typically concentrates on audiovisual productions, i.e. TV series and movies.

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Lent, John A. „Comic Strips and Comic Books“. In Encyclopedia of International Media and Communications, 247–57. Elsevier, 2003. http://dx.doi.org/10.1016/b0-12-387670-2/00033-9.

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„Comic Strips and Books“. In Encyclopedia of Lesbian and Gay Histories and Cultures, 389–99. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-44.

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Allen, Paul V. „Ever After (1986 and Beyond)“. In Jack Kent, 130–42. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496846280.003.0015.

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This chapter looks at Jack’s legacy in comic strips and children’s books. It details some of the unpublished projects that ended up at the Kerlan Collection at the University of Minnesota. It also looks at the predictive and influential impact of Jack’s work in children’s books, comic strips, and television, and discusses King Aroo’s revival in the early 2010s via reprints by the Library of American Comics. Finally, the chapter tells about the lives of June Kent and Jack Kent Jr. following Jack’s death.

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Keyes, Ralph. „Coins in Bubbles“. In The Hidden History of Coined Words, 89–101. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190466763.003.0008.

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Cartoons and comic strips have contributed an inordinate number of neologisms to the English lexicon. Many terms we commonly use made their debut in cartoons and comic strips such as Li’l Abner (double whammy), The Timid Soul (milquetoast), and Popeye (goon). The contributions to the vernacular from these sources are due in part to the fact that so many have had longer runs (more than four decades for Li’l Abner alone) than their counterparts in electronic media. In addition, space constraints keep cartoonists from using big words. Active, vivid language is their stock in trade. That terseness, simplicity, and zaniness has appealed to cartoon fans of all ages. During the past century especially, words in comic strips, cartoons, and comic books were among the first ones children read in adult media, and at an impressionable age. Those they assimilated over time became a common part of our discourse.

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Bevin, Phil. „Truth, Justice, and the Socialist Way?“ In Working-Class Comic Book Heroes, 126–46. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816641.003.0005.

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Bevin argues that Grant Morrison’s contribution to DC’s New 52 presents readers with a Superman who starts his career as a partisan social activist fighting for the rights of the most vulnerable in society but who transitions to a superhero who defends “everyone” as his story progresses. Bevin places his analysis in the context of Morrison’s earlier work to argue that his tenure on Action Comics follows his well-established thematic preoccupations and that Superman’s development throughout mirrors the writer’s own political evolution from a critic of Margaret Thatcher’s right-wing United Kingdom government to a popular philosopher suspicious of any strict political dogma, conservative, liberal, or otherwise. Bevin also applies the theories offered by cultural materialist Alan Sinfield in Faultline (1992) to suggest that, as a result of his political development, Morrison is now suspicious of moral absolutes and clear binary divisions.

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Knopf, Christina M. „The Nixon Prezidency and the Politically Cynical Comic Book“. In Politics in the Gutters, 56–74. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834225.003.0004.

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Chapter Four looks at political cynicism, spurred by the war in Vietnam under President Lyndon Johnson and the Watergate scandal of President Richard Nixon, in conjunction with the Voting Rights Act of 1971. The Youth Movement was at the heart of a strange new comic series from DC in 1973: Prez: The First Teen President. With stories of corruption, environmental destruction, international strife, domestic terrorism, and impeachment, Prez, in just four issues, presented a bleak outlook on American politics, one that resonated across four decades with nine different iterations of the Prez character. Prez’s themes of alienation and disaffection, competing with themes of hope and commitment, further resonate throughout major deconstructionist comic works of the 1980s, such as Watchmen, and became integral to much of the work of writer Mark Russell in the 2010s.

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Gaines, M. C. „Narrative Illustration: The Story of the Comics“. In Comic Art in Museums, 88–97. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0008.

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This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.

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Grady, William. „For a Few Comic Strips More: Reinterpreting the Spaghetti Western through the Comic Book“. In Spaghetti Westerns at the Crossroads. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748695454.003.0011.

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In Christopher Frayling's book Spaghetti Westerns (1981), he highlights how the character of the Spaghetti Western has since become subsumed into later Western comic books, evidenced through the Lee Van Cleef-like bounty hunter featured in Morris and Goscinny's bande dessinée (French comic) Lucky Luke: The Bounty Hunter (1972). Drawing upon this relationship, this chapter will take a similar approach to Frayling, who mediates between comic book influences upon the Spaghetti Western and the later reciprocal impact of these Westerns upon the comic book. It begins by demystifying some of the tacit references to the comic-like qualities of the Italian Westerns. This provides context for the exploration of the impact of these films upon the Western comic book, primarily achieved through a case study of the bande dessinée series, Blueberry (1963–2005), by Jean-Michel Charlier and Jean Giraud. In a collection that looks to map the relocation and appropriation of the Spaghetti Western, the chapter reinterprets these Italian productions through the comic book.

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Mok, Annie. „“The Starting Point”: An Interview with Julie Doucet“. In The Comics of Julie Doucet and Gabrielle Bell, 197–205. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.003.0010.

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Julie Doucet has been a role model for two generations of cartoonists. She gained notoriety with her early ’90s Drawn and Quarterly comic book series Dirty Plotte, containing strips like “Heavy Flow,” in which Julie grows to Godzilla proportions while having her period, and she plunges her hand into a drugstore, looking for tampons. After a string of books, including the seminal ...

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Konferenzberichte zum Thema "Political comic books, strips"

Xia, Yihui. „Laughter in Comic Strips in Northeast Asia“. In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-5.

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In the realm of comic books, laughter onomatopoeia (LO) plays a crucial role in character portrayal. The sound symbolism of LO can be used to assign distinct character roles and to suggest similarities in terms of appearance and personality traits. For instance, Kinsui (2014) posited that ‘hoho’ is typically associated with a young woman from a well-respected family. However, scholarship on the relationship between variable LO and character types is limited in the current literature, emphasizing the need for further study. This thesis addresses this research gap by examining the association between phonological features and character types. Using the Japanese comic series ‘One Piece’ as a case study, the research collected laughter phrases and utilized a laughter notation system to assign character roles. The results suggest that characters employing LO with common phonological elements possess analogous external and personality characteristics, demonstrating the impact of sound symbolism on character attributes, with voiced sounds, p sounds, and palatalization sounds having distinctive correlations with specific character traits.

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