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1
Nishita, Lily. "Ark ruffians comic book /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/33.
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Thesis (B.F.A.)--California Polytechnic State University, 2009.<br>Project advisor: Mary LaPorte. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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MARIOTTE, DAVID WALLACE. "PRINTED: A COMIC BOOK SCRIPT." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/613267.
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Printed is a script for a short graphic novel about what would happen if a college student
3-D printed a superhero costume. The book mixes comedy and drama, tackling issues around
sexual assault and mental illness while also cracking jokes. The world of Printed is somewhat
grounded in reality and the personal experiences of the author.
Chris Clines is a nerdy college student who plays Dungeons and Dragons and has always
dreamed of being a hero. When the opportunity arrives, Chris jumps into action. As “The Printed
Man,” he becomes the vigilante crime-fighter he always hoped to be. However, as the threats he
faces become more serious – and as his relationships become more strained – Chris must
question who he’s really trying to help: his friends or himself.
Presented is the annotated script, which is written as one-half of a collaborative effort
with an artist and is not a complete comic. Additionally, materials including reference pictures,
author layouts, some rough sketches, a playlist and a creative statement are included.
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Mason, Paul James. "‘Page 1, Panel 1…” Creating an Australian Comic Book Series." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367413.
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What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic?
The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. This means both in the American genre and its adaptation in Australia within the context of the local scene.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Frist, Clayton Robert. "Adaptation in the German-Speaking Comic Book Genre: Perspectives on the Austrian Comic Book Author Nicolas Mahler." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1433260874.
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Gabilliet, Jean-Paul. "Le "comic book", objet culturel nord-américain." Bordeaux 3, 1994. http://www.theses.fr/1994BOR30023.
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Cette these porte sur les revues de bande dessinee en anglais diffusees aux etats-unis et au canada depuis les annees 30 (comic books ). Comme toute production culturelle, le comic book s inscrit dans un reseau de praiques sociales et de discours qui en font un revelateur de la societe qui le produit et permettent de rendre compte du statut subalterne qui est le sien. La premiere partie pose les jalons d une periodisation visant a fournir un cadre historique fiable et fonctionnel pour l analyse ulterieure. La deuxieme partie fait le point sur l evolution des modes de fabrication et de diffusion depuis les annees 30. La troisieme partie examine les contenus des comic books sous quatre angles : le fascicule comme objet autonome (publicites, courrier des lecteurs, etc) ; les grands genres (cb "pour enfants", super-heros) ; les cb comme vehicules d education et de propagande ; les cb "obscenes" (violence et pornographie). La quatrieme et derniere partie examine les conditions economiques, sociales et culturelles justifiant l apparente incapacite des cb a acceder a aucune forme de reconnaissance culturelle (indifference du grand public, recurrence de discours de censure ponctuels, non-credibilite du discours critique des amateurs, discours "negatifs" de l avant-garde artistique) malgre quelques signes avant-coureurs d une entree progressive (mais non irreversible) des comic books dans la production culturelle legitime<br>This dissertation bears on the periodical comis strip magazines distributed in the united states and canada since the 1930's, aka comic books. The key contention of this research is that the comic book, as any cultural artifact, is posited at the core of a network of discourses and social practices whose interpretive potential is twofold; on the one hand, they emphasize a number of revealing features proper to the social environment in which comic books are produced, on the other, they are instrumental in accounting for the comic book's inferiour cultural status. The first part is a historical survey whose purpose is to lay down a periodization framework suitable for further analysis of the medium. The second part addresses the evolution of the comics industry's central mechanisms, is creative process and commercial distribution, since the 1930s. In the third part, comic book contents are looked into from four angles: the booklet as self-contained artifact (ads, readers' mail, etc); foremost genres (comics "for kids", superheroes); comic books as a means of propaganda and education; "obscene" comic books (pornography and violence). Finally, the fourth part deals with the economic, socialn and cultural background of the comic book's apparent inability to accede to any form of cultural legitimacy (general public's indifference, recurring if limited censorship, etc) despite tentative signs of assimilation into the cultural mainstream
6
Kuboi, Toshihiro. "Element Detection in Japanese Comic Book Panels." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1289.
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Comic books are a unique and increasingly popular form of entertainment combining visual and textual elements of communication. This work pertains to making comic books more accessible. Specifically, this paper explains how we detect elements such as speech bubbles present in Japanese comic book panels. Some applications of the work presented in this paper are automatic detection of text and its transformation into audio or into other languages. Automatic detection of elements can also allow reasoning and analysis at a deeper semantic level than what’s possible today. Our approach uses an expert system and a machine learning system. The expert system process information from images and inspires feature sets which help train the machine learning system. The expert system detects speech bubbles based on heuristics. The machine learning system uses machine learning algorithms. Specifically, Naive Bayes, Maximum Entropy, and support vector machine are used to detect speech bubbles. The algorithms are trained in a fully-supervised way and a semi-supervised way. Both the expert system and the machine learning system achieved high accuracy. We are able to train the machine learning algorithms to detect speech bubbles just as accurately as the expert system. We also applied the same approach to eye detection of characters in the panels, and are able to detect majority of the eyes but with low precision. However, we are able to improve the performance of our eye detection system significantly by combining the SVM and either the Naive Bayes or the AdaBoost classifiers.
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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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Wilson, Amy Kate. "All's Well That Ends Well: A Comic Book." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/146703.
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One of the most difficult aspects of studying Elizabethan and Jacobean drama is the fact that students tend to study a script that was meant to be acted. The dialogue of a play is only part of the entire experience. The plays of Shakespeare, like any other, are meant to be seen and acted. Body language, lighting, tone, costuming and many other factors can set the mood of a scene or sway the entire play's meaning. This comic book is one way that the play All's Well that Ends Well by William Shakespeare can be more accessible to a modern audience The medium of comics, or graphic novels on a larger scale, can be used to help make these plays visually appealing to an audience. Like an acted performance, certain interactions among characters can help interpret moments in the play that dialogue alone cannot. This project works to show that comics can be a serious means of presenting Shakespeare, and drama in general, to modern audiences.
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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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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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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.<br>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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DeLuna, Ruben. "Integrating 3D and 2D computer generated imagery for the comics medium." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1568.
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Advances in 3D computer technology have led to aesthetic experimentation
within the comics medium. Comic creators have produced comic books done entirely
with 3D models that are then assembled digitally for the printed page. However, in using
these 3D objects in a comic format, the creators have developed art styles that do not
adhere to the paradigms established by this traditionally 2D medium. More successful
results can be achieved by integrating 3D computer generated imagery with traditional
2D imagery, rather than replacing it.
This thesis develops a method of combining rendered 3D models with 2D vector
graphics to create a comic book art style that is consistent with the traditional medium,
while still taking advantage of the new technology.
13
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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Smith, Craig James. "Motion comic poetics : a study in the relations between digital animation and the comic book." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602796.
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This thesis examines the recent emergence of the motion comic as part of a growing relationship between animation and the appropriation of existing comic book artwork and narratives. It analyses the influences that have led to the popularity of the motion comic, and how it, in turn, has played a role in creative interactions between comic book and moving image over the past decade. In constructing a viable framework of enquiry, therefore, the thesis is structured around the following core research questions; How do we critically evaluate the motion comic as an art form and cultural artefact? What factors have influenced its emergence and popularity, and are these factors technological , or cultural, or' both? What has been their effect on contemporary screen narratives more generally? The research also considers forms of adaptation practice, and draws on original interviews with motion comic animators and directors, as well as engaging with contemporary adaptation theory, emphasising new modes of hybridity in the relations between animation and comic books, and assessing the technological opportunities that digital devices and distribution now present. To date, Film Studies, and its cognate disciplinary fields, has not developed a critical practice capable of interpreting and evaluating the origins, aesthetics, production techniques, and audiences relevant to this emerging field. This thesis presents a case for a comprehensive appraisal of the motion comic within contemporary screen and moving image culture, and argues for its significance as an important catalyst for innovation.
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Brown, Jeffrey A. "New heroes, gender, race, fans and comic book superheroes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27882.pdf.
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Covich, Anna-Maria Ruth. "Alter/Ego: Superhero Comic Book Readers, Gender and Identities." Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7262.
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The academic study of comic books - especially superhero comic books - has predominantly focused on the analysis of these books as texts, as teaching and learning resources, or on children as comic book readers. Very little has been written about adult superhero comic fans and their responses to superhero comics. This thesis explores how adult comic book readers in New Zealand engage with superhero comics. Individual interviews and group conversations, both online and face-to-face, provide insights into their responses to the comics and the characters as well as the relationships among fans. Analysis of fans’ talk about superhero comics includes their reflections on how masculinities are represented in these comics and the complex ways in which they identify with superheroes, including their alter egos.
The thesis examines how superhero comic book readers present themselves in their interactions with other readers. Comics ‘geekdom’, fans’ interactions with one another and their negotiation of gendered norms of masculinity are discussed. The contrast between the fan body and the superhero body is an important theme. Readers’ discursive constitution and management of superheroes’ bodies, and their engagement with representations of superheroes are related to analyses of multiplicity in individual identities and current theories of audience reception and identification.
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Priego, Ramirez E. F. "The comic book in the age of digital reproduction." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1322966/.
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This dissertation discusses the changing nature of comics and comic books in a digital age. Its focus is on comics as an artistic form that developed in connection with technologies belonging to print culture and the age of mechanical reproduction. This fact is both reflected and challenged by the digitization of printed comics, digital comics (comics created with computers that can be read on different electronic platforms, either networked or not) and webcomics (comics made mainly to be read on computers online). It claims that comics as a communicative and artistic system has expressed itself as a type of materiality. Materiality in this case refers not only to the publications themselves but the processes involved in their creation and in their interaction with the reader in specific settings. Through an analysis that combines previous comics scholarship with critical theory, theories of electronic text and the history of the book, this thesis argues comic books' materiality is distinct and yet interacts with other media such as traditional books, film electonic texts, etc. The materiality of comics produces and is simultaneously the consequence of particular textual topologies, which have made comics partially untranslatable to digital and other media, or that at least interrogate the idea that such translation (or migration) can be done without significant loss or without becoming something else. The study concludes that digital media is presenting unique opportunities for comics textuality. Amongst other risks, were there to be a total migration from a printed culture to a digital one, a complex dimension of comic book reading as an interactive social experience organised around physical, historical materiality would be lost and replaced by an altogether different one. The evidence indicates that the current digital revolution in comic books fully includes, and not excludes, the culture of print.
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Round, Julia Valerie. "From comic book to graphic novel : writing, reading, semiotics." Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/749e82e7-e402-4129-9827-89588e2a8c10.
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Castleberry, Garret. "Incorporating Flow for a Comic [Book] Corrective of Rhetcon." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28405/.
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In this essay, I examined the significance of graphic novels as polyvalent texts that hold the potential for creating an aesthetic sense of flow for readers and consumers. In building a justification for the rhetorical examination of comic book culture, I looked at Kenneth Burke's critique of art under capitalism in order to explore the dimensions between comic book creation, distribution, consumption, and reaction from fandom. I also examined Victor Turner's theoretical scope of flow, as an aesthetic related to ritual, communitas, and the liminoid. I analyzed the graphic novels Green Lantern: Rebirth and Y: The Last Man as case studies toward the rhetorical significance of retroactive continuity and the somatic potential of comic books to serve as equipment for living. These conclusions lay groundwork for multiple directions of future research.
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Rigaud, Christophe. "Segmentation and indexation of complex objects in comic book images." Thesis, La Rochelle, 2014. http://www.theses.fr/2014LAROS035/document.
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Dans ce manuscrit de thèse, nous détaillons et illustrons les différents défis scientifiques liés à l'analyse automatique d'images de bandes dessinées, de manière à donner au lecteur tous les éléments concernant les dernières avancées scientifiques en la matière ainsi que les verrous scientifiques actuels. Nous proposons trois approches pour l'analyse d'image de bandes dessinées. La première approche est dite "séquentielle'' car le contenu de l'image est décrit progressivement et de manière intuitive. Dans cette approche, les extractions se succèdent, en commençant par les plus simples comme les cases, le texte et les bulles qui servent ensuite à guider l'extraction d'éléments plus complexes tels que la queue des bulles et les personnages au sein des cases. La seconde approche propose des extractions indépendantes les unes des autres de manière à éviter la propagation d'erreur due aux traitements successifs. D'autres éléments tels que la classification du type de bulle et la reconnaissance de texte y sont aussi abordés. La troisième approche introduit un système fondé sur une base de connaissance a priori du contenu des images de bandes dessinées. Ce système permet de construire une description sémantique de l'image, dirigée par les modèles de connaissances. Il combine les avantages des deux approches précédentes et permet une description sémantique de haut niveau pouvant inclure des informations telles que l'ordre de lecture, la sémantique des bulles, les relations entre les bulles et leurs locuteurs ainsi que les interactions entre les personnages<br>In this thesis, we review, highlight and illustrate the challenges related to comic book image analysis in order to give to the reader a good overview about the last research progress in this field and the current issues. We propose three different approaches for comic book image analysis that are composed by several processing. The first approach is called "sequential'' because the image content is described in an intuitive way, from simple to complex elements using previously extracted elements to guide further processing. Simple elements such as panel text and balloon are extracted first, followed by the balloon tail and then the comic character position in the panel. The second approach addresses independent information extraction to recover the main drawback of the first approach : error propagation. This second method is called “independent” because it is composed by several specific extractors for each elements of the image without any dependence between them. Extra processing such as balloon type classification and text recognition are also covered. The third approach introduces a knowledge-driven and scalable system of comics image understanding. This system called “expert system” is composed by an inference engine and two models, one for comics domain and another one for image processing, stored in an ontology. This expert system combines the benefits of the two first approaches and enables high level semantic description such as the reading order of panels and text, the relations between the speech balloons and their speakers and the comic character identification
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Taylor, James. "Hollywood superheroes : the aesthetics of comic book to film adaptation." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/93641/.
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This thesis develops a theoretically-informed approach with which to analyse the aesthetics of the adaptation of superhero comic books into blockbuster films. Pervasive modes of thinking present superhero blockbusters as artistically degraded products that are not worthy of aesthetic analysis. I demonstrate that exploring the ways in which superhero blockbusters adapt comic book style and form reveals aesthetic sophistication and multiplicities of meaning. Engaging with comic book and film history also enables me to identify ways in which superhero blockbusters have contributed to the development of Hollywood’s blockbuster filmmaking paradigm. My approach combines models and concepts from studies of adaptation that employ poststructuralist theory. This theoretical framework explains transformations that content may undergo as it is adapted between the different forms available to comics and film, and enables examination of dialogues occurring in the vast networks of intertexts in which superhero blockbusters are situated. After my review of literature establishes the thesis’ theoretical underpinnings, my chapters undertake close textual analysis of three distinct case studies. The selection of case studies allows me to continue to develop my approach by examining different superhero archetypes, alongside significant contexts, trends and technologies that impact Hollywood blockbusters. Chapter one looks at the first superhero blockbuster, Superman: The Movie (1978). I begin by outlining, and exploring relations between, the range of Superman texts released prior to the film. Doing so reveals the qualities of the intertextual networks that comprise a superhero franchise. I then analyse the strategies that Superman: The Movie deploys to adapt and enter the network of Superman texts, before situating the film in the context of the emerging blockbuster paradigm in 1970s Hollywood. Chapters two and three analyse films produced in the twenty-first century, as superhero blockbusters gained a central position in Hollywood production. Chapter two evaluates the aesthetics of the Spider-Man trilogy (2002, 2004 and 2007) in relation to two contexts that are often considered to have facilitated the superhero blockbuster’s twenty-first century success: the increasing use and sophistication of digital filmmaking technologies in Hollywood, and the contemporary sociopolitical climate. Looking at the representation of bodies and space elucidates the ways in which the films incorporate digital filmmaking technologies into their adaptive practices and offer a sociopolitical commentary. Chapter three examines the strategies that films produced by Marvel Studios, with particular focus on team film The Avengers (2012), deploy to adapt the model of seriality that superhero comic books use to interconnect multiple series in a shared diegesis. The analysis focuses on ways in which The Avengers uses bodies and space to compress the expansive diegetic universe into a single film, and interrogates how these strategies shape the film’s sociopolitical meanings. My case studies demonstrate that the approach developed in this thesis illuminates the complex and equivocal meanings that the adaptive practices of superhero blockbusters generate.
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Östergren, Herman. "From Art to Comic - Visa hur en Comic Book som använder konsten för att få fram sin värld." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18857.
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Jag har studerat transmedia, dess innebörd och vad som utmärker den. Fokuserat på den delen som heter World Building Story och tagit fram några exempel på World Building Franchises. Genom att undersöka olika transmedia franchises och hur deras värld är uppbyggt. Med denna kunskap har jag skapat en egen värld i en World Building Story. Den är baserad från konstnären Simon Stålenhags retrofuturistiskt konst. Världen ska visas i en form av Comic Book och vara designad av Critical Design där läsaren får möjligheten att tolka budskapet. Det som jag har kommit fram till i undersökningen är hur man skapar en berättelse.<br>I have study transmedia and see what transmedia does. I have focus on element in transmedia call World Building story. What is warbling story is something I have studied and watch some World Building franchise say how they are different from each other. Three different World Building a franchise to see how to build our world. With it knowledge I will create my Own World Building Story. The world the i certion is inspired by Simon Stålhagen Retrofuturistisk art. The way I show this world with Comic Book. My Comic Book is design from Critical Design that are a small police messages. Me study is to show that transmedia be found over the world and get young people to be in the same be interested in Retrofuturistiskt art. Also is a good way to me to learn how to tell a story and create a world with this studying.
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Connell, Daniel James. "Hypermasculinity and the hero in comic book fiction : this is it." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6573.
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This thesis examines occurrences of hypermasculinity in examples from the genre of comic book fiction, utilizing textual evidence to suggest the current collection has re-iterated the more negative hypermasculine components of their source material: comic books. In doing so, the thesis compares the present novels with the creative element of the PhD submission – This Is It – a novel which serves as a critique of the prevalence of hypermasculinity in heroic figures within comic book fiction. By analyzing the sociological reasons behind hypermasculinity, and its subsequent effects, this thesis aims to make apparent the danger inherent with the continued association of hypermasculinity and hero figures in a new medium such as comic book fiction. It will also argue that the development of such a form divergent from comic books allows scope for a deconstruction of the hypermasculine comic book hero.
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Larsen, Shay. "Frame by Frame: Flash Nonfiction in the Comic Form." DigitalCommons@USU, 2017. https://digitalcommons.usu.edu/etd/5910.
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Six flash nonfiction comic essays composed in direct conversation with the combination of the flash nonfiction form and the comic form make up the body of this creative thesis. In addition to this creative work, a comparison of several essential craft aspects of flash nonfiction and comic composition are discussed, and an argument is made for the benefit of melding the two forms. This hybrid genre of flash nonfiction comics benefits from aspects of both forms craft, including: heightened potency of images and themes, a dependence on association, and narrative structures based on expanding larger ideas from “miniatures.” The comic form’s difficulties in dealing with nonfiction approaches to authorial presence and figurative language is also discussed.
Ultimately, the melding of the flash nonfiction form and the comic form creates valuable opportunities for both genres and their writers—as the six flash nonfiction comic essays, which make up the body of this creative thesis, illustrate.
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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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Baurin, Camille. "Le metacomic : la réflexivité dans le comic book de super-héros contemporain." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5018/document.
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« Comic book » est un terme anglo-saxon, plus spécifiquement américain, employé pour désigner les fascicules de bande dessinée. Il a trouvé son autonomie en 1938 avec la création de « Superman » qui a amorcé l'hégémonie de la figure du « super-héros » dans la production. Au cours du vingtième siècle, éditeurs et auteurs ont eu recours à des stratégies de conquête et de fidélisation du lectorat dont le procédé de la réécriture est le plus significatif. Le super-héros fut alors soumis à l'interprétation de nombreux créateurs et devint le témoin à multiples facettes de l'Histoire des États-Unis. Il s'est dessiné à partir des années quatre-vingt une tendance réflexive qui prend cette figure comme objet critique et qui a donné naissance à ce qu'on appelle ici le « metacomic ». À partir d'un corpus représentatif, cette thèse est consacrée aux stratégies qui fondent cette réflexivité et aux discours qu'elle véhicule dans les œuvres. Elle se divise en quatre chapitres. Le premier est un descriptif de l'industrie du comic book qui explique ses particularités et l'hégémonie en son sein du genre « superhéroïque ». Le second est dédié aux processus formels qui permettent de justifier la constitution du corpus en définissant la réflexivité des œuvres. Le troisième est voué à une analyse du caractère idéologique de cette métafiction, afin de montrer en quoi la mise en crise du super-héros sert un discours sur l'Histoire et la politique américaines. Le dernier s'intéresse à la manière dont les œuvres consacrent le super-héros comme figure de l'imagination : adoptant une approche fictionnaliste, on y démontre comment transfictionnalité et univers fictionnels sont utilisés pour revisiter<br>“Comic Book” is the Anglo-Saxon, more specifically American term employed to describe a specific material medium for comics. The epochal moment in the history of the comic book was the 1938 publication of « Superman », which marked the starting point of the hegemony of the figure of the superhero in comic production. Over the course of the twentieth century, authors and publishers have used various strategies for winning over readers and securing their loyalty. Among these, the technique of rewriting is the most significant. Thus, the superhero has been the subject of many reinterpretations, and consequently, has born witness to many facets of the United States’ history. The publications of the 1980s have seen the rise of a reflexive approach in which the superhero becomes an object of critique himself. This new genre is here referred to as Metacomic. Drawing on a representative body of works, the doctoral thesis at hand examines the strategies that constitute this reflexivity, as well as the multiple discourses that it gives rise to. The thesis is divided into four chapters. The first chapter gives an account of the comic book industry and explains its particularities, as well as the hegemonic position of the superhero genre in the industry. The second chapter attempts a definition of reflexivity in comic books, which permits to establish a body of works to be examined. The third chapter attempts an analysis of the ideological aspects of this metafiction in order to show how the crisis of the superhero reflects on a certain discourse on American history and politics. The fourth and last chapter examines how the analysed comics establish the superhero as an agent of imag
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Van, de Water Wesley Colin. "The Bat and the Spider: A Folkloristic Analysis of Comic Book Narratives." DigitalCommons@USU, 2016. https://digitalcommons.usu.edu/etd/4870.
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This thesis examines and argues that superhero narratives, beginning with their comic book origins in the early twentieth century, exhibit many of the qualities found in folklore. Furthermore, these narratives not only demonstrate a folkloric evolution across multi-media formats, including printed work, television, and film, but that they fit within classic hero narrative structures posited by various folklore theorists. The hero theories presented by Lord Raglan, Vladimir Propp, and Joseph Campbell, along with traditional folklore patterns of dynamism and conservatism discussed by Barre Toelken, Alan Dundes, and others, support the assertion that folklore can, and does, exist and propagate in the mass media popular culture sphere. What follows is an academic analysis of core folklore elements, as well as a presentation of how these core qualities can be found in superhero narratives, and how the discipline of folklore may benefit from a study of these narratives.
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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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Rendace, Olivero. "New forms of cultural production, the case of the North American comic book industry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0019/MQ59198.pdf.
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Young, Aine Llang. "The comic book hypertext : an analysis of illustrated sequential narrative adapted for the screen." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603575.
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This thesis analyses the understudied practice of comic to screen adaptation in order to demonstrate a process-centric interpretation of medium specifism (rendering this process not in opposition to hybridist frameworks) can offer insight into how, or if filmmakers address the ontological disparities existing between the two media involved in their hypertexts. This thesis focuses on the recently flourishing practice of transmedial adaptation from contemporary comics and graphic novels to screen and investigates how the study of this particular practice can offer unique insights into the field of adaptation studies. It examines the relationship existing between the two media; comics and cinema , as they both convery storues and the use of visual sequences.
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Hong, Laura. "Twitter and the comic book fan community: Building identities and relationships in 140 characters." Scholarly Commons, 2015. https://scholarlycommons.pacific.edu/uop_etds/201.
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The following study examined identity construction and community formation within the comic book fan community on the social media website, Twitter It had three objectives It investigated how comic book fans constructed their respective identities on Twitter, explored how fans came to identify with the comic book community and why it formed, and aimed to discover how the community was maintained and expanded The study applied an ethnographic method that relied on the analysis of dialogue Ten comic book fans (five males, five females) that frequently used Twitter to communicate with other fans were video interviewed It was found that comic book fans constructed their identities using their Twitter biography and profile picture and they all believed they were communicating their true and genuine selves The biography, profile picture, and tweets reinforced the rhetoric of what it meant to be a comic book fan It was this visual and written rhetoric that enabled comic book fans to identify with one another and bring the community into being Without this rhetoric, there is no community The community maintained itself through the continued reinforcement of this rhetoric It expanded itself by bringing comic book fans from different backgrounds, locations, and nationalities together online around a shared interest The study also found that the relationships formed within the community could develop into real friendships, the same caliber of friendship that individuals would normally have with those they knew and met in real life.
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Topp, Sydney Fisher. "The Gender Differences in Subjectivity among Superbeing Characters in the Comic Book Film Genre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/87472.
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This study intends to evaluate the extent to which gender inequality permeates representation in the media. By drawing on the literature of feminist phenomenology I define subjectivity as the tendency of characters to interact with the world around them rather than merely have that world act upon them. I use the themes of sexual spectacle, motivation, and violence and protection to evaluate the gender differences among superbeing characters from the DC and Marvel franchises. Through the use of a qualitative content analysis this study has shown that the dichotomous gender hierarchy actively subordinates female superbeing characters through their diminished subjectivity. A character�s ability to act upon the world through act-break motivations, direct capacity for violence, and the protection of others defines them as subjects. Conversely, a character�s inability to do those actions as well as their instances of sexual spectacle and unmotivated sexual displays in costuming and gender performance relegates them to the role of object. The subjectivity score is used to more clearly show a definitive ranking of these characters. Female superbeing characters often hold negative scores. This means that their total deductions from categories that diminish their subjectivity, such as instances of sexual spectacle or revealing costumes, outweigh any points they earn from categories that award them more subjectivity, such as protection/rescuing others. The male characters hold double or triple the scores of their female counterparts, which perfectly highlights the gendered division of the attributes that inform subjectivity. By allowing superbeing characters to transcend gender dichotomy and engage with the full human spectrum of emotion and wellbeing, we could celebrate people as fully human and disrupt the gender normativity that maintains inequality.<br>Master of Science<br>Marvel and DC Comics are two of the most popular comic book companies in the US. They are responsible or the creation of well-known characters such as Superman and Iron Man. Within the last few decades the comics because popular film franchises. Both companies release several films every year from their respective cinematic universes. These are highly grossing movies and popular enough to have character costumes produced for purchase. Popular cultural phenomenon such as these film franchises provides an opportunity to study social topics such as gender inequality and heteronormativity. This study focuses on the on-screen depictions of these superbeing characters in order to establish a connection between gender and subjectivity in these super-human bodies. Subjectivity, defined by Iris Marion Young’s conceptualization of a feminist phenomenology uses the themes of motivated action, violence and protection, and sexual spectacle to determine if there is a gendered difference in the ways these characters are able to be super and how that impacts their overall subjectivity level. The data supports the theory that male superbeing character are allowed to be full subjects who are able to act upon the world while female superbeing characters are still relegated to the sphere of objectification.
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Edholm, Rosalie. "Portrait: A Graphic Novel and Artist's Book." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/24.
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At this exact moment, graphic novels are enjoying a heyday of popularity, profusion and attention. As the graphic novel medium matures and detaches itself from the “non-serious” reputation of comics, it is becoming clear that graphic novels are a powerful and effective art form, using the both verbal and the visual to relay their narratives. Portrait, the short graphic novel that is my senior art project, is intended to emphasize the artist’s book character of the graphic novel, and serve as an example of how a graphic novel’s artist’s book characteristics allow communication of the artist’s message effectively.
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Petiya, Sean. "Building a Semantic Web of Comics: Publishing Linked Data in HTML/RDFa Using a Comic Book Ontology and Metadata Application Profiles." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416791055.
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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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Barth, Norbert Victor. "India Book House und die Comic-Serie Amar Chitra Katha (1970-2002) : Eine kulturwissenschaftliche Medienanalyse." Doctoral thesis, kostenfrei, 2007. http://www.opus-bayern.de/uni-wuerzburg/volltexte/2008/2789/.
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Baldwin, Frances Novier. "The Passage of the Comic Book to the Animated Film: The Case of the Smurfs." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84167/.
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The purpose of this study is to explore the influence of history and culture on the passage of the comic book to the animated film. Although the comic book has both historical and cultural components, the latter often undergoes a cultural shift in the animation process. Using the Smurfs as a case study, this investigation first reviews existing literature pertaining to the comic book as an art form, the influence of history and culture on Smurf story plots, and the translation of the comic book into a moving picture. This study then utilizes authentic documents and interviews to analyze the perceptions of success and failure in the transformation of the Smurf comic book into animation: concluding that original meaning is often altered in the translation to meet the criteria of cultural relevance for the new audiences.
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Whitehurst, Katherine F. "Adapting Snow White : tracing female maturation and ageing across film, television and the comic book." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24054.
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This thesis analyses 21st century filmic, televisual and comic “Snow White” adaptations. The research is interdisciplinary, bringing together scholarship on gender, childhood, ageing, adaptation, media and fairy tales. The first half of the thesis contextualises the broader historical and sociocultural conversation “Snow White” tellings are immersed in by nature of their shared culture and history. It also identifies the tale’s core and traces the tale’s formation as a tale type from the seventeenth to the twenty–first century. The second half of this thesis moves to an analysis of two films (Mirror Mirror, 2012; Snow White and the Huntsman, 2012), a television series (Once Upon a Time, 2011–present) and a comic book series (Fables, 2002–2015). It considers the kinds of stories about female growth and ageing different media adaptations of “Snow White” enable, and contemplates how issues of time and temporality and growth and ageing play out in these four versions. In analysing the relationship between form and content, this thesis illustrates how a study of different media adaptations of “Snow White” can enrich fairy–tale scholarship and the fairy–tale canon. It also details the imaginative space different media adaptations of “Snow White” provide when engaging with dominant discourses around female growth and ageing in the West. Using “Snow White” as a case study, this thesis centrally facilitates a dialogue between ageing, childhood, fairy–tale and adaptation studies.
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Wang, Lorraine. "You’re Not a Superhero, or Even an Artist! How the “Alias” Comic Book Holds the Answers." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/800.
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Superhero comic books are not art, and middle-aged, non-white women are not superheroes. I seek to disprove both of these assumptions, and I use the "Alias" comic books from 2001-2004 for my argument.
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Domingue, Etienne. "Vers une herméneutique pluraliste du religieux dans les récits de superhéros : une approche orientée par la pensée de McLuhan." Mémoire, Université de Sherbrooke, 2016. http://hdl.handle.net/11143/8813.
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Le genre du super-héros s’impose de plus en plus dans l’imaginaire populaire. Les fictions de ce type suscitent l’intérêt des savants en raison de leur façon de véhiculer l’idéologie à travers des situations fantastiques. Les diverses manifestations du genre abordent implicitement ou explicitement des thèmes dont il est également question dans les discours religieux contemporains : autonomie et théonomie en éthique ; sacralité des hiérarchies, de l’environnement, des relations, de l’âme et du corps ; cosmogonie et eschatologie ; etc.
Pour ne pas traiter à tort et à travers de l’enchevêtrement des univers religieux et fantastiques, il importe d’aborder cette convergence sous plusieurs angles susceptibles d’en faire ressortir les sens sans lui imposer de cohérence réductrice. Dans cet optique, une herméneutique pluraliste basée sur les perspectives interprétatives de Marshall et Eric McLuhan est tout indiquée. La méthode McLuhan propose trois angles d’approche, trois rapports d’altération entre culture de l’imaginaire et religieux contemporain : le super-héros critique, récupère et déconstruit les récits, discours et autres réalités du religieux. Puisque le temps et l’espace consacré à l’étude sont restreints par des considérations pratiques, son échantillon est limité aux « comic books » de super-héros des trente dernières années, à leurs produits dérivés et à la littérature savante qui s’y réfère.
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Kautsky, Matilde, and Klara Kedborn. "Six Weeks in Belgrade : A Comic Book on Participatory Architecture and Citizen Initiatives in Urban Planning." Thesis, KTH, Arkitektur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-146302.
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The project “Six weeks in Belgrade” is a comic book and an exhibition of our research on citizen participation in the planning process in Belgrade, Serbia. The project discusses how participation can be used to improve the way we plan and build our cities: If, and how, participation can result in a more democratic planning, aiming at a more long-term sustainable and less market-driven urban development. It presents current planning conditions in Belgrade, and current actors and projects in Belgrade. It also introduces a speculative method for a participatory practice through fiction and the visual language of comics. The project maps both formal and informal initiatives in the field of urban planning.The research was done on the basis of interviews, books and articles. By mapping these initiatives we wanted to show their importance, hoping that people will get inspired and involved in the planning and making of the city, and also to strengthen already existing initiatives. The research is presented in the form of a comic narrative, presenting an alternative mode of communicating ideas in architecture and planning. Something which is of specific importance for the development of a participatory practice.<br>Projektet “Sex veckor i Belgrad” är en seriebok och en utställning baserad på vår undersökning av medborgardeltagande i stadsplaneringen i Belgrad, Serbien. Utställningen var på KTH, Arkitekturskolan 2-5 juni 2014. “Sex veckor i Belgrad” diskuterar hur deltagande i stadsplanering kan användas för att förbättra hur vi planerar våra städer: Om och hur deltagande kan leda till en mer demokratisk stadsplanering i en strävan mot en mer långsiktigt hållbar och mindre marknadsstyrd stadsutveckling. Det diskuterar dagens förutsättningar för stadsplanering i Belgrad genom att titta på stadsplaneringshistorien där. Och genom intervjuer med planerare, politiker, akademiker och framförallt aktivister kartläggs både formella och informella initiativ inom stadsbyggandet i Belgrad. Genom att kartlägga dessa initiativ vill vi stärka dem och visa på deras betydelse, och hoppas att fler blir inspirerade och involverade i planeringen och skapandet av staden. Projektet föreslår ett nytt sätt att jobba på, med deltagande i praktiken och en spekulativ metod som tar avstamp i fiktion och serieteckningens visuella språk. Resultaten av undersökningen är presenterad i form av en narrativ seriebok, och visar en alternativ metod att kommunicera idéer inom arkitektur och stadsplanering. Något som är angeläget vid en utveckling av en deltagande praktik.
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Kawa, Abraham. "Everything at once : postmodern concepts of #reality' in comic book narrative and its adaptations on film." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251679.
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Cruz, Gabriel Arnoldo. "Superheroes & Stereotypes: A Critical Analysis of Race, Gender, and Social Issues Within Comic Book Material." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542044502896871.
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Herrmann, Andrew F. "Stigmatized at the Comic Book Shop? An Ethnography of Collectors, Accumulators, and Other Forms of Geek." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/803.
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Cunelius, Erik. "Är dunderhonung dopning? : En undersökning av de budskap som förmedlas i samband med idrott i serietidningen Bamse." Thesis, Gymnastik- och idrottshögskolan, GIH, Institutionen för idrotts- och hälsovetenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:gih:diva-779.
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Sammanfattning Syfte och frågeställningar Syftet med uppsatsen var att studera och analysera de budskap som förmedlas i samband med idrott i serietidningen Bamse. Frågeställningarna i arbetet var på vilket sätt förmedlingen sker respektive vilka budskap det är som förmedlas. Metod Datainsamlingen skedde genom textundersökning och bildanalys. Antalet årgångar av tidningen som studerades var sju (mellan år 2001 och 2007). Utöver detta studerades två nummer av Bamse-extra. Samtliga episoder i de angivna utgåvorna lästes igenom, men endast de delar analyserades där något idrottsinslag på ett eller annat sätt var bärande av budskap. En analysmodell användes för att lättare kunna uttolka seriernas fulla innebörder. Modellen har reviderats något men är ursprungligen utformad av Lars Peterson. Resultat Förmedlingen av budskap sker ibland genom att de tydligt uttalas i episodernas slutskeden. Den kan också ske genom att det görs en klar tudelning mellan goda karaktärer som handlar gott och onda dito som handlar skurkaktigt. På så vis förmedlas vad som är ett handlingsmönster att eftersträva och vad som inte är det. Ett ytterligare sätt som förmedlingen sker på är genom att låta läsaren förstå huruvida olika sätt att handla får önskvärda eller icke önskvärda konsekvenser. De budskap som förmedlas är att det goda övervinner det onda, att alla ska få vara med, att det (i normalfall) är fel att fuska, att en handling måste alltid ses i ljuset av omständigheterna och de bakomliggande motiven, att tankeförmåga och teknik bringar idrottslig framgång, att personer av kvinnligt kön mycket väl kan vara dugliga idrottare (liksom män kan), att man skall ställa upp för varandra, vara hjälpsam och generös, att den som försöker utsätta någon annan för något elakt eller obehagligt ofta faller offer för gärningen själv, att man skall våga stå för vad man har gjort, att allt inte bör handla om att vinna, att man skall våga delta och inte ge upp, att det oväntade kan vinna samt att man inte skall döma någon på förhand. Slutsats Budskapen följer en tydlig linje om att man skall handla gott. För att kunna göra det bör man vara öppensinnad, rättrogen, ödmjuk, fördomsfri, eftertänksam, solidarisk, hjälpsam, vänlig, generös, ärlig, trägen och framåt samt ha en känsla för alla individers lika värde. Ett gott handlande leder enligt Bamse till en mer trivsam tillvaro för samtliga. Idrottslig framgång bringas av tankeförmåga och teknik.
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Reynolds, Renee H., and Renee H. Reynolds. "The Rise of Geek Chic: An Analysis of Nerd Identity in a Post-Cult Market." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626700.
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This project is an analytical history of the discourse of media panics that have affected comics-like forms in the mid- to late-1800s, comic books in the mid-1900s, and comics media in 1990s and the contemporary moment. The study of these media panics shapes a theory of nerd culture in general and comics culture specifically in order to better understand the delicate and foundational dialectic that sustains a consumer identity that is paradoxical in its indulgence in and animosity towards popular culture. With its historical formation in mind, this project explores the formation of geek chic as a consumer identity that, in many ways, troubles and even threatens the status quo of nerd culture.
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Однорал, О. А. "Вербальні та невербальні засоби впливу на адресата у сучасному англомовному дискурсі коміксів (перекладацький аспект)". Master's thesis, Сумський державний університет, 2018. http://essuir.sumdu.edu.ua/handle/123456789/71936.
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Мета: визначити вербальні та невербальні засоби впливу на адресата, представлені в сучасному англомовному дискурсі коміксів, особливості їх перекладу.
Теоретичне значення: поглиблення відомих теоретичних знань про вербальні та невербальні засоби впливу на адресата; комікс як тип дискурсу.
Наукова проблема роботи полягає у тому, що в Україні перекладу та створенню коміксів приділяється дуже мало уваги. Наше дослідження може сприяти розвитку перекладу іншомовних коміксів в Україні, надавши українськомовній аудиторії якісний продукт.
Методологія дослідження: критичний аналіз літературних джерел, методи аналізу та синтезу, дескриптивний та порівняльний методи.
Висновки: сучасний англомовний дискурс коміксів має велику кількість вербальних і невербальних засобів впливу на адресата. Переклад коміксів вимагає професійного підходу, адже такі засоби грають ключову роль у розумінні тексту і є основною його проблемою.<br>Goal: to identify verbal and nonverbal means of influence on the addressee, presented in the modern English discourse of comics, the peculiarities of its translation.
Theoretical value: deepening the theoretical knowledge about verbal and nonverbal means of influencing the addressee; comics as a type of discourse.
The scientific problem of work consists in the fact that in Ukraine translation and creation of comics is paid very little attention. Our research can contribute to the development of the translation of foreign-language comics in Ukraine, giving the Ukrainian-speaking audience a high-quality product.
Methodology of the research: a critical analysis of literary sources, methods of analysis and synthesis, descriptive and comparative methods.
Conclusions: the modern English discourse of comics has many verbal and non-verbal means of influencing the addressee. The translation of comics requires a professional approach, since such means play the key role in understanding the text and are a major problem for translation.
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Ordoñez, Manco Gabriel Ignacio. "La historieta y la identidad Nacional en Jóvenes de Secundaria del distrito de Puente Piedra." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652918.
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El presente artículo de investigación busca reconocer la problemática actual de la falta de identidad nacional en jóvenes de educación secundaria de zonas específicas de Lima a causa de la falta de una apropiada educación en los centros educativos, así como la falta de integración social en la escuela.
El objetivo de la investigación realizada consiste en contribuir a la formación de la identidad nacional en los jóvenes mediante el uso del diseño gráfico, por medio de la historia del Perú y la historieta. Brindando una alternativa que capte la atención e interese a los alumnos.
Se ha optado por la metodología de investigación experimental, ya que se realizará un estudio con variables experimentales en un entorno fijo. El nivel de investigación es el experimental y el enfoque elegido es el mixto pues se realizarán métodos cuantitativos como cualitativos.
De esta Manera se plantea como posible solución el uso de la historieta como un medio generador y proveedor de identidad nacional en las escuelas secundarias. Una solución que se plantea en base a los resultados que se han obtenido durante la investigación del problema y sus orígenes.
En Conclusión, la respuesta de los jóvenes a la propuesta fue positiva y los resultados de los test realizados resultó en un 60% de acierto por lo que se puede validar la hipótesis planteada.<br>The present research article seeks to recognize the current problem of the lack of national identity in young people in the education of the specific areas of Lima, cause of the lack of an adequate education in the educational centers, as well as the lack of social integration in the school.
The objective of the research is to contribute to the formation of national identity in young people through the use of graphic design, through the history of Peru and the comic strip. Providing an alternative that captures the attention and interests of students.
The chosen methodology has been the experimental research, a study has been developed with experimental variables in a fixed environment. The level of research is experimental, and the chosen approach is mixing to perform quantitative and qualitative methods.
In this way, the possible use of the comic strip as a generator and provider of national identity in high schools is presented as a possible solution. A solution that is based on the results obtained during the investigation of the problem and its origins.
As Conclusion, the response of the young people to the proposal was positive and the results of the tests were 60% correct, so the hypothesis could be validated.<br>Trabajo de investigación
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Birch, Robert A. C. "Myth in the heroic comic-book : a reading of archetypes from The number one game and its models." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1781.
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Thesis (MPhil (Visual Arts))--Stellenbosch University, 2008.<br>This thesis considers the author's project submission, a comic-book entitled The Number One
Game, as production of a local heroic myth. The author will show how this project attempts to
engage with mythic and archetypal material to produce an entertaining narrative that has relevance
to contemporary Cape Town. The narrative adapts previous incarnations of the hero, with reference
to theories of archetypes and mythic patterning devices that are derived from the concept of the
“mono-myth”. Joseph Campbell's conception of myth as expressing internal psychic processes will
be compared to Roland Barthes' reading of myth as a special inflection of speech that forms a
semiotic “metalanguage”. The comic-book is a specific form of the language of comics, a
combination of image and text that is highly structured and that can produce a rich graphic text.
Using the Judge Dredd and Batman comic-books as models it will be shown how The Number One
Game adapts traditions of representation, such as in genre references, to local perspective to create a
novel interplay of archetypes. It will be shown that this interplay in the author's project work and
the rich potential of the comic-book as a site for mythic speech makes the mythic a useful paradigm
for considering the expression of ideology in the heroic comic-book.
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Simmons, Eugene Bradley. "Humanizing the Humvee personification techniques and visual rhetoric as used in a U.S. Army technical comic book /." [Ames, Iowa : Iowa State University], 2010. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1476365.
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