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Day, Kenna Alise. "Crazier than Sack of Ferrets!: Deadpool as the Post-Watchmen Superhero." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/75308.
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Watchmen has been hailed as revolutionary not only for the literary quality of Alan Moore's script and the precise execution of Dave Gibbon's art, but also for the novel's successful exploration of sophisticated subject matter and realistic moral conflict. Perhaps the most interesting question Watchmen forces us to consider is why an individual would put on the costume and don the mask, and how such a constructed persona affects the individual psychologically and morally. For those heroes that came before, the compulsion to fight crime was often an in-born ideology of justice. But for Moore's Watchmen, we find that even superheroes are corruptible, flawed, imperfect, and even (more than) a little crazy. In the wake of what is arguably one of the most influential superhero novels published to date, the comics industry saw a rise in the popularity of anti-heroes like Moore's, but it wasn't until the 1991 creation of Marvel's Deadpool that fans saw exactly what it means to be a hero in the post-atomic, post-Vietnam age. Through self-reflexivity, genre deconstruction, and dark hysteria, Deadpool shows us that it isn't so easy to walk the straight line of the righteous, and that sometimes it's much easier to submit to the madness of a chaotic, morally ambiguous world.Master of Arts
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RAMOS, ANDRE DE FREITAS. "DIGITAL COMICS: THE VISUAL LANGUAGE OF THE COMIC BOOKS AND THE DIGITAL PARADIGM." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30279@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A pesquisa parte do princípio de que as histórias em quadrinhos constituem um importante meio de entretenimento e comunicação. Em decorrência da característica de mesclar imagem e texto como nenhuma outra forma de arte, se desenvolveram em um nicho próprio. Considera-se que a linguagem das HQs evolui a partir da estrutura de códice com seu sistema de páginas. Detentora de uma linguagem visual própria percebe-se na contemporaneidade, transformações com o advento das tecnologias. Atualmente, podem ser lidas em dispositivos móveis agregando incrementos ao se aproximar de outras mídias. Diante deste novo paradigma digital atinge nível de mobilidade que o computador pessoal não permitia, propondo um novo nicho de expressão e produção artística. Com foco na fruição e leitura em plataformas digitais, a pesquisa traça um panorama dos principais aplicativos de distribuição e leitura enquanto analisa títulos e narrativas específicas. Também aborda a evolução da linguagem visual das histórias em quadrinhos, contemplando a transposição para o mundo digital na internet e aspectos relacionados com a adaptação para os dispositivos móveis.
This research is based on the principle that comics represent an important form of entertainment and communication. Due to its capability to combine image and text like no other art form, it establishes itself as a unique means of expression. We could determine that its configuraton originates from pages of a códex structure. Since it holds its own specific visual language. Nowadays comics can be read on mobile devices more elements in connection with other media. On account of these new digital paradigms comics reach a mobility level that the personal computer alone coudn t offer, opening up new áreas of expression and artistic creativity. Considering its utilization in digital platforms, this study presents a outline of the main applications in its circulation and reading, trying at the same time to analyze titles and specific characteristics. It also covers the evolution of the visual language in comics, including its transposition to the digital world of the interner as well as other aspects related to the adaptation to the mobile devices.
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Gabilliet, Jean-Paul. "Des comics et des hommes : histoire culturelle des comic books aux États-Unis /." Nantes : Éd. du Temps, 2004. http://catalogue.bnf.fr/ark:/12148/cb399717761.
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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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Egelström, Christian. "Comic Books - Images, Words and Language Acquisition : Using comic books as an alternative material for teaching the English language." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-38159.
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The purpose of the research described in this essay is, by analysing the content of comic books, to (1) evaluate comic books as material for teaching, (2) if possible, to create an exercise that could be used in the classroom in which comic books are used for teaching ESL and (3) to suggest innovative material and related tasks that could be used to introduce students to issues related to meaning, with the focus on “literal or speaker meaning”, “multimodality” and “deixis”, and drawing upon principles and concepts described within the disciplines of semiotics, semantics and pragmatics. Accordingly, the thesis questions of this essay are described as follows: If possible, how could comic books be used in the classroom as an alternative material for teaching the ESL? If possible, how could comic books be used to introduce students to issues related to meaning through linguistic approaches, with the aid of semantics, semiotics and pragmatics? Comic books, in theory and in practice, could be used in the classroom as an alternative material for teaching the English language and introduce students to issues related to meaning through linguistic approaches, with the aid including semantics, semiotics and pragmatics. Furthermore, the material used in this essay is just a small fraction of possible material that is available to teachers, and there are numerous ways of using comic books in teaching aspects of language from varied perspectives.
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Meade, Alayna Naomi, and Alayna Naomi Meade. "Revitalizing the Stagnating U.S. Comic Book Industry: A Historic Analysis and Creative Fusion of American and Japanese Comic Books." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625096.
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The United States and Japan both have internationally recognized comic book industries.
However, their levels of financial success and social relevance differ greatly. As the United
States struggles to gain new readers, Japan has made comics a staple of life for all its residents.
The following research essay elaborates on this phenomenon using historical context, and
suggests how the United States can make its comic industry more prosperous by analyzing the
global and domestic success of Japanese comics. In conjunction with this essay is a full comic
book influenced by visual, storytelling, and historic aspects of comics from both countries. This
creative portion is meant to serve as an example for how American comic book artists can learn
from the Japanese comic industry in terms of capturing new readers without losing their
American identity.
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Lorenz, Peter. "Maßnahmen zur Schaffung einer zukunftsfähigen Organisation der Comic-Spezialbibliothek "Bei Renate"." Berlin : Humboldt-Universität zu Berlin, 2005. http://books.google.com/books?id=SYtQAAAAMAAJ.
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VASCONCELLOS, PEDRO VICENTE F. "MANGA-DO: THE WAYS OF JAPANESE COMIC BOOKS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8973@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORNos últimos anos o mangá, nome dado aos quadrinhos japoneses, tem se consolidado como fenômeno da cultura popular a nível global, inclusive no Brasil. Após mais de um século de fusão entre influências ocidentais e tradições artísticas japonesas, o mangá tornou-se um tipo de narrativa visual impressa bastante peculiar, tendo um lugar de destaque não apenas na sociedade japonesa contemporânea, mas recentemente, tem-se visto suas influências alcançando o cenário cinematográfico norte-americano. Esta dissertação destina-se a esquadrinhar os caminhos pelos quais o mangá se desenvolveu visualmente até sua forma atual e suas atuais influências sobre outros meios de comunicação.
In recent years manga, as the Japanese comic books are called, has been consolidated as a pop culture phenomenon in a global scale, including Brazil. After over a century of fusions between Western influences and Japanese artistic traditions, manga has become a rather peculiar form of printed visual story-telling, achieving a distinctive place not only in modern Japanese society, but also, its influences have been felt in the North American cinema scene as well. This thesis objective is to examine the ways through which manga has developed visually up to its actual state and its present influences over other media.
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Lombard-Cook, Kathleen. "Interrogating and analysing narrative structure through comic books." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23507.
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How can the structures of graphic narratives help us to interrogate, analyse, and ultimately ground stories of ourselves and our world? By not relying solely on verbal or visual language, but the complex interplay between multiple signification strategies, comics open up possibilities for transcending the limits of any single linguistic mode and more fully enunciating the complex layers of superimposed truths that make up our lived experiences. In this doctoral project, I utilize media-specific analysis of graphic narratives and interrogate the multi-modal communication strategies inherent in comics. The result is a multidisciplinary construction of the structural and semiotic modes of comics as an enactment of contemporary narrative ideals that privilege reader-centric, subjective constructions of meaning. My submission consists of four chapters of written research, to be submitted at the end of January, and a collection of autobiographical narrative works that will form an exhibition which will be shown at the time of the viva in April. The presentation of the textual material is an inseparable component of the content, and a piece of practical work in itself. The chapters can be read in any sequence; for the purposes of this abstract, I will discuss them in alphabetical order. My practice work challenges the traditional use of comics-specific affordances, such as panel borders, gutter, use of space as time, and other verbo-visual techniques by remediating them outwith book and digital book-like objects we associate with graphic narratives. Each chapter in the dissertation is its own book-object that enacts the content as well as relates to the larger body of practice work. Childhood Memoirs—Autobiographical Approaches The use of multiple signification strategies allows for communication that transcends the limits of textual or verbal language and can allow a creator to enunciate what may be unspeakable or incomprehensible, such as moments of trauma. I pay special attention to how subjectivity is presented in graphic memoirs within this context, as the drawn nature of comics allows for shifts in the status of the author/narrator that are unique to the medium. Comics as a Synthetic Medium—A Very Short Introduction The ‘introductory’ chapter contextualizes my research and comics studies more generally within non-binary, non-hierarchical concepts of rhizomatic knowledge structures that utilize the concept of text in the Barthesian sense as a mode of communication rather than solely lexicographic writing. In comics, text and imagery can actively oppose each other, creating a space where new meaning can be synthesized from this tension. This is Derrida’s deconstruction, Benjamin’s inclusion of cultural production in literature, or Barthes’ writerly text. Each utterance on a comics page may convey multiple levels of independent meaning, making it unique among narrative media. By examining the semiotic and structural theories presented by Barthes and Derrida, as well as Benjamin, Deleuze, Witgenstein and others, I develop the case for a comics-specific theory of trans-medial, subjective, deconstructed communication. Mapping the Journey—The Cartography of Autobiography In this chapter, I analyse the mythology of the supposed inductive system of representation in mapping and explore how including a secondary visual semiological system, that of the map, within the primary system of comics impacts reader perception of truth through verifiability. I also explore the intersection of non-representational theory within geography and authentication within autographics. Media Specificity of Non-traditional Graphic Narratives The focus of this chapter is on the impact of disseminatory (re)mediation on the medium of graphic narratives. I assert that neither digital nor print is superior to the other, but deliver different experiences to the reader. Through close analysis of the formal qualities inherent in digital and physical representation of comic content, I articulate the qualities unique to each distribution strategy and theorize ways that creators can take advantage of the media at their disposal. The practical element of my submission takes the form of a collection of objects that utilize a variety of graphic narrative structures outwith traditional comics forms in order to explore facets of my childhood memories. The exhibition will be constituted of several lanterns, dioramas and dolls’ houses, as well as some printed material. I attempt to ground my memories in architecture and place, while aware that the sense of solidity this lends my recollections is a false sense of objective security. To counteract any attempt to present a wholly unified and reliable narratorial self, I present the same places and memories through various angles and media. I make explicit some of the dissonant ‘truths’ myself and other members of my family were presented with, as an attempt to consciously confront the fragility of utilizing such collectively constructed memory to construct a stable self-image.
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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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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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Kellerman, Aliza C. "Kvetching with Comics: How 20th Century American Comics Reflect the Ashkenazi Ethos of Pride and Shame." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/750.
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One of the most fundamental ways of understanding the struggles and delights of an ethnic group is to study the art the group produces. Art –visual, literary, auditory– functions as an expression of the history of the group. Often, what is considered great art in one culture is disparaged in many others. In my thesis, I will be examining how comics function as an expression of simultaneous pride and shame among Ashkenazi Jews, particularly comics created in the 20th century. Perhaps comics do not seem like an obvious expression of Eastern European Judaism. After all, there are far more renowned, and even sophisticated works to look at, such as the whimsical art of Marc Chagall and stately rabbinical paintings of Isidor Kauffman, or even the heady philosophical work of Theodor W. Adorno. “Ashkenazi expression” and “comics” do not seem intuitively connected.
This disconnect is precisely why I want to explore the relationship between comics and Ashkenazi Jewry. In addition to many of the most prominent comic creators being Jewish, I posit that there is something inherently yiddish, Jewish, about American comics.
The purpose of this essay is not to name individual comic artists in an attempt to prove the Jewishness of the the comic-book industry. Rather, I will explore why Jews of Eastern European descent gravitated toward the comic-book industry in the early to mid 20th century. I posit that American comics acted as an expression of a pride-shame tension found in American Jews of Eastern European descent. To explore this connection, I will first examine the origins of simultaneous Jewish pride and shame by tracing the roots of Eastern European Jewish self-hatred. Next, I will delve into why comics encapsulate this balance of self-deprecation and self-glorification. I will analyze both the nature of the medium itself, and the circumstances grounding the formation of American comics.
Ashkenazi Jews, or Jews of Eastern European, specifically German descent, have been at the center of much scholarly literature. Although an extremely small percentage of the world's population, the bulk of Jews are Ashkenazi, as opposed to Sefardic. Much literature has been devoted to Ashkenazi Judaism, as the ethnic division has produced an impressive body of scientific and literary accomplishment. Although the countries from which Ashkenazi Jews originate are diverse, the key words surrounding Ashkenazi discourse are reoccurring. Concepts such as “exile,” “self-hatred,” and “Jewish humor” all arise. Another central concept is Yiddishkeit.
Yiddishkeit literally translates to “Jewishness” in none other but the language of Yiddish. Yiddish has been the subject of both outward Ashkenazi expression –there is a great deal of Yiddish literature and art– and scholarly examination. Perhaps most recently, Michael Wex published a book called Born to Kvetch, an in-detail study of the history of Yiddish, and how it embodies Ashkenazi culture. Within this book, a particular theme appears: the theme of simultaneously occuring pride and shame. Jews created Yiddish as a result of the primary culture's rejection. However, after this initial dismissal, great pride emerged out of Yiddish, manifesting itself in rich Yiddish culture.
Other scholars have explored the concept of Jewish self-hatred, and the fine line this self-hatred straddles between bona fide self-hatred and isolationist pride. Sander Gilman, who writes extensively about the topic, discusses how language and literature embody this dichotomous tension of pride and shame. While conducting research for the connection between comics and class in 20th century American, I came to the understanding that many of the founders of and participants in the American comic industry were Jewish. I dug up analyses of specific comics/graphic novels (usually Maus) exploring certain Jewish themes in comics, yet I had a hard time finding extensive research asking the question as to why comics and Jews have such a strong connection. In my thesis, I hope to further this question by not only investigating the circumstances surrounding comics that made Jews turn to the industry, but why comics themselves embody Jewish pride and shame. On a much humbler scale, I hope to accomplish what Wex has in Born to Kvetch, a linguistic analysis that provides insight into the greater ethnic group engaging with it.
In chapter one, I will establish the pride-shame dichotomy found in Ashkenazi Judaism. I will first explore several biblical passages, including Lamentations, Micah, and Isaiah. By exploring these instances in the tanach, I will try to establish the uniqueness the Jews feel due to their personal and punitive relationship with God. Throughout these passages, we will see the Jews taking pride in the punishment God doles out for them, because such pain is indicative of the Jews' superiority among other nations.
Next, I will provide a brief explanation of why I am choosing to focus on the act of conversion in the Medieval time period as an indicator of Jewish pride and shame. In specific, I will focus on infamous Johannes Pfefferkorn, who converted from Judaism to Christianity. Pfefferkorn is the perfect example of a Jew who both detested his Judaism, yet used it to his advantage to speak authoritatively about Judaism to Christians, as his professed textual knowledge gave him clout.
Next, I will give an introduction on the connection between Otherness and language, explaining how Hebrew and the Talmud spurred both fascination and disgust toward Jews from their surrounding neighbors. After segueing into the origins of Yiddish as a language created out of exile, I will explain how though Yiddish originated out of spurning, the language became a source of pride of its rejected roots. I will consider the statements of various Yiddish authors, in particular American immigrant Isaac Bashevis Singer.
Through both an analysis of Singer's self-reflection of his own life and an analysis of his short story, Gimpel the Fool, I will establish the pride Ashkenazi Judaism takes in its outsider status. Singer himself remarks of the positivity of being lonely and different. His character, Gimpel, is a foolish outcast. Much like the Jews in the biblical passages explored earlier in the chapter, he suffers constant misfortune and mockery, yet his very pain is what lends him favor in God's eyes.
In chapter two, I will explore how 20th century American comics reflect the Ashkenazi dichotomy of pride and shame. Much like Yiddish is not a mainstream language, the idea of comics as mainstream art or literature has been greatly contested. I will try to determine which circumstances surrounding 20th century comics, and the comics themselves, connect with this pride-shame tension. I will use Paul Buhle's Jews and American Comics as a frame of reference, since the book often links comics and Yiddish.
I will first give a brief history of the American comic-book, starting with the Hogan's Alley comics strip, and exploring up until the mid 20th century. By understanding the working-class origins of comics, we can better understand the low-brow perception of them from the standpoint of both their readers and their critics.
I will then explain how American comics in the 20th century contained Jewish themes of pride and shame, despite their characters not being explicitly Jewish. I will more closely explore this idea through an analysis of the character Superman, drawing on both the commentary from the character's creators and the content clues of the character himself. A true foreigner, Superman masks his real identity, his superhuman powers. While his alias is what makes him exceptional, it is also the thing he abhors the most. Will Eisner, a giant in the world of comics, denies inserting Jewish identity in his own characters. However, his assistant, Jules Feiffer, half-jokingly claimed that his character, Denny Colt, featured in Eisner's The Spirit series, is in actuality a secret Jew.
Instead of focusing on Colt and The Spirit, I will do a close reading of one of Eisner's other works, A Contract with God, which is an exemplary work of Jewish pride and shame. Contract contains a motif that is similar to that of the biblical passages analyzed in chapter one. The protagonist, Russian-American immigrant Frimme Hershe, has a personal relationship with God that leaves him demoralized and punished.
I will then explore the use of visual stereotype in Contract, comparing it to that of Art Spiegelman's Maus, and contrasting it with that of the film Inglorious Basterds. I will argue that through engaging with Jewish visual stereotypes, the first two reveal them as falsehoods. Thus, through an admittance of these shamed images, the comics mock them. The latter film chooses to ignore stereotypes, thus leaving them extant.
I will conclude the chapter by positing that Jews have coped with their constant exile through through the self-deprecation of comics. Buhle mentions that comics about Jewish-American gangsters turned into a source of pride, presumably for Ashkenazi American Jews. The trope, hated by others, was lauded by those it was forced upon. Much like Yiddish, comics may have been born out of exclusion, but they came to be a source of pride among Ashkenazi Jews.
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Pevey, Aaron. "From Superman to superbland the Man of Steel's popular decline among postmodern youth /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04172007-133407/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Chris Kocela, committee chair; Paul Schmidt, Michael Galchinsky, committee members. Electronic text (95 p. : ill. 9some col.)) : digital, PDF file. Description based on contents viewed Nov. 16, 2007. Includes bibliographical references (p. 78-81).
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Ayala, Zapata Fernando C. "Arquitectura, ciencia-ficción y comic-books : vanguardias, evolución y lenguaje." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/669551.
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Esta tesis propone como elemento de investigación al trinomio formado por la Arquitectura, la Ciencia-ficción y los Comic-books.
La intención es multidisciplinar; investigando las relaciones existentes y evidenciado las potenciales dentro del conjunto hipotético, como un método de interpretar las actuales fluctuaciones en los márgenes prácticos del proyecto de arquitectura. Al mismo tiempo, se quiso postular conocimientos transversales dirigidos hacia los otros componentes del trinomio, ofreciendo conceptos útiles desde la arquitectura tanto hacia la ciencia-ficción como hacia los comic-books.
Las relaciones son dinámicas dentro del trinomio y generalmente se agrupan en dos tipologías, definidas como "plásticas" o "elásticas", en analogía -metafórica en tanto que metodológica- a los dos tipos de colisiones de la física.
Las acciones "elásticas" agrupan manifestaciones individuales, desarrolladas internamente desde las disciplinas, sin mayor repercusión en las contrapartes utilizadas como referencia. Estos casos, con una marcada utilidad teórica y pedagógica, fueron frecuentemente encontrados en la investigación, y estudiados como antecedentes de potenciales interdisciplinarios.
Las acciones "plásticas" se refieren a las manifestaciones que contienen intenciones de fusión. Son escasas, sobretodo las que provienen desde la arquitectura y que van hacia cualquiera de los otros dos componentes del trinomio. El caso opuesto es más frecuente, pues a lo largo de la historia, tanto directores de películas de ciencia-ficción, como artistas de cómics, han utilizado edificios, espacios arquitectónicos (o una visión fragmentada de sus conceptos) como un elemento protagonista de sus obras.
Como metodología de investigación sobre estas relaciones, se desarrollaron nueve casos de estudio, divididos en dos clases: los que desarrollan conocimientos disciplinares específicos (sobre la ciencia-ficción o los comic-books), y casos en los que existe al menos una relación binomial (arquitectura-ciencia-ficción, o arquitectura-comic-books, o comic-books-ciencia-ficción).
La primera tipología hace referencia a las investigaciones de los comics o de la ciencia-ficción como disciplinas, estudiando su forma artística, filosofía, estilos, técnicas y herramientas, que han sido fundamentales en el desarrollo de los demás casos, sobretodo para hallar vinculaciones alternativas con el proyecto de arquitectura.
La segunda tipología de casos se han investigado para generar un discurso analítico y documental, en base a las manifestaciones híbridas entre el trinomio, pero entendiendo ahora sí, los potenciales de las relaciones -binomiales o trinomiales establecidas, enfocados con perspectivas más amplias (multidisciplinarias) desde la arquitectura.
Las conclusiones de este discurso reafirman la hipótesis principal de la investigación; la mayoría de las manifestaciones encontradas desde la arquitectura hacia los comic-books y/o la ciencia-ficción, generalmente proceden de autores, grupos o movimientos que más que intentar desarrollar un elemento construible, utilizan el proyecto como medio, para transmitir teorías, conceptos, críticas o simplemente comunicar “mensajes arquitectónicos", utilizando para ello lenguajes híbridos, derivados de los aspectos multidisciplinarios del trinomio.
El potencial principal que arroja esta tesis hace referencia al concepto de innovación y creatividad derivado de cualquier "fusión" entre disciplinas, que objetivado hacia la arquitectura es mesurable y aplicable, tanto a nivel de los procesos que involucran el pensamiento, como al nivel práctico de la ejecución del proyecto. Estas acciones alcanzarían su máxima expresión aplicados en "cajas de herramientas" alternativas para comunicación de nuevos lenguajes arquitectónicos.This thesis proposes as topic of research the hypothetic triad formed by Architecture, Science-fiction and the Comic-books. The intention is multidisciplinary, researching inner relationships and demonstrating the potential within the whole trinomial scenario, as a method of understands the current fluctuations in the architectural practice. At the same time, the study was focused to develop and apply transversal skills directed towards the others components of the triad, providing i.e., useful concepts from architecture to science fiction and/or to comic-books. All the relationships founded are dynamic within the triad, and can be grouped into two types, defined in this thesis as "elastic" or "plastic" ones, in a metaphoric but methodological analogy of the two types of collision in physics. “Elastic” actions grouped individual manifestations, developed as internal problem from each disciplines of the triad, with little -or zero- impact on counterparties used as a reference. These cases, with theoretical and pedagogical utilities, were the most frequently examples found in this research, and presented as potential interdisciplinary backgrounds of experimentation. “Plastic” actions grouped binomial and/or trinomial manifestations that containing fusion intentions. Those examples are few, especially when looking from architecture and then focus to the other(s) component(s) of the triad. The opposite case often happens; i.e., throughout history, directors of science fiction films -and also many comics artist- have used buildings, architectural spaces or a fragmented architectural concepts as an important component of his works. The methodologies was developed along nine study cases, divided into two classes: those that develop specific disciplinary knowledge (about specifically science fiction or comic books, out of architectural traditional background), and those in which at least a binomial relationship between concepts exists (architecture vs. science fiction, or architecture vs. comic books, or even comic books vs. science fiction). The first type of relationships refers researches about comics and science fiction as disciplines, focused on its artistic form, philosophy, styles, techniques and tools. These researches were indispensable for the development of the rest of cases, especially those leads to find new links with the architectural project. The second type of relationships have been investigated to generate a complete discourse, both analytical and documentary, based on hybrid between the components of the triad, but understanding the potential of the relationships -binomial or trinomialestablished, and focused with broader perspectives (multidisciplinary ones) from the architectural field. The conclusions reinforce the principal hypothesis; most of the hybrid manifestations found from architectural discipline and related to comic-books and/or science-fiction, generally come from professionals, sectors, groups or movements that rather than trying to build something “real”, use the projection tools as a means to convey theories and concepts, or simply communicate their own "architectural messages", using hybrid languages that derived from the multidisciplinary characteristics of the trinomial. The huge potential in this thesis refers to the alternative visions about concept of innovation and creativity resulting from any “merging condition” between artistic disciplines, potential which been objectified from architecture is measurable and feasible, with processes that involve thinking and the practical level of future implementation. These actions would achieve its best benefits working as "toolboxes", new alternatives for communicating architectural languages
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Yamane, Kumiko. "Female individuation and androgyny in girls' comic books in Japan." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422712.
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Montanari, Alice <1990>. "Shakespeare is still alive... in the world of comic books." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/7059.
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Perhaps the graphic novel creator Neil Gaiman could be regarded as a nowadays Shakespeare. The vast majority of the contemporary communication is based on visual inputs, one particular format of image-based text is the graphic novel which raised great interest over the last decade. Neil Gaiman’s The Sandman and Shakespeare’s The Tempest and A Midsummer Night’s Dream are the works which this dissertation will take in exam. The Sandman is a comic book series by Neil Gaiman published by DC Comics which is composed by 75 issues. A Midsummer Night’s Dream is one of the issues contained in Dream Country, the third trade paperback collection of the comic book series and it concerns the premiere of A Midsummer Night’s Dream by Shakespeare, here The Sandman's version of reality and Shakespeare's play are merged and interact with one another and the dissertation will focus most of all on the link between these two differents works and the vision which Gaiman has of Shakespeare as an author. Moreover, the dissertation will analyze The Tempest, included in The Wake, the tenth collection of The Sandman. Also in this issue Shakespeare is an active character of Gaiman’s graphic novel. Throughout the reading of Neil Gaiman’s The Sandman and the comparison with Shakespeare’s works, the dissertation will link this two different authors and genres, proving how Shakespeare could be modern and how useful could revising his works under other perspectives which add something new for the reader.
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Herman, Janique Luschan Vogl. "An interrogation of morality, power and plurality as evidenced in superhero comic books: a postmodernist perspective." Thesis, University of Fort Hare, 2013. http://hdl.handle.net/10353/d1005646.
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The desire for heroes is a global and cultural phenomenon that gives a view into society’s very heart. There is no better example of this truism than that of the superhero. Typically, Superheroes, with their affiliation to values and morality, and the notion of the grand narratives, should not fit well into postmodernist theory. However, at the very core of the superhero narrative is the ideal of an individual creating his/her own form of morality, and thus dispensing justice as the individual sees fit in resistance to metanarrative’s authoritarian and restrictive paradigms. This research will explore Superhero comic books, films, videogames and the characters Superman, Spider-Man and Batman through the postmodernist conceptions of power, plurality, and morality.
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Young, Hiu-tung. "Problems of translating contemporary Japanese comics into Chinese the case of Crayon Shinchan /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39848863.
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Gay, Stephanye Anne. "ShieldCross an exploration of sequential art ; an honors project /." [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Gay_Stephanye_Anne.pdf.
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Frail, James H. "Powers and abilities far behind those of mortal men an examination of the comic book industry and subculture through a feminist sociological perspective /." Huntington, WV : [Marshall University Libraries], 2004. http://www.marshall.edu/etd/descript.asp?ref=424.
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Lewis, A. David. "The superhero afterlife subgenre and its hermeneutics for selfhood through character multiplicity." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32028.
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Thesis (Ph.D.)--Boston UniversityComic book superheroes venture frequently into the afterlife, to the extent that the recurring conventions of such tales constitute a superhero subgenre. These generic elements help ensure that the stories can be read normatively by their audience (e.g. one's soul continues separately to function after the death of the body, existence after death is its own reality and discernible from illusion). The new subgenre, however, can also be regarded as masking an alternate understanding of narrative character and suggesting an alternative model of selfhood to readers. Beginning with the genre theory work of Paul Ricoeur, Tzvetan Todorov, and Peter Coogan, this project applies their perceived linkage between generic character and audience models for selfhood to the concerns of Helene Tallon Russell, J. Hillis Miller, and Karin Kukkonen. This second set of theorists warns against narrative characters being understood as whole and unified a priori when the presumably counterfactual idea of a multiple self better matches with the goals of religious pluralism and healthful self-understanding. Through these combined sets of theoretical lenses, the project focuses on popular recent depictions of the afterlife in the word-and-image medium of top-selling comics titles such as Thor, Green Lantern, Fantastic Four, Planetary, and Promethea. The comics, with their dual sign systems and 'low-art' fringe status, provide a consideration of personal multiplicity more naturally than prose does alone. Jeffery Burton Russell and Andrew Delbanco recount modern Americans' declining investment in the afterlife, one steeped in traditionally Augustinian models of singular selfhood. As H.T. Russell champions in Irigaray and Kierkegaard: On the Construction of the Self, this model may serve more as a hindering relic than as a useful system for consideration of one's full selfhood. This superhero subgenre offers a hermeneutic for integrating multiplicity into religious practices and considerations of the afterlife.
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McCoy, Kuleen O. "The funnies are a serious business : how local newspaper editors make decisions concerning diverse and controversial comic strips /." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-08222009-040404/.
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Grixoni, Francesca Giusta. "The Evolution of Ms. Marvel." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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The evolution of Ms. Marvel consists of the analysis of two comic books with the same title and explains how the how the representation of women in comic books reflects transnational society. The first and original Ms. Marvel was published in 1977, and the second is a 2014 reboot with the same title. One of the few things they have in common is the title, everything else changed, giving the story a completely new life. The difference between these two comic books is the result of historical and social changes. The evolution of this unknown superheroine into a worldwide best-seller character represents the progressing steps towards an increasing female representation in comics, and consequently the evolution of a more inclusive popular culture. I will show how the comic book industry changed from being totally male-oriented to a more inclusive genre, and illustrate the history of women in comic books, both the female characters represented and the women who worked in the industry, and how these characters influenced our society.
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Avila, William Richard. "Representations of HIV/AIDS in Popular American Comic Books, 1981-1996." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616593578624264.
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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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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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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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Bliss, Courtney C. "Reframing Normal:The Inclusion of Deaf Culture in the X-Men Comic Books." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149143787039966.
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Lucas, Justin. "Beneath the cape and cowl: Batman and the revitalization of comic book films." Ohio University Honors Tutorial College / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1244074493.
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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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King, Zachary Harrison. "Comic book realism: sincerity, ethics, and the superhero in contemporary American literature." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6782.
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Comic Book Realism: Sincerity, Ethics, and the Superhero in Contemporary American Literature reads a trio of recent American novels in the context of superhero comics, the influence of which looms large over these texts but has for one reason or another been largely neglected by critics. Michael Chabon’s The Amazing Adventures of Kavalier & Clay, Jonathan Lethem’s The Fortress of Solitude, and Junot Díaz’s The Brief Wondrous Life of Oscar Wao feature protagonists whose immersion in their comic book collections translates into their lives by allowing them to comprehend and interact with the world in the language of the superhero metaphor.
I argue that these texts should be studied because of, and not despite, their affiliation with superhero comics, against what seems to be a latent critical bias which has led many to overlook or disregard the superheroic elements of these texts. Understanding how Chabon, Lethem, and Díaz engage with the superhero genre is essential to understanding their engagement with issues of identity, ethical responsibility, and masculinity. Daniel Bautista has read Junot Díaz’s The Brief Wondrous Life of Oscar Wao as a work not of magical realism but of something new, “comic book realism,” which blends a realist approach to literature with popular culture citations in order to represent with accuracy the myriad cultural influences coming to bear on his characters’ lives. I suggest that Bautista’s label should be extended to Chabon, Lethem, and a variety of other authors who are engaging with the genre as Díaz does; in so doing, I connect a variety of novels which have either seldom been studied before or have never been studied in connection with each other.
I begin by examining comic book realism’s affinity with emerging theories about the literary movement following postmodernism, which some have dubbed “post-postmodernism.” I argue that comic book realism’s approach to questions of identity, as informed by the dynamic between superhero and alter ego, aligns with Adam Kelly’s sense of a post-postmodern New Sincerity, which rejects any ironic valence between identity and mass culture; consequently, the novels of comic book realism unironically engage with superhero comics as tools for identity formation. I then turn to Levinasian ethics in order to address the charge that superhero comics are solely escapist; instead, I argue that escapism in these novels necessitates an act of memory, an ethical awareness of the absence from which these characters are attempting to escape. These texts, then, are not unethical in their attempts to escape historical atrocities like the Holocaust. Rather, they constitute an ethical act of remembrance in foregrounding this absence.
In my penultimate chapter, I take up the question of masculinity, so central to the gendered space of superhero comics, arguing that the novels of comic book realism reject the hypermasculine standard of the superhero in favor of what I call an ideal of “mild-mannered masculinity,” after the superhero’s alter ego. Compared to the virile and confident Superman identity, Clark Kent represents a model of masculinity that is weak and timid, a model valorized by Chabon, Lethem, and Díaz. In my final chapter, I take stock of the contributions of women writers to the genre of comic book realism, whose work is overlooked by the presupposition that superhero comics are a boy’s domain. Here I find that the women writers evince a need to create their own space in the superhero genre, while I suggest that recent trends in the genre suggest that the next generation of women writers may engage with the genre in a different, somewhat unpredictable way.
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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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Rosberg, Caitlin. "Capers: Would you rather we wear spandex?" Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1178290210.
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McCullum, Yannick. "The visual representation of female masculinity in Marvel and DC comic books." University of the Western Cape, 2020. http://hdl.handle.net/11394/8134.
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Magister Artium - MAThis thesis seeks to understand the visual representation of female masculinity in Marvel and DC comic books, and further contribute to the fields of linguistics and gender studies. The subject matter discussed issues around gender identity, masculinity, and visual representation. Currently, there is a lack of literature available on the subject matter of female masculinity in comic books, therefore creating a gap in knowledge about how women are being represented in comic books. The goal of this thesis was to contribute to this knowledge, and in doing so, further adding more knowledge about the subject matter for future researchers in the field. The theoretical framework included a diverse approach of social theories and perspectives, namely: Multimodal Discourse Analysis, Intertextuality, Dialogicality, and Queer Theory. The goals of this thesis were to understand the various modes used in the representation of female masculinity that have evolved over time, and how these modes contribute to developing characters who challenge the traditional gender norms and rules. The data that was used for this thesis was collected from comic books in which female characters are in leading roles, namely Captain Marvel (Carol Danvers) and Wonder Woman.
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Stribling, Samuel Charles Stuart. "Dr. Manhattan's Pathos: Synchronic and Diachronic Experience in Comic Books and Architecture." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242836335.
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Thesis (Master of Architecture)--University of Cincinnati, 2009.Advisors: George Thomas Bible, Gerald Larson. Title from electronic thesis title page (viewed July 28, 2009). Includes abstract. Keywords: Diachronic; Synchronic; Exeter Library; Watchmen; Scott McCloud; Aronoff; Comic Books. Includes bibliographical references.
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Scherpenhuizen, Johannes. "Dutch Technique: Comic Books, Discourse and Vedanta/The Saga of the Atlantean." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/28060.
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Dutch Technique is a work of experimental art which refuses classification and emerges variously in the form of comic-book pages, non-fiction writings, prose fiction, poetry and visual art. DT questions traditional binary modes of thinking which contrast sciences and arts, high arts and low arts, academic and non-academic discourse, science and religion/mysticism, and eschews discriminatory tribalism. It explores the inexhaustibility of the text, ideas and being in the form of comedy, drama, rhetoric, philosophical analysis and synthesis, poetic evocation and drama, liturgy and ritual. Its primary sources are self-reflection, contemplation in the analytical/synthetic philosophical mode and in meditation, trance and altered states of being, and the practise of art as self-revelation, healing, therapy, entertainment and communication. Its textual sources are film (particularly science fiction and comedies) comic books, philosophical texts (primarily those of Nietzsche, Wittgenstein and Existentialism). As literature it mines stream of consciousness, experimental modes, satire, genre and literary fiction, poetry and popular song. Also central is scripture and what may be termed, “the Perennial Philosophy” exemplified by Vedanta. Incorporated into this experimental mix is a traditional academic thesis The Superhero and the Self which argues that superhero comics can fruitfully be considered as spiritual literature.
The Saga of the Atlantean is a graphic novel which embodies the critical stance of Dutch Technique in utilising what is generally conceived as a 'low art' genre – the superhero story – with a serious purpose and high art pretentions, without avoiding various characteristics which might be considered typical of the genre. It is a meta-textual work which comments both blatantly and obliquely on the form of comics and the human condition. TSOTA can be read separately from the rest of the work or as an integral component. It can be read prior to the other work, interspersed with its chapters or after it. As Dutch Technique asserts; there is no beginning, there is no middle, there is no end.
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Little, Ben. "Comic books, politics and readers : the influence of the 2000AD group of comics creators on the formation of Anglo-American comics culture." Thesis, Middlesex University, 2011. http://eprints.mdx.ac.uk/8089/.
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This thesis accounts for the influence on the mainstream American comic book industry of a group of comics creators from the cult British science fiction magazine 2000AD in the early 1980s. It details the way in which these creators developed new methods for approaching politics in comic books and delivering that to a more diverse group of readers as a response to censorship in Britain of the boys magazine Action. The thesis looks at the way the medium's publishing history has interacted with the development of its modes of communication; in particular it explores how the reader in comics is positioned in relation to character and narrative development. To support this argument two chapters are devoted to the methodology and discussion of how the medium works. Comics consist of sequences of images that require reader input to produce a narrative. The chapters on form explore the implications this has for close analysis. These chapters use Hergé's iconic character Tintin and Grant Morrison and Chas Truog's surreal Animal Man: Deus Ex Machina as examples and draw upon and critique the theoretical work of Scott McCloud and Thierry Groensteen, among others. The core of the thesis revolves around close analysis of eight texts, three from the UK and five from the USA. These are grouped into categories that broadly represent the different phases of the phenomenon. The first includes John Wagner, Alan Grant and Ian Gibson's RoboHunter: Play It Again Sam; Alan Moore and Ian Gibson's The Ballad of Halo Jones and Alan Moore and David Lloyd's V for Vendetta. These readings are then tested against roughly contemporary American published comics in the form of Chris Claremont and John Byrne's X-Men: The Dark Phoenix Saga and Frank Miller's Daredevil before looking at Alan Moore, Steve Bissette and John Totleben's Saga of The Swamp Thing as a direct transferral of values developed on 2000AD to the American market. The thesis then moves on to consider how British creators influenced American comics moving forward by looking at an example that was clearly influenced by the movement in Frank Miller's Batman: The Dark Knight Returns again using his earlier comic Ronin for comparison. Throughout the thesis these readings are used to show how these comics imagined new political configurations in response to the right-wing politics of Margaret Thatcher and Ronald Reagan and attempted to do so while engaging a more diverse readership than was previously the case in either the British or American adventure comics mainstream. The thesis as a whole advances comics studies in terms of contributing to theoretical work on how the medium communicates and by providing a detailed look at this period in the history of comics. It also contributes to a framework for future research in cultural studies to approach different aspects of the medium.
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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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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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Ash, Evan Roberts. "Objectionable: The Cincinnati Committee for the Evaluation of Comics and the American Anti-Comics Movement, 1940-1957." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1554812440806166.
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Plencner, Joshua. "Four-Color Political Visions: Origin, Affect, and Assemblage in American Superhero Comic Books." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18748.
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This project develops extant theories of political affect and relational identification and affinity formation by tracing how the visual images of an understudied archive--American superhero comic books--work to build multiple, alternative, fitful, inchoate, and sometimes radically creative spaces for visions of the political to take shape and develop over time. By analyzing and interpreting the generic superhero phenomenon of origin stories in comic books and by mapping the formal and narrative techniques used to construct origin stories, I show how received understandings of power, order, justice, violence, whiteness, masculinity, and heteronormativity often linger outside of language in an analytically untapped relational space between bodies--the space of political affect. Visual images of superheroes thus do more than take up space within political sign-systems; I argue them as material engines of affect, as engines of potential and usefully critical political identities and affinities. Superhero comic books, a cultural form often disregarded as childish or even ideologically dangerous, are thus recovered in this project as theoretically complex, offering speculative feminisms, anti-racism, and queer temporalities that link these popular objects of visual culture to ongoing traditions of utopianism and foundational revisionism within American political culture.
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Broxson, Gene Marshall. "A comprehensive examination of the precode horror comic books of the 1950's." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2429.
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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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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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Tembo, Kwasu David. "In the shadow of the cape : Superman and disruptivity." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25511.
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The discourse regarding contemporary comic book studies has become increasingly concerned with the apocalyptic potential of the power of comic book superbeings. While many consider Superman to be a morally upright and hopeful figure worth emulating, the idea of a creature as powerful and uncannily similar to human beings as Superman is produces a type of paranoia, distrust, and unease. This type of disruptivity is a result of the combination of two foundational aspects of the character's being namely, its power, and its uncanny Otherness. Recent trends in the discourse concerning the cinematic depictions of the unavoidably destructive aspects of Superman's power indicate that the disruptive aspects of the character's being cannot be ameliorated by conventional appeals to dialectical arrangements of moral categories including good and evil. This also applies to nostalgic interpretations of the character that seek to dissolve the inextricable connection between the utopian and dystopian potential inherent in its power and Otherness in an idealized history. Situating itself between the aesthetic and historical comic book theory of Thomas Inge, Peter Coogan, Danny Fingeroth, Christopher Knowles, Clive Bloom, and Greg McCue and the philosophies/xenologies and critical approaches of Robert Freitas Jr., Michel Foucault, and Fredric Jameson, this project uses the concepts of the character's power, body, and Otherness to examine the existential and socio-political consequences of Superman's disruptivity on a diegetic earth.
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Salisbury, Derek. "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books." ScholarWorks @ UVM, 2013. http://scholarworks.uvm.edu/graddis/209.
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At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture
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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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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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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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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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