Gotowe bibliografie tematyczne / Friendship – Comic books, strips, etc

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Gotowa bibliografia na temat „Friendship – Comic books, strips, etc”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Friendship – Comic books, strips, etc"

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Jiang, Yajun, i Lina Paola Ángel Jiménez. "Money Metaphors We Live By: Analyzing Chinese Comic Books based on CMA". International Journal of Literature Studies 4, nr 1 (18.01.2024): 11–20. http://dx.doi.org/10.32996/ijts.2024.4.1.2.

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Chinese comic books appear to be filled with bright colors and interesting characters, but they also offer insight into the daily life relations and societal principles of modern China. In this study, we examined the construction and underlying meanings of money metaphors in Zhu Deyong’s comic book series We Are All Patients, and We Are All Patients 2: Love with an Idiot, using the conceptual metaphor theory (CMT). By mapping abstract concepts into more concrete and familiar domains, CMT conveys complex ideas, emotions, and social commentary in a way that readers can easily understand. We analyzed thirty-nine randomly chosen comic strips from Zhu’s comic books using Charteris-Black’s (2004) inductive method, conceptual metaphor analysis (CMA), to identify, explain, and interpret different metaphors. Through our analysis, we highlighted the most prominent money metaphors and how they relate to the current love and friendship relations made by modern Chinese people in their everyday lives. We found that money metaphors are classified into seven source domains: barrier, drug, tool, almighty, exchange, principle, and ambition.
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ADAMS, JIMI. "Glee's McKinley High: Following Middle America's sexual taboos". Network Science 3, nr 2 (13.05.2015): 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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Rozprawy doktorskie na temat "Friendship – Comic books, strips, etc"

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O'Brien, Amy Ann. "Boys' Love and Female Friendships: The Subculture of Yaoi as a Social Bond between Women". unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-11202008-150110/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Jennifer Patico, committee chair; Emanuela Guano, Megan Sinnott, committee members. Description based on contents viewed Sept. 10, 2009. Includes bibliographical references (p. 141-147).
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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, i 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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Książki na temat "Friendship – Comic books, strips, etc"

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author, Ball Georgia, Gudsnuk Kristen author, Dell Lowe Zena author, Pinto Valentina ill, Genevieve FT (Illustrator) ill i Franscisco Tina ill, red. Strawberry Shortcake: Berry good life. San Diego, CA: Idea & Design Works, LLC, 2017.

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author, Daley Arlene, Clark Wook-Jin, Dukes Rachel, Mannino Nicole, Cook Katie 1981-, Leyh Kat, Corona Jorge, Cabrera Eva i Rupert Mad, red. The Not-So Secret Society. Los Angeles, CA: Boom! Studios, 2017.

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Rochelle, Gancio, i Haley Amanda translator, red. Anne Happy: Unhappy go lucky! New York, NY: Orbit, 2017.

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

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Nicole, D'Andria, Astruc Thomas, Bacconnier Cedric author, Thibaudeau Sebastien author, Boutboul Pascal author, Delachenal Michae, Birch Justin i Zag Entertainment (Firm), red. Miraculous. Claws out. Pittsburgh, Pa.]: Action Lab, 2017.

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ill, Price Andy, Breckel Heather i Uyetake Neil, red. My little pony: The movie prequel. San Diego, CA: Idea & Design Works, LLC, 2017.

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ill, Bartel Jen, i McClaren Meredith ill, red. Jem and the Holograms: Enter the Stingers. San Diego, CA: Idea & Design Works, LLC, 2017.

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Jordie, Bellaire, red. The stone heart. New York: First Second Books, 2017.

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illustrator, Doucet Bob, red. Comic relief. Minneapolis, Minn: Magic Wagon, 2014.

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S, Parker Tom, Jennewein Jim i De Souza Steve, red. The Flintstones, big time in Bedrock. New York: Grosset & Dunlap, 1994.

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Części książek na temat "Friendship – Comic books, strips, etc"

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

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Responding to individual or collective threats, celebrating shared expressions of pride, culture, and identity, acknowledging common experiences of self-discovery, sex, friendship, and love, and affirming queer histories, LGBTQ+ comics demonstrate the literal and notional power of personal and community togetherness, queer solidarity, and collective action in the scholarship introduced here. Affirmative, celebratory, defensive, and reactive, the comics taken up by this scholarship — notably 1990s American lesbian comic strips, AIDS comics, and Silver Age comic books — show how LGBTQ+ community togetherness faces the AIDS crisis, fights for same-sex marriage, withstands misogyny, homophobia, and transphobia, overcomes familial estrangement and state-sponsored oppression, and discovers the promise of a more secure queer future in social, community, and collective activism and togetherness. Recognizing that the might of the queer individual multiplies exponentially when connected to others, the ideal of the “queer commons” transcends limiting boundaries to mobilize broad, horizontal connections among queer people. The essays in this section consider how LGBTQ+ comics visualize and motivate that queer force.
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Tichi, Cecelia. "Comics, Movies, Music, Stories, Art, 1V-on-1V, Etc." W 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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