Relevant bibliographies by topics / China – Comic books, strips, etc

Academic literature on the topic 'China – Comic books, strips, etc'

Author: Grafiati
Published: 25 July 2024
Last updated: 26 July 2024

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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'China – Comic books, strips, etc.'

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Journal articles on the topic "China – Comic books, strips, etc"

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Jiang, Yajun, and Lina Paola Ángel Jiménez. "Money Metaphors We Live By: Analyzing Chinese Comic Books based on CMA." International Journal of Literature Studies 4, no. 1 (January 18, 2024): 11–20. http://dx.doi.org/10.32996/ijts.2024.4.1.2.

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Chinese comic books appear to be filled with bright colors and interesting characters, but they also offer insight into the daily life relations and societal principles of modern China. In this study, we examined the construction and underlying meanings of money metaphors in Zhu Deyong’s comic book series We Are All Patients, and We Are All Patients 2: Love with an Idiot, using the conceptual metaphor theory (CMT). By mapping abstract concepts into more concrete and familiar domains, CMT conveys complex ideas, emotions, and social commentary in a way that readers can easily understand. We analyzed thirty-nine randomly chosen comic strips from Zhu’s comic books using Charteris-Black’s (2004) inductive method, conceptual metaphor analysis (CMA), to identify, explain, and interpret different metaphors. Through our analysis, we highlighted the most prominent money metaphors and how they relate to the current love and friendship relations made by modern Chinese people in their everyday lives. We found that money metaphors are classified into seven source domains: barrier, drug, tool, almighty, exchange, principle, and ambition.
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ADAMS, JIMI. "Glee's McKinley High: Following Middle America's sexual taboos." Network Science 3, no. 2 (May 13, 2015): 293–95. http://dx.doi.org/10.1017/nws.2015.16.

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

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

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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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Lam, Sui-kwong Sunny, and 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.

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Huen, Yuk-wan, and 禤育昀. "The representation of space and cultural memory in Hong Kong independent comics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48334601.

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This paper explores the way Hong Kong independent comics encapsulate the essence of the city. Independent comics are distinguished from mainstream comics by their specific mode of production. More significantly they demonstrate an emphasis on subjective personal creativity and craftsmanship, which stands out sharply in the pervasive objective culture in modern society. Adopting an anthropological approach in representing local ways of living, these comics attempt to map an identity of Hong Kong in a way that is free from confusing influences of her postcolonial history, her political subordination to China and the global capitalist forces. The artists of independent comics embrace the essence of local culture by focusing on space and cultural memory and thereby rediscovering the truth and characteristics of life in Hong Kong. As a form of popular cultural text, Hong Kong independent comics package the local identity and history into fashionable goods for cultural consumption. Together with this, the articulation of a shared past creates forces of cohesion that binds the community together and offers a way for the people to negotiate their identity.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Lau, Cheung-cheung, and 劉章璋. "A study of Manga and adolescent popular fiction in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221142.

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

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

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Chris Kocela, committee chair; Paul Schmidt, Michael Galchinsky, committee members. Electronic text (95 p. : ill. 9some col.)) : digital, PDF file. Description based on contents viewed Nov. 16, 2007. Includes bibliographical references (p. 78-81).
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Herman, Janique Luschan Vogl. "An interrogation of morality, power and plurality as evidenced in superhero comic books: a postmodernist perspective." Thesis, University of Fort Hare, 2013. http://hdl.handle.net/10353/d1005646.

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

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Hongru, Dai. The four great beauties of China. Singapore: Asiapac, 1994.

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Cai, Zhizhong. Origins of Zen: Flowering of Zen in China. Singapore: Asiapac, 1990.

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Martínez, Andrés Vera. Little White Duck: A Childhood in China. Minneapolis: Graphic Universe, 2011.

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Wang, Yongsheng. Chinese eunuchs: Inside stories of the Chinese Court. Singapore: Asiapac Books, 1994.

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Wang, Yung-sheng. Chinese eunuchs: Inside stories of the Chinese Court. Singapore: Asiapac, 1994.

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Jun, Nie. My Beijing: Four stories of everyday wonder. Minneapolis: Graphic Universe, 2018.

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Erlbach, Arlene. Comic books. Minneapolis, Minn: Lerner, 1998.

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Buck, Pearl S. al-arḍ al-ṭayyibah. Bayrūt, Lubnān: Dar al-maaref, 2008.

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Zhuangzi speaks: The music of nature. Princeton, N.J: Princeton University Press, 1992.

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Jodorowsky, Alexandro. The white lama. Hollywood, CA: Humanoids Pub., 2000.

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Book chapters on the topic "China – Comic books, strips, etc"

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

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Abstract The TV environment ratifies itself everywhere. Cartoons, comic strips, fabric prints, sculpture, music, paintings, flip books, T-shirts, jewellry, movies, and TV itself—these, along with printed texts, have featured television prominently, often critically, both attacking television and at the same time exploiting its resources, but above all affirming and validating the TV environment. Television is by now ubiquitous in virtually every cultural format and venue in the United States. It takes shape as familial hearth, as the illuminator/corruptor of children, as the paradoxical site of sedentary activism, as the locus of a new, multivalent consciousness. It is a source of language, virtually a contemporary phrasebook, and certifies human experience in contexts ranging from sports stadiums to personal spaces where camcorder cassette tapes are played on personal screens. Every sign of it, from a T-shirt front to a refrigerator magnet reinforces the idea of the TV environment, one extending from the Magic Screen on “Pee-Wee’s Playhouse” to the video apparatus (video camera, VCR, big-screen monitor) on which the pantomime, Will Irwin, the electronic-age Charlie Chaplin, performs onstage in his one man video vaudeville act. Everywhere television is ratified as it is reified in contemporary culture.
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Dine, Philip. "Children’s Literature." In Postcolonial Realms of Memory, 343–50. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620665.003.0032.

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Adventure stories for a juvenile audience were a major vector for the inculcation of preferred images of the French empire. Thrilling colonial narratives were informed by ideologies that ranged from the nuanced Anglophilia of Jules Verne in the 1860s to the deep-rooted Anglophobia of Emile Driant (‘le captaine Danrit’) on the eve of the First World War. During the 1914-1918 hostilities, childhood favourites such as Bécassine were mobilized in defence of France, together with its overseas territories. With the rise of comic strips and comic books in the 1920s, Hergé’s now celebrated Tintin emerged as a particularly powerful advocate for the colonial cause. This literary inheritance would continue to be appealed to after the Second World War, until successive French defeats in Indo-China and Algeria finally allowed writing for younger audiences to engage critically with colonial memories and post-colonial identities
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