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Dissertations / Theses on the topic 'A Comic books, strips'

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Published: 29 July 2024

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1

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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2

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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3

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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4

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

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5

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

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6

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

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7

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

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8

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

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9

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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10

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

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11

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

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12

Smith, Benjamin. "Spandex cinema : three approaches to comic book film adaptation /." Read thesis online, 2009. http://library.uco.edu/UCOthesis/SmithBP2009.pdf.

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13

Chenault, Wesley. "Working the Margins: Women in the Comic Book Industry." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04232007-124907/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Marian Meyers, committee chair; Layli Phillips, Amira Jarmakani, committee members. Description based on contents viewed June 3, 2008. Includes bibliographical references (p. 120-123).

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14

Guarino, Jeffrey Mark. "Comix in the classroom: A resource guide for graphic novels and comic books." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1503.

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15

Kondo, Tomoko. "The making of a corporate : elite adult targeted comic magazines of Japan." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22450.

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This thesis examines the popularity of comic magazines among Japanese adult readers--primarily it looks at the male audience, but it also considers female response. It analyses texts of specific men's comics to illustrate the discourse of "masculinity-through-occupation" which these magazines offer to readers. In addition it explores the phenomenon of "readership response" by examining a selection of "reader letters." The role-adaptation-through-enjoyment possibilities these comic magazines provide to male readers is compared to parallel possibilities for female readers by examining both women's responses to male comics, and the nature of narrative in women's comics.

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16

Davies, Paul Fisher. "Making meanings with comics : a functional approach to graphic narrative." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/69049/.

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17

Leland, Jennie. "The Phoenix Always Rises: The Evolution of Superheroines in Feminist Culture." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/LelandJ2007.pdf.

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18

Van, Staden Leonora. "Bitterkomix en Stripshow : pornografie en satire in Afrikaanse ondergrondse strippe." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1330.

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19

Lucchine, Dana P. "Beneath the mask and spandex reviewing, revising, and re-appropriating the superhero myth in Alan Moore's Watchmen /." Click here for download, 2009. http://proquest.umi.com.ps2.villanova.edu/pqdweb?did=1943369611&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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20

Compton, Adam Delk. "The American comic book industry, 1936-1954 : creativity in an age of conformity /." View online, 2006. http://ecommons.txstate.edu/phystad/1/.

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21

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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22

Lam, Sui-kwong Sunny. "The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or local redeployment? /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18598389.

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23

McKenny, Stewart Noel. "Consumer attitudes to the products of Issue one comics." Thesis, Queensland University of Technology, 1999.

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24

Browning, Sheila Rose Takeuchi Naoko. "Pretty little girl warriors : a study of images of femininity in Japanese Sailor Moon comics /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1426050.

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25

Newell, Kathleen Ellen. "What we talk about when we talk about adaptation." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.30 Mb., 233 p, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3221075.

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26

Gagnon, Michel 1969. "Eléments discursifs, sociolinguistiques et actes de parole dans les BD." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29824.

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This qualitative and quantitative research inquiry presents a study of the dialogues in seven comic books in French. Its primary aim is to discover discursive elements and speech acts that can be found in the conversations of their characters. Its secondary aim is to analyse various question forms and pronouns that are used in speech acts. These findings are then compared with other research on dialogues of native speakers. This study reveals that the language used in comic books does not fully reflect authentic speech of native speakers. This study also aims for the acceptance of comic books by teachers in L2 classrooms. The findings of this study shed light on the linguistic content of comic books and their use as a pedagogical tool.

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27

Kowalczyk, Brian P. "EGANWO : the graphic novel's escape to digital media /." Online version of thesis, 2009. http://hdl.handle.net/1850/11652.

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28

Lau, Cheung-cheung. "A study of Manga and adolescent popular fiction in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.

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29

Lee, Moon. "Ineffable a spatial installation : thesis submitted to the Auckland University of Technology in partial fulfillment of the degree of Master of Arts in Art and Design, 2004 /." Full thesis. Abstract, 2004.

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30

Brown, Jennifer L. "Female protagonists in shōjo manga from the rescuers to the rescued /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/137/.

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31

Plowman, Nicola Streeten. "A cultural history of feminist cartoons and comics in Britain from 1970 to 2010." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/70775/.

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32

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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33

Corin, Gemma. "From "ambiguously gay duos" to homosexual superheroes the implications for media fandom practices /." The University of Waikato, 2008. http://hdl.handle.net/10289/2367.

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Despite traversing the fine line between homosocial and homosexual (Brooker, 2000) in his controversial text Seduction of the Innocent, Fredric Wertham's (1954) description of Batman and Robin as a 'wish dream of two homosexuals living together' (Lendrum, 2004, p.70) represents one of the first published queer readings of superhero characters. This text can also be interpreted as the commencement of, and subsequent intense interest in the way superhero characters often portray a 'camp' sensibility (Medhurst, 1991) representative of a queer performative identity (Butler, 1993). This is most evident today within comic book fan-communities online where the sexual identity of popular superheroes are continuously explored and debated in discussion forums and expressed through the production of slash fiction and queer-themed fan art. Indeed, the ambiguity inherent in superhero comics has traditionally allowed and encouraged fans to operate as 'textual poachers' (Jenkins, 1992) appropriating these texts for their own means. Today, however, there exist a new generation of comic book superheroes, in the form of the Young Avengers, Uncanny X-Men and The Authority, which contain established 'out' gay characters. This paper will examine the implications of these series on the practice of fandom by analyzing fan reactions and responses to the manner in which the industry has opted to present a gay relationship between its superhero characters Wiccan and Hulkling and, Apollo and The Midnighter. The meaning of the shift from the 'implied' to 'actual' is examined in terms of fans' acceptance, resistance and desire to further appropriate the text.

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34

Smida, Megan Alice Moore Alan. "(Re)telling Ripper in Alan Moore's From hell : history and narrative in the graphic novel." Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.

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Thesis (M.A. in English) -- University of Dayton.
Title from PDF t.p. (viewed 06/23/10). Advisor: James Boehnlein. Includes bibliographical references (p. 44-46). Available online via the OhioLINK ETD Center.

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35

Wang, Ruoxing, and 王若星. "Cultural prorogation in mainland China: a case study of BL culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50434548.

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Boys‘love (BL) is originated from the Japanese comics. The phrase ―”boy‘s love” first appeared as a proper noun in the comics at an approximate time of 1966 in Japan. Most BL comics depicted hopeless love of boys. Then, the 1990s saw the emergence of new type of BL comics, namely 耽美 (Tanbi). Tanbi is a Japanese word, it can be attributed the same meaning as aestheticism. Tanbi comics showed a perfect scene to audiences within beautiful boys’ love, pleasure stories also end up with a comedy. The boys‘ love or nature love between boys is different from the circle of gay. BL is a kind of emotion always can only be seen in literary output due to its strict conditions. BL ought to be explained like this, a beautiful boy is falling love with somebody else, by coincidence, it is a beautiful boy. BL is more like a Platonic love, BL always give a picture of spiritual experiences of boys‘love but fewer sex. In other word, BL is just a kind of comic form. The researchers in Japanese comics always concentrated on its social influences, characteristics, conditions, etc. There is scarce any research touching on the comic forms. BL comics are a special component of the comics, and this form demonstrates a series of phenomenon in sociology. With an informal research, BL comics is now turning into a common fashionable comic form among the Asia regions. However, with great exchanges with other areas, there also exists a large number of BL comic fans in Mainland China, and most of them are young ladies. Given this background, BL is treated as an exclusive form to the young ladies, and it largely reflects values and tastes of these ladies. The findings of this thesis might provide insights into a desire understanding males and an expectation of a fathfully lover. Undeniably, Japanese people attain amazing achievements in many fields, the success of circulating BL products is one of them. To some extent, researching the circulation and consumption patterns of BL comics may reveal the great achievement of Japan in culture transmission.
published_or_final_version
Modern Languages and Cultures
Master
Master of Philosophy

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36

Foster, John E. "A critical, social and stylistic study of Australian children's comics /." Title page, contents and introduction only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09phf755.pdf.

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37

Breytenbach, Jesse-Ann. "A critical analysis of South African underground comics." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002192.

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In a critical analysis of several independantly produced South African comics of the 1980s and early 1990s, close analysis of the comics leads to an assessment of the artists'intentions and purposes. Discussion of the artists' sources focuses on definitions of different types of comics. What is defined as a comic is usually what has been produced under that definition, and these comics are positioned somewhere between the popular and fine art contexts. As the artists are amateurs, the mechanical structure of comics is exposed through their skill in manipulating, and their initial ignorance of, many comic conventions. By comparison to one another, and to the standard format of commercial comics, some explanation of how a comic works can be reached. The element of closure, bridging the gaps between frames, is unique to comics, and is the most important consideration. Comic artists work with the intangible, creating from static elements an illusion of motion. If the artist deals primarily with what is on the page rather than what is not, the comic remains static. Questions of quality are reliant on the skill with which closure is implemented. The art students who produced these comics are of a generation for whom popular culture is the dominant culture, and they create for an audience of peers. Their cultural milieu is more visual than verbal, and often more media oriented than that of their teachers. They must integrate a fine art training and understanding into the preset rules of a commercial medium. Confronted with the problem of a separation of languages, they evolve a new dialect. Through comparative and critical analyses I will show how this dialect differs from the language of conventional comics, attempting in particular to explain how the mechanics of the cornie medium can limit or expand its communicative potential.

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38

Lopes, Romildo Sergio [UNESP]. "Identidades secretas: representações do negro nas Histórias em quadrinhos norte-americanas." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/123697.

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Made available in DSpace on 2015-06-17T19:33:41Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-09-30. Added 1 bitstream(s) on 2015-06-18T12:48:12Z : No. of bitstreams: 1 000819160.pdf: 13060839 bytes, checksum: 360cc1b3e93f9633052a4d4c1ac31d4b (MD5)
Pensando as histórias em quadrinhos enquanto veículo de comunicação de massa, cuja história moderna atravessou por todo século XX até chegar à contemporaneidade, mantendo sua linguagem quase que inalterada, é possível inferir sobre a grande força do meio e, consequentemente, grande impacto das representações que elas criam com quem circulam pela sociedade. A proposta desse trabalho é discutir quais são as identidades do negro nas histórias em quadrinhos americanas da editora Marvel Comics publicadas no Brasil. Temos por hipótese o quanto tais representações podem criar identificação com modelo de conformidade ou reforçar preconceitos por meio dos estereótipos clássicos de minoria racial nos Estados Unidos. A metodologia aplicada é a junção de dois campos, a semiótica aplicada é a junção de dois campos: a semiótica de matriz pierciana, enquanto técnica de pesquisa, responsável por dar relevo às representações e a seus argumentos, bem como a sociologia, a qual se valeu das noções de cultura e identidade explorados por Stuart Hall e Anthony Giddens para as análises dos resultados. A amostra parte de uma coleção de revistas da Marvel Comics publicadas no Brasil pela Panini, no período de 01 de julho a 31 de dezembro de 2011, adquiridas nas bandas e lojas especializadas, perfazendo 76 revistas, com 252 histórias analisadas em que foram identificadas 1370 participações relevantes dos personagens, dessas apenas 75, ou seja, 5,47% foram geridas por negros, demonstrando uma baixa representatividade. Essa percentagem constitui de fato o recorte que é o corpus da pesquisa. Nele, identificamos 16 personagens negros relevantes que, poderiam ser agrupados em 5 modelos possíveis de identidades, muitas das quais alinhadas aos demais campos como cinema e música. Por conclusão, podemos dizer que os dois personagens que se alinham com modelos positivos e mais polifônicos são Tempestade e Luke Cage. Contudo a...
Thinking of the comicsas a vehicle of mass communication, whose modern history crossed through all twentieth century until contemporary times, keeping his language almost unchanged, it is possible to infer about the great strength of the medium and, consequently, the large impacts of the representations it creates and circulates through society by then. The purpose of this paper is to discuss the identities of the black American in the comics of Marvel Comics, published in Brazil. We have as hypothesis, how such representations can create identification with models of conformity or reinforce prejudicies through the classic stereotypes of racional minority in the United States. We have applied as methodology a junction of two fields; a Pierce's semiotic matrix, as a research technique to reveal the representations and their arguments, as well as sociology, which drew on the notions of culture and identity explored by Stuart Hall and Anthony Giddens for analysis of results. The samples comes from Marvel Comics magazines published by Panini, in the period from July 1 to December, 2011, in a collection purchased at news stands and specialized shops. Totaling 76 magazines, with 252 analyzed stories which form identified significant shareholdings of 1370 characters, among these only 75, or 5,47% were managed by blacks, demonstrating a low representation. This percentage is actually the remnant which is the research corpus. 16 black important chacters were identified, those would be grouped into five possible models of identities many of them are related to other fields such as cinema and music. As a whole, we can say thay the two characters that are compared to positive models and are more polyphonic, are Storm and Luke Cage. However, the low representativeness and excess characterization make comics analyzed at, a very fertile field identification by the Brazilian public

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39

Wilson, Robyn Joan. "Last Man Hanging This exegisis is submitted to the Auckland University of Technology for the degree of Bachelor in Art & Design, Honours,(Graphic Design). 2005 /." Full dissertation Abstract, 2005.

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Dissertation (BA (Hons)--Bachelor of Art and Design) -- AUT University, 2005.
Print copy accompanied by CD. Includes bibliographical references. Also held in print (99 p. : col. ill. ; 20 cm. + CD (3 in.)) in City Campus Theses Collection (T 707 WIL)

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40

Lopes, Romildo Sergio. "Identidades secretas : representações do negro nas Histórias em quadrinhos norte-americanas /." Bauru, 2013. http://hdl.handle.net/11449/123697.

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Orientador: Claudio Bertolli Filho
Banca: Maximiliano Martin Vicente
Banca: Waldomiro de Castro Santos Vergueiro
Resumo: Pensando as histórias em quadrinhos enquanto veículo de comunicação de massa, cuja história moderna atravessou por todo século XX até chegar à contemporaneidade, mantendo sua linguagem quase que inalterada, é possível inferir sobre a grande força do meio e, consequentemente, grande impacto das representações que elas criam com quem circulam pela sociedade. A proposta desse trabalho é discutir quais são as identidades do negro nas histórias em quadrinhos americanas da editora Marvel Comics publicadas no Brasil. Temos por hipótese o quanto tais representações podem criar identificação com modelo de conformidade ou reforçar preconceitos por meio dos estereótipos clássicos de minoria racial nos Estados Unidos. A metodologia aplicada é a junção de dois campos, a semiótica aplicada é a junção de dois campos: a semiótica de matriz pierciana, enquanto técnica de pesquisa, responsável por dar relevo às representações e a seus argumentos, bem como a sociologia, a qual se valeu das noções de cultura e identidade explorados por Stuart Hall e Anthony Giddens para as análises dos resultados. A amostra parte de uma coleção de revistas da Marvel Comics publicadas no Brasil pela Panini, no período de 01 de julho a 31 de dezembro de 2011, adquiridas nas bandas e lojas especializadas, perfazendo 76 revistas, com 252 histórias analisadas em que foram identificadas 1370 participações relevantes dos personagens, dessas apenas 75, ou seja, 5,47% foram geridas por negros, demonstrando uma baixa representatividade. Essa percentagem constitui de fato o recorte que é o corpus da pesquisa. Nele, identificamos 16 personagens negros relevantes que, poderiam ser agrupados em 5 modelos possíveis de identidades, muitas das quais alinhadas aos demais campos como cinema e música. Por conclusão, podemos dizer que os dois personagens que se alinham com modelos positivos e mais polifônicos são Tempestade e Luke Cage. Contudo a...
Abstract: Thinking of the comicsas a vehicle of mass communication, whose modern history crossed through all twentieth century until contemporary times, keeping his language almost unchanged, it is possible to infer about the great strength of the medium and, consequently, the large impacts of the representations it creates and circulates through society by then. The purpose of this paper is to discuss the identities of the black American in the comics of Marvel Comics, published in Brazil. We have as hypothesis, how such representations can create identification with models of conformity or reinforce prejudicies through the classic stereotypes of racional minority in the United States. We have applied as methodology a junction of two fields; a Pierce's semiotic matrix, as a research technique to reveal the representations and their arguments, as well as sociology, which drew on the notions of culture and identity explored by Stuart Hall and Anthony Giddens for analysis of results. The samples comes from Marvel Comics magazines published by Panini, in the period from July 1 to December, 2011, in a collection purchased at news stands and specialized shops. Totaling 76 magazines, with 252 analyzed stories which form identified significant shareholdings of 1370 characters, among these only 75, or 5,47% were managed by blacks, demonstrating a low representation. This percentage is actually the remnant which is the research corpus. 16 black important chacters were identified, those would be grouped into five possible models of identities many of them are related to other fields such as cinema and music. As a whole, we can say thay the two characters that are compared to positive models and are more polyphonic, are Storm and Luke Cage. However, the low representativeness and excess characterization make comics analyzed at, a very fertile field identification by the Brazilian public
Mestre

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41

Rawson, Angela. "A critical linguistic analysis of a popular comic genre in Japan." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1021.

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This research will focus on the issue of power and gender in the language of Japanese comics (manga). Comics in Japan are enormously popular and are read by a wide audience. They are aimed at specific audiences and it is my argument that the language of manga helps to reinforce certain social stereotypes - particularly the inferiority of women and the dominance of males. The language of children's manga will be analyzed using the framework of Critical Discourse Analysis (CDA), which concerns itself with the relation between ideology and power in discourse. The analysis will be at various levels including lexica-semantic, pragmatic, textual and ideological. The texts to be analyzed will be Japanese manga in the original Japanese language. Manga aimed at specific audiences, i.e. young boys and girls, will be analyzed to determine the presence of male-dominant ideology in the text. I argue that an interpretation of the text under the framework of GOA supports the hypothesis that the ideology of male dominance is present in manga and that it has become normalized in Japan.

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42

Walsh, Susan F. "Modifing risk perceptions of Japanese university students using a culturally compatible mode of instruction." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=427.

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Thesis (Ed. D.)--West Virginia University, 1999.
Title from document title page. Written by Susan F. Walsh. Document formatted into pages; contains viii, 67 p. : ill. Vita. Includes abstract. Includes bibliographical references (p. 40-45).

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43

Acres, Harley Blue. "Gender bending and comic books as art issues of appropriation, gender, and sexuality in Japanese art /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. http://www.mhsl.uab.edu/dt/2007m/acres.pdf.

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44

Rohrdanz, Jessica Lynn. "Superheroes for a Superpower: Batman, Spider-Man and the Quest for an American Identity." Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1242442545.

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45

Gaudry, Frédéric. "Principales caractéristiques de l'esthétique de la bande dessinée et leur application à Chlorophylle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25587.pdf.

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46

Gravely, Gary T. "Roles of the quest superhero in Kavalier and Clay and three graphic novels a thesis presented to the faculty of the Graduate School, Tennessee Technological University /." Click to access online, 2009. http://proquest.umi.com/pqdweb?index=42&did=1913184321&SrchMode=1&sid=1&Fmt=6&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1264782934&clientId=28564.

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Rheeder, A. O. I. "Bitterkomix : teks, konteks, interteks, en die literere strokies van Conrad Botes en Anton Kannemeyer." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/930.

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Thesis (M.Phil) -- University of Stellenbosch, 2000
230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner.
ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine, for nearly a decade in South Africa. These comics are a structured satyrical attack on the South African and specifically Afrikaans culture. Both artists employ different narrative strategies to convey their sometimes shocking message. The reaction on their writing and drawing shows an unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix has drawn very little academic attention. This unwillingness is a product of the modernist approach to the comic as "low" literature. Modernists didn't regard comics as worthy material for critical analyses. The literary paradigm shift towards popular culture, and therefore comics, and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach towards this previously ill-treated art form. This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African underground comics magazine. As a backdrop the study looks at the development of comics in general, as well as the changes that took place in the traditional approach strategies to the modem comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how Bitterlwmix functions as an underground comic in the changing South African society. The writers draw upon methods and strategies used by underground comix artists in the United States during the sixties. Their specific employment of the drawing styles and narrative contents of artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative strategies gives Bitterlwmix a literary value that requires an academic approach.
AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is 'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae" literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk. Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n akademiese benaderingswyse vra.
Instituut vir Navorsingsontwikkeling van die Raad vir Geesteswetenskaplike Navorsing

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O'Brien, Amy Ann. "Boys' Love and Female Friendships: The Subculture of Yaoi as a Social Bond between Women." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-11202008-150110/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Jennifer Patico, committee chair; Emanuela Guano, Megan Sinnott, committee members. Description based on contents viewed Sept. 10, 2009. Includes bibliographical references (p. 141-147).

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Ballenger, Eric E. "Composition and the comics solution." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337187.

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In this creative project, I propose that comics can be used fruitfully to introduce undergraduates to the image-word dynamic, helping them become betters critics, more thoughtful consumers, and more effective creators of images. In addition, I argue that such a course of study be housed in an undergraduate rhetoric and composition major. Therefore, this project accomplishes three goals: it explores the rhetorical function of comics; second, it justifies the inclusion of comics in an undergraduate rhetoric-composition program; and, third, it provides a master syllabus for four classes that would provide the experience necessary to students wishing to study visual, verbal, and visual-verbal rhetorics.
Department of English

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Mok, Ka-lai Cynthia, and 莫嘉麗. "The sociolinguistics of written Chinese in local comic booksubculture: stigmatised language varieties inHong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221488.

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