Zeitschriftenartikel zum Thema „Political comic books, strips“
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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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Kühn Paulsen, Felix. „Rytme og netværk i Homo Metropolis“. Passage - Tidsskrift for litteratur og kritik 33, Nr. 79 (01.07.2018): 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 Metropolis as an example of how serialized storytelling constantly negotiates the tension between the individual story/punchline and larger network of narratives.
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Zahavi, Dan. „Manhattan Dynamite and no pancakes: Tradition and normality in the work of Tove Jansson“. SATS 19, Nr. 1 (26.07.2018): 5–19. http://dx.doi.org/10.1515/sats-2017-3001.
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Abstract It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition.
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Guynes, Sean A. „Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia“. Public Journal of Semiotics 6, Nr. 1 (23.12.2014): 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 comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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Jiang, Yajun, und Lina Paola Ángel Jiménez. „Money Metaphors We Live By: Analyzing Chinese Comic Books based on CMA“. International Journal of Literature Studies 4, Nr. 1 (18.01.2024): 11–20. http://dx.doi.org/10.32996/ijts.2024.4.1.2.
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Chinese comic books appear to be filled with bright colors and interesting characters, but they also offer insight into the daily life relations and societal principles of modern China. In this study, we examined the construction and underlying meanings of money metaphors in Zhu Deyong’s comic book series We Are All Patients, and We Are All Patients 2: Love with an Idiot, using the conceptual metaphor theory (CMT). By mapping abstract concepts into more concrete and familiar domains, CMT conveys complex ideas, emotions, and social commentary in a way that readers can easily understand. We analyzed thirty-nine randomly chosen comic strips from Zhu’s comic books using Charteris-Black’s (2004) inductive method, conceptual metaphor analysis (CMA), to identify, explain, and interpret different metaphors. Through our analysis, we highlighted the most prominent money metaphors and how they relate to the current love and friendship relations made by modern Chinese people in their everyday lives. We found that money metaphors are classified into seven source domains: barrier, drug, tool, almighty, exchange, principle, and ambition.
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Cabut, Jean (Cabu). „Cabu Reporter“. European Comic Art 2, Nr. 1 (01.01.2009): 131–51. http://dx.doi.org/10.3828/eca.2.1.8.
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French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work
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Dozier, Ayanna. „Wayward Travels“. Feminist Media Histories 4, Nr. 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 woman navigating racialized gender discrimination and pursuing her desires despite her “respectable status,” with sometimes terrifying results. In the process, it works to redress the paucity of scholarship on Black women's contributions to comic books and strips.
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Jankowski, Jakub. „A estrutura abertíssima às interpretações: Tutti Frutti, de Marco Mendes“. Sur le journalisme, About journalism, Sobre jornalismo 12, Nr. 2 (22.12.2023): 104–25. http://dx.doi.org/10.25200/slj.v12.n2.2023.570.
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PT. No presente artigo, pretendo reler o álbum de tiras « Tutti Frutti », de Marco Mendes, como uma reportagem visual fragmentária. O livro é composto de tiras de BD publicadas diariamente entre Junho e Dezembro de 2018, no Jornal de Notícias. Uma vez reunidas as tiras, em 2019, no formato do livro, mudam a sua contextualização e abrem-se as possíveis leituras translineares. Tutti Frutti faz parte do projeto « Diário Rasgado » e pode ser visto como a consequência do desenvolvimento da atividade artística de Mendes que, entre as obras dele, mais se aproxima de uma reportagem completa, estruturada cronologicamente e organizada num único livro. A própria forma materializada de « Tutti Frutti » em um álbum implica a leitura de tiras soltas como peças de uma totalidade e o título logo sugere uma variedade de temas. O objeto da minha análise primária é o padrão de como as tiras separadas funcionam no espaço narrativizante do álbum « Tutti Frutti ». Considerar estas tiras como as peças de um projeto maior possibilita ver nelas os padrões de uma reportagem. Possibilita também percebê-las como se estivessem a cronicar o ano 2018 em que foram sendo criadas no regime diário para refletir sobre a realidade sociopolítica e sobre o papel que nela desempenham pessoas-protagonistas. Criou-se, assim, um retrato de acontecimentos e questões mais marcantes para aquele ano no qual a perspectiva subjectivizante do Autor evidencia pontos de encontro com as experiências dos leitores. Ao longo da análise de Tutti Frutti, vou recorrendo aos conceitos teóricos como openness, tressage ou closure sempre quando for oportuno introduzi-los como ferramentas analíticas e / ou interpretativas.Tutti Frutti torna-se numa obra aberta que aproveita o estruturalismo significativo da banda desenhada para despertar as experiências da leitura únicas para este meio artístico.
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EN. In this article, I propose to re-examine the strip album "Tutti Frutti", by Marco Mendes, as fragmentary visual reportage. This book presents comic strips published between June and December 2018 in the daily newspaper Jornal de Notícias. Bringing them together in a single volume in 2019 changes their contextualization and opens the way to possible translinear readings. “Tutti Frutti” is part of the Diário Rasgado [Torn Diary] project and can be considered, within the development of Mendes' artistic activity, as one of his works which draws closest to a full reportage, structured chronologically and brought together in a single work. The very format of "Tutti Frutti", organized as an album, implies reading the various strips as elements of a whole, the title immediately suggesting a variety of themes. My first analysis focuses on the way individual strips function within the narrative space of the "Tutti Frutti" album. Considering these strips as parts of a larger project, it's possible to observe the characteristics of a reportage. It's also possible to see them as a chronicle of the year 2018, during which they were created at a daily pace, prompting reflection on the socio-political situation and the role played by their main characters. The result is a portrait of the most significant events and issues of that year, in which the author's subjective perspective points to connections with readers' experiences. In my analysis of “Tutti Frutti”, I will use theoretical concepts such as openness, interweaving and closure whenever appropriate, as analytical and/or interpretative tools. “Tutti Frutti” is presented as an open work that draws on the significant structuralism of comics to create unique reading experiences specific to this artistic medium.
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FR. Dans cet article, je me propose de procéder à une relecture de l'album de strips « Tutti Frutti », de Marco Mendes, en tant que reportage visuel fragmentaire. Ce livre présente des strips de BD publiés entre juin et décembre 2018 dans le quotidien Jornal de Notícias. Leur regroupement au sein d'un même ouvrage, en 2019, change leur contextualisation et ouvre la voie à de possibles lectures translinéaires. Tutti Frutti fait partie du projet « Diário Rasgado » [Journal déchiré] et peut être considéré, au sein du développement de l'activité artistique de Mendes, comme l'une de ses œuvres la plus proche d'un reportage complet, structurée chronologiquement et réunie en un seul livre. Le format même de « Tutti Frutti », organisé en un album, implique de lire les différents strips comme autant d'éléments d'un tout, le titre suggérant d'emblée une variété de thèmes. Ma première analyse porte sur le mode de fonctionnement des strips individuels au sein de l'espace narratif de l'album « Tutti Frutti ». En considérant ces strips comme les pièces d'un projet plus vaste, il est possible d'y observer les caractéristiques d'un reportage. Il est aussi possible d'y voir une chronique de l'année 2018, au cours de laquelle ils ont été créés à un rythme quotidien, poussant à la réflexion sur la situation sociopolitique et sur le rôle qu’y tiennent leurs personnages principaux. Un portrait des événements et des enjeux les plus marquants de cette année-là est ainsi dressé, dans lequel la perspective subjectivante de l'auteur fait apparaître des points de rencontre avec les expériences des lecteurs. Au cours de l'analyse de Tutti Frutti, j'utiliserai des concepts théoriques tels que ceux d’openness, de tressage ou de closure, chaque fois qu'il sera opportun de les introduire en tant qu'outils analytiques et/ ou interprétatifs. Tutti Frutti se présente comme une œuvre ouverte qui tire parti du structuralisme significatif de la bande dessinée pour susciter des expériences de lecture uniques, propres à ce support artistique.
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ES. En este artículo pretendo releer el álbum de cómics Tutti Frutti de Marco Mendes como un reportaje visual fragmentario. El libro se compone de tiras cómicas publicadas diariamente entre junio y diciembre de 2018 en Jornal de Notícias. Una vez reunidas las tiras en 2019 en formato libro, su contextualización cambia y se abren posibles lecturas translineales. Tutti Frutti forma parte del proyecto Diário Rasgado [Diario rasgado] y puede ser visto como la consecuencia del desarrollo de la actividad artística de Mendes que, entre sus obras, se acerca más a un reportaje completo, estructurado cronológicamente y organizado en un solo libro. La forma de Tutti Frutti en sí misma, materializada en un álbum, implica la lectura de las tiras sueltas como piezas de un todo, y el título sugiere inmediatamente una variedad de temas. El objeto de mi análisis principal es el patrón de funcionamiento de las tiras separadas en el espacio narrativizante del álbum Tutti Frutti. Considerar estas tiras como las piezas de un proyecto mayor permite ver en ellas las pautas de un reportaje. También permite percibirlas como si fueran crónicas de 2018, año en el que fueron creadas diariamente para reflexionar sobre la realidad sociopolítica y el papel que las personas-protagonistas desempeñan en ella. De esta forma se creó un retrato de los acontecimientos y temas quizá más significativos de aquel año, en el que la perspectiva subjetivadora del autor pone de relieve puntos de encuentro con las experiencias de los lectores. A lo largo del análisis de Tutti Frutti recurro a conceptos teóricos como openness, tressage o closure, siempre que sea oportuno introducirlos como herramientas analíticas y/o interpretativas. Tutti Frutti se convierte en una obra abierta que aprovecha el estructuralismo significativo del cómic para despertar las experiencias de lectura propias de este medio artístico.
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Yaszek, Lisa. „“Them Damn Pictures”: Americanization and the Comic Strip in the Progressive Era“. Journal of American Studies 28, Nr. 1 (April 1994): 23–38. http://dx.doi.org/10.1017/s0021875800026542.
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As William Tweed noted over a century ago, the cartoon, with its combination of graphic and text, can be a dangerous political weapon. Indeed, the Tammany Hall boss's career was destroyed when he was arrested for kidnapping in 1875 — an arrest made by a police officer who recognized Tweed from a newspaper cartoon. Likewise, when comic strips first appeared in the American sensation papers of the 1890s, they too were seen as having important, and potentially threatening, political and social ramifications. Journalists such as Oswald Villard condemned newspaper baron William Randolph Hearst for using the comic strip as a cheap ploy to boost circulation, claiming that it compromised journalistic integrity. Meanwhile, genteel reformers waged their own war against comic strips, worried that the slapstick action and irreverent content would erode middle-class American values and “foster a spirit of disrespect and insubordination… by their glorification of cheeky, iconoclastic urchins.”
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Bertetti, Paolo. „Buck Rogers in the 25th century: Transmedia extensions of a pulp hero“. Frontiers of Narrative Studies 5, Nr. 2 (28.11.2019): 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 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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Tsyrkun, Nina Alexandrovna. „A Hero and His Mask in Strip Cartoons“. Journal of Flm Arts and Film Studies 4, Nr. 4 (15.12.2012): 28–37. http://dx.doi.org/10.17816/vgik4428-37.
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The article investigates the dialectics of the relationship between the character of the film based on comic strips and his mask as an essential attribute of the genre, the characters of which are mainly reduced to external evidence. Since comic strips have nowadays become the multicultural phenomenon, it is viable to analyze the matter on the example of the three films by directors from different countries. These are typical examples of the main types of the forenamed dialectics. Each of them therefore fits well in its peculiar way into the modern social-psychological and social-political context, indicating the applicability of the genre.
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Bovan, Kosta. „Transgenerational Trauma in Comic Books“. Politička misao 59, Nr. 4 (23.12.2022): 116–45. http://dx.doi.org/10.20901/pm.59.4.06.
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Transgenerational trauma refers to the situation where children are traumatizedby the experiences of their (grand)parents. It is a unique combination ofindividual, familial, and collective (cultural) traumatic processes. The intertwiningof these processes poses a particular representational challenge, onethat could be overcome by the comics medium. It was proposed by variousauthors that the visual language of comics is particularly useful for portrayingtraumatic experiences, such as the fragmentation of time, trauma’s belatednessand the haunting presence of the past. In this article I analyse twographic novels, Heimat: A German Family Album by Nora Krug and Sunday’sChild by Serena Katt, both of which explore the transgenerational perpetratortrauma, and the roles the authors’ families had during the Second World War.I show how the authors use representational and aesthetic choices that helpthem convey the process of fact-searching as well as emotional engagementand imagination that is characteristic for transgenerational trauma.
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Fallianda, Fallianda, Rani Yuni Astiti und Zulvy Alivia Hanim. „Analyzing Humor in Newspaper Comic Strips Using Verbal-Visual Analysis“. Lingua Cultura 12, Nr. 4 (29.11.2018): 383. http://dx.doi.org/10.21512/lc.v12i4.4911.
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The researchers aimed at analyzing the meaning of humor in newspaper comic strips within a variety of incongruous combinations of multimodal rhetoric. The current research focused on how humor was produced via verbal medium only, via both verbal and visual media, as well as via visual only. The source of data was 74 political comic strips featured in Kompas newspaper. The General Theory of Verbal Humor (GTVH) was adapted as a framework of analysis. The analysis of the data confirms the following categorization: 49 humors appear only in text, 22 humor result from the interaction of text and image, and three humor come from images. In addition, humor which appears in text only and cases of the interaction between the two semiotic modes (either complementary or contradictory) is based on puns, exaggerations, contradictions, analogies, parallelisms, or verbal metaphors. Special attention is given to humor produced by the interaction of both text and image and by the images only which cause the hyperdetermination of humor, which can produce two or more humorous utterances. Meanwhile, the humor appeared in visual comic strips is produced exclusively by the visual language of knowledge resources.
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Bunok, Grazella monary, Nihta V. F. Liando und Alloysius Rettob. „TENTH-GRADE STUDENTS’ READING HABIT“. SoCul: International Journal of Research in Social Cultural Issues 2, Nr. 1 (19.05.2023): 496–504. http://dx.doi.org/10.53682/soculijrccsscli.v2i1.2769.
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The present study tries to find out how students’ reading behavior in this digital era, especially during Covid 19 pandemic by assessing SMA students’ preference for online materials, their preferred language when reading online materials, the online reading habits of the students, and the amount of time they spend in reading online every day. The study was a survey that involved 44 tenth graders at SMA Negeri 1 Tabukan Utara in Likungan, Sangihe. The data were collected using a questionnaire adapted from Abidin, Pour-Mohammadi, & Jesmin (2011). The data collected were analyzed in percentages. Results of the analysis indicated that (1) the most common activities they are interested in are chatting, surfing the internet, and games, (2) concerning online reading materials, they prefer reading e-books, e-mail, stories, or novels, and comic strips/jokes. The majority of the respondents 89% prefer reading online reading materials in Indonesia, and (3) male respondents read more news, e-mails, and comic strips/jokes. Female respondents, on the other hand, preferred reading e-magazines, e-books, and movie reviews, and (4) the highest percentage of respondents (43%) spent 1-3 hours online daily reading. It is concluded that female respondents spent more time on online reading compared to their male counterparts.
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Lewandowski, Wojciech. „Political Monologue vs. Political Dialogue in Graphic Novels“. Przegląd Europejski, Nr. 4-2016 (30.04.2017): 76–86. http://dx.doi.org/10.31338/1641-2478pe.4.16.5.
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Can a comic book communicate support to political status quo and strive to educate a society of obedient citizens who share common conservative values? Can it, in other cases, encourage tough questions and sound rebellious? And why are graphic novels so efficient as means of propaganda and ideological impact? Selected stories from “Commando” and “Battle” war comic series are discussed along with Alan Moore’s and David Lloyd’s V for Vendetta in order to look at hierarchical versus anarchistic political communication in British graphic novels. Special attention is paid to uniqueness of comic books as a medium.
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Suseno, Edy. „TEACHING GRAMMAR TO YOUNG LEARNERS USING COMIC STRIPS AND GTM AND THE IMPACT ON THEIR SPEAKING SKILLS“. Jurnal Pendidikan Bahasa Inggris Indonesia 8, Nr. 2 (26.11.2020): 19–30. http://dx.doi.org/10.23887/jpbi.v8i2.3034.
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Practicing speaking in EFL to the young learners especially to the fifth graders is challenging. They do not have enough vocabulary in their repertoire so that it is often difficult for them express their ideas in the foreign language.They also could not construct appropriate sentences to reflect how well they have learnt so far. For this reason, the implementation of the grammar-translation method may be needed to help them focus on grammatical aspect of the foreign language to enhance their perspective in learning grammar and reading comprehension. Moreover, the use of books, podcast, comic strips and electronic dictionary could support the process of treatment. By implementing this kind of method, the students could enhance their speaking skills. They also have the opportunity to experience with language use and support their progress in speaking. This kind of development could be seen from the result of the pre-test and post-test. The progress of development was significant which reflect the positive impact of comic strips and GTM on children speaking skills
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Lefèvre, Pascal. „The Conquest of Space“. European Comic Art 2, Nr. 2 (01.06.2009): 227–52. http://dx.doi.org/10.3828/eca.2009.4.
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This article focuses on panel arrangements and page layouts of early comics published in Belgium in the five decades before the start of Tintin in 1929. It investigates the degree of standardisation in this pivotal period, in which the old system of graphic narratives with captions evolved to comics with balloons. The years between 1880 and 1929 boasted a variety of publication formats (broadsheets, illustrated magazines for adults and for children, comic strips, artists' books), within which one can see both similar and different conventions at work.
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Novaković, Nikola. „Carnivalesque humour in Ça, c’est Filarmo, Nic“. Libri et liberi 8, Nr. 1 (31.10.2019): 27–54. http://dx.doi.org/10.21066/carcl.libri.8.1.4.
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The article analyses the humour in Hermann Huppen and Morphée’s series of comic books about a boy called Nick, with primary focus on the third issue, Ça, c’est Filarmo, Nic [That’s Filarmo, Nick]. Drawing on Bakhtin’s theory of the carnivalesque, the article identifies a variety of humorous devices, including wordplay, puns, quotations, unusual transformations, and mésalliances. Special attention is paid to the visual level of the comic book. Humour is located in visual metamorphoses, invisible “phantom” panels, and the incongruity between words and images. The article also addresses the comic book’s intertextual ties with Little Nemo in Slumberland, a series of comic strips from the early 20th century, and compares the way authority is represented and challenged in the two texts. The impossible spaces that Nick traverses within the chronotope of the road are examined as places that invert the usual hierarchies and relations, allowing Nick to experience a level of agency usually reserved for adults. The end of Nick’s travels across the dreamscape is examined as both a departure and continuation of the pattern from Little Nemo, and as a logical conclusion of a temporary carnivalesque subversion of traditional structures that dominate the adult world.
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Van Heerden, Cornelius. „Newspaper cartoons as a reflection of political change during the first democratic elections in South Africa“. Communicare: Journal for Communication Studies in Africa 13, Nr. 2 (07.11.2022): 103–20. http://dx.doi.org/10.36615/jcsa.v13i2.1998.
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The first Southern African cartoonists were probably the Stone Age Bushman whose drawings adorn rock faces in this part of the continent. Modern cartoonists may use more sophisticated equipment but their drawings, although on recyclable print, also reflect a particular part of our history. The following view of Schoonraad et al (1989:15: "A collection of cartoons covering a particular period, will present an unequalled graphic history of political and current events" They also add that the state of any nation is reflected by its newspaper cartoons Geipel 1972 argues that to the historian, cartoons represent priceless primary source of information about fleeting modes and morals of the passing generations. Few commentators Pretoria will disagree that the run-up to the 1994-election can be regarded as one of the most crucial moments in South African history. The focus will only be on the editorial cartoon usually found on the centre pages of Sunday and daily newspapers and not on comic strips of which the majority are from US-syndications. The only local comic strips that provide (198 social and political commentary are "Ben, Babsie en Famille" and "Louis die Laeveld Leeu".
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Chireau, Yvonne. „Looking for Black Religions in 20th Century Comics, 1931–1993“. Religions 10, Nr. 6 (25.06.2019): 400. http://dx.doi.org/10.3390/rel10060400.
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Relationships between religion and comics are generally unexplored in the academic literature. This article provides a brief history of Black religions in comic books, cartoons, animation, and newspaper strips, looking at African American Christianity, Islam, Africana (African diaspora) religions, and folk traditions such as Hoodoo and Conjure in the 20th century. Even though the treatment of Black religions in the comics was informed by stereotypical depictions of race and religion in United States (US) popular culture, African American comics creators contested these by offering alternatives in their treatment of Black religion themes.
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Roberts, Garyn G. „Understanding the Sequential Art of Comic Strips and Comic Books and Their Descendants in the Early Years of the New Millennium“. Journal of American Culture 27, Nr. 2 (Juni 2004): 210–17. http://dx.doi.org/10.1111/j.1537-4726.2004.00131.x.
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Lichtblau, Krzysztof. „Polski komiks wojenny z czasów PRL-u“. Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (12.12.2017): 80–89. http://dx.doi.org/10.24917/3919.
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Polish comic books from the Polish People’s Republic period After years of fighting with comics book the authorities of the Polish People’s Repulic started using it for its own objectives. Propaganda was the basic target of the comic book narration and interference in history was the main element of it. In my publication I will present images of war created by authorities in the main comic books from the Polish People’s Republic period.Propaganda used by authorities helped to show friendship between Poland and Soviet Union. What is more, using comic books in a political game allowed to create a demonic image of the so-called enemies; Germany especially, but also everything what was connected to the west politics and culture was considered hostile.Comic books became a great tool in governments’ hands for propaganda objectives. Simpifications and contrasts which are used in comics were a great way of ideological speech.Key words: comic book; war; propaganda;
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Sosa-Abella, Mireya, und Ricardo M. Reyes. „Political humor in comic strips: A comparative analysis between Oriental and Occidental approaches“. International Journal of Cultural Studies 18, Nr. 2 (03.03.2014): 243–59. http://dx.doi.org/10.1177/1367877914520894.
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Tuttle, Elizabeth. „“Boxed” Time in Seventeenth-Century English Prints: Early “Comic Strips” and Political Crisis“. Interfaces 19, Nr. 2 (2002): 139–67. http://dx.doi.org/10.3406/inter.2002.1229.
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Yasumoto, Saori, und Ralph LaRossa. „The Culture of Fatherhood in Japanese Comic Strips: A Historical Analysis“. Journal of Comparative Family Studies 41, Nr. 4 (01.08.2010): 611–27. http://dx.doi.org/10.3138/jcfs.41.4.611.
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Putra, Rizky Anugrah. „Critical Discourse Analysis on Komik Kita Comic Strip“. Pulchra Lingua: A Journal of Language Study, Literature & Linguistics 1, Nr. 1 (30.05.2022): 49–60. http://dx.doi.org/10.58989/plj.v1i1.5.
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The rapid dissemination of knowledge through information technology is facilitated by expanding access, but this development has drawbacks due to political interests. One of the media used to spread propaganda that promotes polarization is comics. The researcher analyzes how popular comics mix provocative discourses to influence their readers and what themes they adopt. Using critical discourse analysis, the researcher examines three main dimensions of propaganda discourse production, dissemination, and impact in comics. The data analyzed includes 1237 comic strips by Komikkita, of which 87% contain political propaganda, and 10.9% contain propaganda that targets followers of a particular religion. The study suggests that comic writers carry out the mission of a particular group through their media, indicating that discourse cannot be separated from the motives and values that the discourse architect wants to disseminate. This finding supports the elementary theory of discourse initiated by Van Dijk.
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Borodo, Michał. „Exploring the Links Between Comics Translation and AVT“. TranscUlturAl: A Journal of Translation and Cultural Studies 8, Nr. 2 (22.11.2016): 68. http://dx.doi.org/10.21992/t9xk9x.
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For a very young but steadily developing subfield of Translation Studies such as the translation of comics it seems only natural to look to other research areas within the discipline for inspiration and research methods. This is also one of the aims of the present article, which will attempt to point to certain similarities between comics translation and the subdiscipline of Translation Studies known as AVT (Audiovisual Translation) and the field of subtitling in particular. Both films and comic books are multimodal texts based on the interplay between the verbal and the visual. What is more, both films and comic books are primarily based on dialogue, which is nevertheless transcribed and communicated in writing in both subtitled films and translated comics. Text will, in both cases, usually appear in clearly specified areas, that is at the bottom of the screen (with some exceptions) in subtitled films, and in speech balloons (with some exceptions) in the case of comics. Furthermore, text may be condensed due to the existence of spatial and technical constraints, such as the limited number of characters that may appear at the bottom of the screen or the size of speech balloons and the type of the lettering employed in the case of comics. It is particularly the latter aspect, that is textual condensation related to both spatial constraints and the multimodal character of comics, that the article will focus on, investigating the first Polish translations of Calvin and Hobbes comic strips created by the American cartoonist Bill Watterson.
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Hunt, Whitney. „Negotiating new racism: ‘It’s not racist or sexist. It’s just the way it is’“. Media, Culture & Society 41, Nr. 1 (04.10.2018): 86–103. http://dx.doi.org/10.1177/0163443718798907.
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Comic books are being adapted into film and television series, encouraging underrepresented voices to become more prominent in comic book culture. White men continue to dominate the culture as creators and principle characters. Yet, women and people of color are consuming comic books and films at increasing rates prompting fans to use social media outlets and online forums to engage in conversations about race in pop culture. Employing a qualitative content analysis of an online forum tailored to comic book culture, this research investigates how fans negotiate their continued fandom of comics amid claims that the industry is discriminatory toward people of color. Findings reveal forum discussion is adopting framings of new racism when accounting for a lack of diversity in comic book films. Specifically, this research shows how fans rely on White racial framings throughout discussion. Central themes indicate most forum participants suggest only overt discrimination implies that race matters and minimize the effects of historical processes. Moreover, few fans challenge traditional representations normalizing White dominance. This study contributes to research on new racism and the prevalence of White racial framings in contemporary American society.
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Reingold, Matt. „Critiquing Israeli Society Through Mirroring in Asaf Hanuka’s “The Realist”“. Contemporary Review of the Middle East 7, Nr. 2 (12.02.2020): 165–80. http://dx.doi.org/10.1177/2347798920901871.
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Seven of Israeli cartoonist Asaf Hanuka’s comic strips from his weekly series The Realist make use montage-like elements by juxtaposing distorted mirror images of scenes. While published over the course of Hanuka’s almost 10-year run and addressing radically different topics, the structure and nature of the seven strips is remarkably similar. Each includes the juxtaposition of contrasting ideas to offer a commentary on a different aspect of the Israeli society. These topics include the historical mistreatment of Jewish immigrants to the country, the country’s policies toward foreign workers, and the economic challenges faced by the middle-class Israelis. While Hanuka’s technique provides an opportunity for considering different attitudes toward the topic, these strips consistently take a stance that places blame on Israelis themselves for either their attitudes or their electoral decisions. The comics serve, therefore, as political commentary which through the juxtaposition of images, encourages societal change.
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Thomas, Cathy. „‘Uncertain Voyages of Signification’: Salvage Poetics of the Caribatopia“. Comparative Critical Studies 19, Nr. 3 (Oktober 2022): 315–40. http://dx.doi.org/10.3366/ccs.2022.0451.
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This essay considers how two comic books, Nalo Hopkinson’s House of Whispers (2018–2020) and Matthew Clarke and Nigel Lynch’s Hardears (2021), use a poetics of salvage to produce visually and textually rich speculative narratives that problematize Eurocentric versions of futurity. My argument is that the comic books conserve and preserve, through salvage, a diverse racial, spatial and historic archive from narratives that constantly remake bodies (human, animal, plant, metaphysical) alongside places and cosmologies within their larger imaginative geographies. They entangle nature, technology and ritual, and give rise to a Caribbean atopia, or what I term as ‘the Caribatopia’, the paradoxical qualities of an unconfined utopia or an inhospitable place marked by unusualness. These comic books by Caribbean creators augment the spatiotemporal heterogeneity of the region, allowing these narratives to become allegorical and political sites producing fantastic atopic settings for representations of resistance and worldbuilding in Caribbean and Caribbean diasporic life.
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Adelgeim, Irina. „An artistic infantilisation of war: “The Mythogenic Love of Casts” by S. Anufriev and P. Pepperstein and “Achtung, Zelig! The Second War” by K. Gawronkiewicz and K. Rosenberg“. Slavic Almanac 2023, Nr. 1-2 (2023): 314–37. http://dx.doi.org/10.31168/2073-5731.2023.1-2.3.05.
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The paper examines the novel “The Mythogenic Love of Casts” (1999– 2002) by Sergey Anufriev and Pavel Pepperstein, both from the younger generation of the Moscow Conceptualists, and the comic strip “Achtung, Zelig! The Second War” (2004) by the Polish authors Krzysztof Gawronkiewicz and Krystian Rosenberg from the perspective of a specific representation of the Second World War (a narrative on the border between the reality and fantasy, adulthood and childhood, historical facts and grotesque). Of particular interest is the psychological and aesthetic motivation of the Russian and the Polish authors. The texts are an attempt to capture the experience of children of the 1970s: Both the unimaginable nature of war (and the Holocaust in the case of Polish comic strips) and the oversaturation of consciousness with approximate and fragmented, yet ideologized and mythologized knowledge of the former. The mythologemes of war are brought into the circle of “childhood discourse” and the concept of war is associated with the discourse of childhood and infantile behavior. By combining adult-real and children-fairytale perspectives, the official stereotypes indoctrinated into the mass historical consciousness through literature, film, posters, school, comic strips and political cartoons are reconsidered. On the one hand, the “childish”, inaccurate, fabulous, or fantastic, fragmentary idea of the war is literalized. On the other hand, adult play with the war mythologems takes place: The authors act as interpreters of the myth using the templates present in the minds of any representative of their generation. Both texts are embodiments of generational experience of existence within the ideology, they are also an attempt to achieve a unity between childhood and adulthood, naive and sophisticated, Socialism and Post-Socialism.
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Erokhina, Tatiyana I., und Evgeni S. Zheltov. „Representation of the soviet era in national comics“. Verhnevolzhski Philological Bulletin 1, Nr. 24 (2021): 185–92. http://dx.doi.org/10.20323/2499-9679-2021-1-24-185-192.
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The article studies representation of the soviet era images in the national comics culture. Paying attention to the popularity and relevance of soviet culture in contemporary mass culture, the authors emphasize the controversial nature of showing the «Soviet past». Analyzing the peculiarities of representation, which is a polysemantic concept and can pursue different goals, the authors focus on the «spectacular» function of representation typical of modern mass culture. The article givess a thorough analysis of national comics in which the representation of the soviet era is most obvious; moreover, the comic strips creators claim it is a deliberate technique. The authors of the article note that the representation of the soviet era can be featured in the plot of a comic book, with references to historical events or historical chronotope of the soviet era. The soviet era can be represented in the system of recognizable characters with possible prototypes in soviet culture. National comic books, addressed to the russian reader, can actualize the visual images of the soviet era. Analyzing various techniques and ways of showing the Soviet era in comics, the authors offer a functional analysis of representation, noting that resorting to the soviet era can serve different purposes and have both positive and negative connotations. The article examines different functions of the soviet era representation connected both with nostalgic trends in society and with ironic perception of the soviet past.
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Melgoza, Raúl. „Graphic borders: Latino comic books past, present, and future“. Latino Studies 15, Nr. 4 (25.10.2017): 550–52. http://dx.doi.org/10.1057/s41276-017-0097-4.
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Johnson, Gareth J. „Comic Books and Comic Strips in the United States through 2005: An International Bibliography2007149John A. Lent. Comic Books and Comic Strips in the United States through 2005: An International Bibliography. Westport, CT and London: Praeger Publishers 2006. vii + 345 pp., ISBN: 978 0 313 33883 0 £59.99/$104.95 Bibliographies and Indexes in Popular Culture, No. 13“. Reference Reviews 21, Nr. 3 (03.04.2007): 40–41. http://dx.doi.org/10.1108/09504120710738328.
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Krasovec, Aleksandra. „Samira Kentrić’s Graphic Novel “Balkanalia: Growing up in the Age of Transition” and His Hybrid Poetics“. Stephanos Peer reviewed multilanguage scientific journal 47, Nr. 3 (31.05.2021): 7–31. http://dx.doi.org/10.24249/2309-9917-2021-47-3-7-31.
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The article analyzes the autobiographical graphic novel of the Slovenian artist, illustrator and performer Samira Kentrić (b. 1976) “Balkanalia: growing up in the age of transition” (2015), in particular the hybrid nature of the genre of this work and its poetics. In this example, the genre incorporates elements of autobiographical comics strip, comics book about the war (in Bosnia), family album, graphic poetry, political illustration, philosophical parable, etc. Visual and textual narratives are designed to reflect the transculturality, the hybridity of the space of the former Yugoslavia, the territory between Bosnia and Slovenia, the two homelands of the protagonist, which became separate states during her growing up. The aesthetic layers are including images of classical artistic heritage, surrealism, popular, ethnic culture, as well as subcultural references (rock and punk music, graffiti), which the artist transforms into a unique fusion through postmodern techniques of irony and deconstruction.
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Stępień, Aneta. „Comic books, graphic novels and the Holocaust. Beyond Maus“. East European Jewish Affairs 50, Nr. 1-2 (03.05.2020): 261–63. http://dx.doi.org/10.1080/13501674.2020.1796127.
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Raisborough, Jayne, und Matt Adams. „Mockery and Morality in Popular Cultural Representations of the White, Working Class“. Sociological Research Online 13, Nr. 6 (November 2008): 1–13. http://dx.doi.org/10.5153/sro.1814.
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We draw on ‘new’ class analysis to argue that mockery frames many cultural representations of class and move to consider how it operates within the processes of class distinction. Influenced by theories of disparagement humour, we explore how mockery creates spaces of enunciation, which serve, when inhabited by the middle class, particular articulations of distinction from the white, working class. From there we argue that these spaces, often presented as those of humour and fun, simultaneously generate for the middle class a certain distancing from those articulations. The plays of articulation and distancing, we suggest, allow a more palatable, morally sensitive form of distinction-work for the middle-class subject than can be offered by blunt expressions of disgust currently argued by some ‘new’ class theorising. We will claim that mockery offers a certain strategic orientation to class and to distinction work before finishing with a detailed reading of two Neds comic strips to illustrate what aspects of perceived white, working class lives are deemed appropriate for these functions of mockery. The Neds, are the latest comic-strip family launched by the publishers of children's comics The Beano and The Dandy, D C Thomson and Co Ltd.
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Smith, Raymond W. „ANIMATION, CARICATURE, AND GAG AND POLITICAL CARTOONS IN THE UNITED STATES AND CANADA: AN INTERNATIONAL BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 3). John A. LentCOMIC ART OF EUROPE: AN INTERNATIONAL, COMPREHENSIVE BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 5). John A. LentCOMIC BOOKS AND COMIC STRIPS IN THE UNITED STATES: AN INTERNATIONAL BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 4). John A. Lent“. Art Documentation: Journal of the Art Libraries Society of North America 14, Nr. 1 (April 1995): 32–33. http://dx.doi.org/10.1086/adx.14.1.27948714.
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Calazans, Janaina de Holanda Costa. „The construction of the character and her speeches: an analysis of Mafalda's strips from Bakhtin“. Concilium 23, Nr. 2 (13.02.2023): 654–65. http://dx.doi.org/10.53660/clm-791-23a61.
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This article aims to analyze how we can verify Bakhtin's concepts of inner dialogue, exotopy, vision surplus, finishing, material emotive-volitional orientation and axiological surplus in the construction of characters and their speeches in Mafalda's comic strips, created by Argentine cartoonist, Quino. For this, we selected two strips, the first being a dialogue between Mafalda and a crab, in which it is possible to observe Mafalda's dialogical articulation with her own; and the second strip, in turn, brings a dialogue between Mafalda, her best friend – Susanita – and her colleague Filipe, in a conversation full of discordant points of view and discourses established from conceptions constructed by references coming from social classes, context political and economic in which the characters are inserted. After the analysis, it was possible to perceive the analysis carried out shows that several of the concepts coined by Bakhtin can be verified in the strips, from the construction of the (anti) heroine Mafalda, with her irony and ideological alignment inherited from the author, to the elaborations of the characters' statements loaded with opinions that call to reflection on the great human questions.
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Lopes, Paul. „Culture and Stigma: Popular Culture and the Case of Comic Books“. Sociological Forum 21, Nr. 3 (17.10.2006): 387–414. http://dx.doi.org/10.1007/s11206-006-9022-6.
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Parasecoli, Fabio. „Gluttonous crimes: Chew, comic books, and the ingestion of masculinity“. Women's Studies International Forum 44 (Mai 2014): 236–46. http://dx.doi.org/10.1016/j.wsif.2013.04.011.
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