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Relevant bibliographies by topics / Comic books, strips

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Academic literature on the topic 'Comic books, strips'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Comic books, strips"

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Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.

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Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.

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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.

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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.

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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (December 23, 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.

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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.

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Engel, E. A., and M. V. Deneko. "Linguacreative Foundations of the German Comic Book "Dig, Dag, Digedag"." Bulletin of Kemerovo State University 21, no. 4 (December 31, 2019): 1139–49. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1139-1149.

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The paper features linguistic and creative foundations in the German comic book "Dig, Dag, Digedag". Modern linguacultural, cognitive studies, and discursive practices are aimed at studying comics, which are a series of drawings with brief accompanying texts. However, comic books consist of two components – verbal and nonverbal, which means that graphic novels and strips have linguacreative foundations. The author performed philological and semiotic analyzes to identify the linguistic and creative foundations of the German comic book. The algorithm of the philological analysis included literary description of the time and place, the most original and interesting scenes in several editions, lexical expressive means and stylistic devices. The semiotic analysis featured the graphics related to the non-verbal component. The linguistic and creative foundations of the comic are manifested in original plots that allow its readers to escape from everyday and political problems through fun, exciting, and informative trips to Ancient Rome, Sicily, ancient Arab countries, the Moon and Mars, as well as to an uninhabited island. The carefully selected scientific and mundane knowledge is transmitted through verbal means and comic book graphics, making young readers expand their horizon. The use of such tools as hyperbole, metaphor, pun, as well as diverse vocabulary within the text of the comic, also suggests linguistic creativity of the German comic book "Dig, Dag, Digedag".

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Dozier, Ayanna. "Wayward Travels." Feminist Media Histories 4, no. 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.

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Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black woman navigating racialized gender discrimination and pursuing her desires despite her “respectable status,” with sometimes terrifying results. In the process, it works to redress the paucity of scholarship on Black women's contributions to comic books and strips.

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Kühn Paulsen, Felix. "Rytme og netværk i Homo Metropolis." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (July 1, 2018): 47–59. http://dx.doi.org/10.7146/pas.v33i79.127527.

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This article investigates serialization in newspaper comic strips (exemplified by Danish Nikoline Werdelin’s strip Homo Metropolis) with a dual focus on publication structure and composition of individual strips. Reading the forms of Rhythm and Network as symptoms of serialization, the analysis seeks to outline the difference between meeting the comic strip in daily newspapers or in collected books. Furthermore, it investigates how the actual punchlines takes form through constant fluctuation between repetition and interruption. In this way, the article reads Homo Metropolis as an example of how serialized storytelling constantly negotiates the tension between the individual story/punchline and larger network of narratives.

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Li, Yuzhang. "The Development and Evolution of Narrative Characteristics from Comic Strips to Original Chinese Picture Books." Communications in Humanities Research 26, no. 1 (January 3, 2024): 216–26. http://dx.doi.org/10.54254/2753-7064/26/20232066.

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After nearly one hundred years of interpretation, comic strips can be chronologically sorted into emergent, prosperity, change and bottleneck. Through research, this paper discusses the comprehensive impact of social and economic factors on each of these periods and deduces and summarizes the characteristics of differentiated narratives. In the new period, Chinese comic strips gradually receded due to market factors, while original Chinese picture books grew. Although there is a difference in the visual presentation form between the two, they have partly inherited the characteristics of the comic strips in the 80's and 90's. The thesis conducts a comparative study on the differences and similarities between the two and discusses their creative value and contemporary significance.

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John, A. L. "Comic Books and Comic Strips: A Bibliography of the Scholarly Literature." Choice Reviews Online 44, no. 11 (July 1, 2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.

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Derkachova, Olga, Oksana Tytun, and Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 16–22. http://dx.doi.org/10.15330/msuc.2022.26.16-22.

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The article deals with the research on comics' educational and cultural potential, particularly inclusive comic books, and their influence on inclusive culture formation. Inclusive graphic stories have long been part of the readership abroad. Gradually, this tradition is becoming popular in the Ukrainian cultural space. The chronology of the implementation of inclusive education in Ukraine is established, a brief overview of the regulatory framework is given. There is more and more inclusive literature on the Ukrainian book market: it is both translations and works of domestic writers, it is literature for the youngest, teenagers, adults, and it is fiction and nonfiction. In 2019 the first inclusive comic book "Friends 2.0" appeared. It was published with the support of the Ukrainian Cultural Foundation within the framework of the Inclusive Art program. The comic book "Friends 2.0" is an illustrative material for the analysis. The given research identifies the features of inclusive literature and clarifies its role in forming a tolerant society. The main evolutionary steps of comics are conveyed (Egyptian drawings in the burial chambers, "Ocelot's Claw", The Bayeux Tapestry, William Hogarth’s caricatures, stories in drawings by Rodolphe Töpffer, "Max und Moritz" by Wilhelm Busch, "The Yellow kid" by Richard Outcault and others). The basic terms and concepts of comic book culture are explained, taking into account the specifics of their translation. The history of Ukrainian comics is written daily, undergoes great changes, forms the main slogans and ideas in which it operates and develops. Currently, Ukrainian comics are established as a separate literary and art genre. Inclusive "Friends 2.0". comics are five stories based on real events. Every story is a story of struggle and victory. These are the first inclusive stories in the Ukrainian cultural space. They proclaim that everyone in the world is important, that disability is not a sentence, the importance of adaptation and inclusion, faith and dreams that come true. The article highlights the structural and semantic components of the stories in the comic book "Friends 2.0", analyzes the role of the motto in the content of the stories of this book, the background of panels, characters, and more. The analysis of inclusive comic strips as achievements of comic book culture and as examples of graphic texts in which the inclusive component dominates is offered. It helps to identify a special type of superhero in "Friends 2.0". The educational potential of such comics and their influence on the context of inclusive culture are identified. Keywords: inclusive literature, inclusive comics, comic book, diegesis, narrative, encapsulation, motto, superhero.

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Chireau, Yvonne. "Looking for Black Religions in 20th Century Comics, 1931–1993." Religions 10, no. 6 (June 25, 2019): 400. http://dx.doi.org/10.3390/rel10060400.

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Relationships between religion and comics are generally unexplored in the academic literature. This article provides a brief history of Black religions in comic books, cartoons, animation, and newspaper strips, looking at African American Christianity, Islam, Africana (African diaspora) religions, and folk traditions such as Hoodoo and Conjure in the 20th century. Even though the treatment of Black religions in the comics was informed by stereotypical depictions of race and religion in United States (US) popular culture, African American comics creators contested these by offering alternatives in their treatment of Black religion themes.

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Dissertations / Theses on the topic "Comic books, strips"

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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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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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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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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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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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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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Books on the topic "Comic books, strips"

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Ryall, Chris. Comic Books 101. Cincinnati: F+W Media, Inc., 2009.

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Schecter, Harold. Start collecting comic books. Philadelphia, Pa: Running Press, 1990.

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Derveniōtēs, Spyros. Comic soap. Peiraias: Jemma Press, 2017.

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Library of Congress. Copyright Office. Cartoons and comic strips. [Washington, D.C: Library of Congress, Copyright Office, 1999.

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Library of Congress. Copyright Office. Cartoons and comic strips. [Washington, D.C.] (101 Independence Ave., S.E., Washington 20559-6000): [Library of Congress, Copyright Office, 1999.

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Library of Congress. Copyright Office. Cartoons and comic strips. [Washington, D.C.] (101 Independence Ave., S.E., Washington 20559-6000): [Library of Congress, Copyright Office, 1999.

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Kim, Chi-yun. K'omik k'ŭllŏp: Comic club. Sŏul Tʻŭkpyŏlsi: Taewŏn Munhwa Ch'ulp'ansa, 1996.

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Hegenberger, John. Collector's guide to comic books. Radnor, Pa: Wallace-Homestead Book Co., 1990.

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Dittmar, Jakob F. Comic-Analyse. Konstanz: UVK Verlagsgesellschaft, 2008.

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Flescher, Heather. Heather's first comic. Salinas, CA?: the author, 2005.

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Book chapters on the topic "Comic books, strips"

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de Silva, Constance. "The comic strip in advertising." In The Routledge Companion to Gender and Sexuality in Comic Book Studies, 54–65. Abingdon, Oxon; New York, NY, 2020. | Series: Routledge companions to gender: Routledge, 2020. http://dx.doi.org/10.4324/9780429264276-6.

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

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

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

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

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Williams, Paul. "Comics, Comics Everywhere at Mid-century." In The US Graphic Novel, 50–75. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474423342.003.0003.

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Chapter 2 discusses the high sales of comic books in the 1940s and early 1950s, a boom that started with superhero comics and would go on to include crime and romance comics. In the mid-1950s, publishers responded to the pressure exerted by the anti-comics movement and established a regulatory body to censor America’s comic books (crime and horror comics were especially vilified). Comic book sales in the second half of the 1950s went into decline, though industry self-censorship was not the sole reason: market saturation and competition from other media were also factors. But before this, in 1950, St John Publications and Fawcett Publications released a small number of crime comics as paperback books. Elsewhere in the comics world, newspaper strips might be reprinted in narrative chunks in book form, such as Walt Kelly’s strip featuring the character Pogo the Possum: Kelly’s satire of the 1952 presidential election was captured in the book I Go Pogo. Most book-length comics of the period came from artists who otherwise produced work for advertising agencies, animation studios, magazines, and publishing houses. These books were usually released by New York-based trade presses and attacked the glamorisation of war.

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

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

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

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

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

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

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

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

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"Queer in Common." In The LGBTQ+ Comics Studies Reader, edited by Alison Halsall, Jonathan Warren, Alison Halsall, and Jonathan Warren, 27–31. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841346.003.0002.

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Responding to individual or collective threats, celebrating shared expressions of pride, culture, and identity, acknowledging common experiences of self-discovery, sex, friendship, and love, and affirming queer histories, LGBTQ+ comics demonstrate the literal and notional power of personal and community togetherness, queer solidarity, and collective action in the scholarship introduced here. Affirmative, celebratory, defensive, and reactive, the comics taken up by this scholarship — notably 1990s American lesbian comic strips, AIDS comics, and Silver Age comic books — show how LGBTQ+ community togetherness faces the AIDS crisis, fights for same-sex marriage, withstands misogyny, homophobia, and transphobia, overcomes familial estrangement and state-sponsored oppression, and discovers the promise of a more secure queer future in social, community, and collective activism and togetherness. Recognizing that the might of the queer individual multiplies exponentially when connected to others, the ideal of the “queer commons” transcends limiting boundaries to mobilize broad, horizontal connections among queer people. The essays in this section consider how LGBTQ+ comics visualize and motivate that queer force.

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Conference papers on the topic "Comic books, strips"

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

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

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