Bibliografías temáticas / Teenagers – Comic books, strips, etc

Literatura académica sobre el tema "Teenagers – Comic books, strips, etc"

Autor: Grafiati
Publicado: 26 de julio de 2024

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Artículos de revistas sobre el tema "Teenagers – Comic books, strips, etc"

1

Derkachova, Olga, Oksana Tytun y Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS". Mountain School of Ukrainian Carpaty, n.º 26 (26 de abril de 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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ADAMS, JIMI. "Glee's McKinley High: Following Middle America's sexual taboos". Network Science 3, n.º 2 (13 de mayo de 2015): 293–95. http://dx.doi.org/10.1017/nws.2015.16.

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

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

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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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4

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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5

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

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6

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

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7

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

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8

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

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9

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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10

Young, Hiu-tung y 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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Libros sobre el tema "Teenagers – Comic books, strips, etc"

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D'Errico, Camilla. Avril Lavigne's Make 5 wishes: Starring Avril Lavigne. New York: Ballantine Books, 2007.

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2

Fumizuki, Ko ̄. Ai yori aoshi. Los Angeles, CA: Tokyopop, 2006.

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3

Alethea, Nibley y Rich Jamie S, eds. Ai yori aoshi. Los Angeles, CA: Tokyopop, 2007.

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4

Yagami, Chitose. Fall in love like a comic. San Francisco, CA: Viz Media, 2008.

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5

Inoue, Santa. Tokyo tribes. Los Angeles, Calif: Tokyopop, 2005.

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6

Inoue, Santa. Tokyo tribes. Hamburg: Tokyopop, 2007.

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7

Humberto, Ramos, Olazaba Victor, Delgado Edgar 1976- y Cowles Clayton, eds. Champions: Change the world. New York, NY: Marvel Worldwide, Incorporated, 2017.

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8

translator, Okutani Yota, ed. Cardfight!: Vanguard. New York: Vertical, Incorporated, 2017.

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9

Abouet, Marguerite. Aya of Yop City. Montreal: Drawn & Quarterly, 2008.

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10

Abouet, Marguerite. Aya of Yop City. Montréal: Drawn & Quarterly, 2008.

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Capítulos de libros sobre el tema "Teenagers – Comic books, strips, etc"

1

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

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