Bibliographies thématiques / Cameroon comic books, strips

Littérature scientifique sur le sujet « Cameroon comic books, strips »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 26 juillet 2024

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Articles de revues sur le sujet "Cameroon comic books, strips"

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

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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 (3 janvier 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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Whatley, Edward. « Sources : Comics Through Time : A History of Icons, Idols, and Ideas ». Reference & ; User Services Quarterly 54, no 4 (19 juin 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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Kühn Paulsen, Felix. « Rytme og netværk i Homo Metropolis ». Passage - Tidsskrift for litteratur og kritik 33, no 79 (1 juillet 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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Zahavi, Dan. « Manhattan Dynamite and no pancakes : Tradition and normality in the work of Tove Jansson ». SATS 19, no 1 (26 juillet 2018) : 5–19. http://dx.doi.org/10.1515/sats-2017-3001.

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Abstract It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition.
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Guynes, Sean A. « Four-Color Sound : A Peircean Semiotics of Comic Book Onomatopoeia ». Public Journal of Semiotics 6, no 1 (23 décembre 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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Jiang, Yajun, et Lina Paola Ángel Jiménez. « Money Metaphors We Live By : Analyzing Chinese Comic Books based on CMA ». International Journal of Literature Studies 4, no 1 (18 janvier 2024) : 11–20. http://dx.doi.org/10.32996/ijts.2024.4.1.2.

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Chinese comic books appear to be filled with bright colors and interesting characters, but they also offer insight into the daily life relations and societal principles of modern China. In this study, we examined the construction and underlying meanings of money metaphors in Zhu Deyong’s comic book series We Are All Patients, and We Are All Patients 2: Love with an Idiot, using the conceptual metaphor theory (CMT). By mapping abstract concepts into more concrete and familiar domains, CMT conveys complex ideas, emotions, and social commentary in a way that readers can easily understand. We analyzed thirty-nine randomly chosen comic strips from Zhu’s comic books using Charteris-Black’s (2004) inductive method, conceptual metaphor analysis (CMA), to identify, explain, and interpret different metaphors. Through our analysis, we highlighted the most prominent money metaphors and how they relate to the current love and friendship relations made by modern Chinese people in their everyday lives. We found that money metaphors are classified into seven source domains: barrier, drug, tool, almighty, exchange, principle, and ambition.
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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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Bertetti, Paolo. « Buck Rogers in the 25th century : Transmedia extensions of a pulp hero ». Frontiers of Narrative Studies 5, no 2 (28 novembre 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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Bunok, Grazella monary, Nihta V. F. Liando et Alloysius Rettob. « TENTH-GRADE STUDENTS’ READING HABIT ». SoCul : International Journal of Research in Social Cultural Issues 2, no 1 (19 mai 2023) : 496–504. http://dx.doi.org/10.53682/soculijrccsscli.v2i1.2769.

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The present study tries to find out how students’ reading behavior in this digital era, especially during Covid 19 pandemic by assessing SMA students’ preference for online materials, their preferred language when reading online materials, the online reading habits of the students, and the amount of time they spend in reading online every day. The study was a survey that involved 44 tenth graders at SMA Negeri 1 Tabukan Utara in Likungan, Sangihe. The data were collected using a questionnaire adapted from Abidin, Pour-Mohammadi, & Jesmin (2011). The data collected were analyzed in percentages. Results of the analysis indicated that (1) the most common activities they are interested in are chatting, surfing the internet, and games, (2) concerning online reading materials, they prefer reading e-books, e-mail, stories, or novels, and comic strips/jokes. The majority of the respondents 89% prefer reading online reading materials in Indonesia, and (3) male respondents read more news, e-mails, and comic strips/jokes. Female respondents, on the other hand, preferred reading e-magazines, e-books, and movie reviews, and (4) the highest percentage of respondents (43%) spent 1-3 hours online daily reading. It is concluded that female respondents spent more time on online reading compared to their male counterparts.
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Thèses sur le sujet "Cameroon 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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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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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, et 楊曉彤. « Problems of translating contemporary Japanese comics into Chinese : the case of Crayon Shinchan ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39848863.

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Brienza, Casey Elizabeth. « Domesticating Manga : Japanese comics, American publishing, and the transnational production of culture ». Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648154.

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Livres sur le sujet "Cameroon comic books, strips"

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Chrisany. Articles 5 et 9. Sasso Marconi (Bo) : Edizioni Lai-momo, 2002.

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

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

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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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Nick, Meglin, et Ficarra John, dir. Mad about comic strips. New York : Mad Books, 2003.

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Chapitres de livres sur le sujet "Cameroon comic books, strips"

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Lent, John A. « Comic Strips and Comic Books ». Dans 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 ». Dans 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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Allen, Paul V. « Ever After (1986 and Beyond) ». Dans 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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Keyes, Ralph. « Coins in Bubbles ». Dans 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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Gaines, M. C. « Narrative Illustration : The Story of the Comics ». Dans 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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Grady, William. « For a Few Comic Strips More : Reinterpreting the Spaghetti Western through the Comic Book ». Dans 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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Mok, Annie. « “The Starting Point” : An Interview with Julie Doucet ». Dans 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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Williams, Paul. « Comics, Comics Everywhere at Mid-century ». Dans 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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Crafton, Donald. « From the Lexigraphic to the Melomanic ». Dans Aesthetics of Early Sound Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland : Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727372_ch04.

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Lexigraphic and Melomanic are concepts proposed to fine tune our understanding of American studio animation’s transition to sound. In the 1910s and 1920s, animators and audiences were accustomed to following cartoon stories as a kind of reading, assisted by icons and words-in-the-image stylistics adapted from comic strips and comic books. These symbols and picture-words anticipated emoji, delivering an idea, concept, or emotion in pictorial form. Many animators employed these image-texts and picture icons imaginatively and reflexively. Led by the competitive example of the Walt Disney studio when it converted to sound, the established lexigraphic mode of production and reception gave way quickly to melomania – an obsessive preoccupation with syncing screen action to a pre-recorded soundtrack.
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Dine, Philip. « Children’s Literature ». Dans Postcolonial Realms of Memory, 343–50. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620665.003.0032.

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

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Xia, Yihui. « Laughter in Comic Strips in Northeast Asia ». Dans 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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Rapports d'organisations sur le sujet "Cameroon comic books, strips"

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Cameroon : Peer education and youth-friendly media reduce risky sexual behavior. Population Council, 2003. http://dx.doi.org/10.31899/rh2003.1009.

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Cameroonian researchers at the Institute of Behavioral Studies and Research (IRESCO), with support from FRONTIERS, conducted an operations research project between 2000 and 2002 to assess strategies to encourage abstinence, increase contraceptive use, and reduce sexually transmitted infection (STI) rates among sexually active youth. The intervention combined peer-education strategies with media campaigns to promote healthy behavior among youth in the Mokolo neighborhood of Yaoundé. IRESCO trained 49 peer educators aged 19–25 in reproductive health (RH) communication strategies. The team coordinated educational talks, counseling sessions, conferences, and cultural and athletic events; produced comic books and brochures; and sold French and English editions of Among Youth magazine, featuring celebrity interviews and information on RH, unwanted pregnancy, and STI transmission. IRESCO evaluated the intervention’s impact through baseline and endline surveys of 2,500 youth in Mokolo and the control site, New Bell, in Douala. This brief concludes that urban youth in Cameroon are knowledgeable about HIV/AIDS and the risks of early pregnancy, but their behavior often fails to reflect their knowledge. Peer-education programs targeting youth through one-on-one counseling, theatrical performances, youth magazines, and sporting events increases abstinence and fidelity and improves consistent and correct condom use.
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