Bibliografias temáticas / A Comic books, strips

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Literatura científica selecionada sobre o tema "A Comic books, strips"

Autor: Grafiati
Publicado: 29 de julho de 2024
Última modificação: 30 de julho de 2024

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Artigos de revistas sobre o assunto "A Comic books, strips"

1

Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas". Reference & User Services Quarterly 54, n.º 4 (19 de junho de 2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.

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Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.
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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero". Frontiers of Narrative Studies 5, n.º 2 (28 de novembro de 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.

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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia". Public Journal of Semiotics 6, n.º 1 (23 de dezembro de 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.

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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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Engel, E. A., e M. V. Deneko. "Linguacreative Foundations of the German Comic Book "Dig, Dag, Digedag"". Bulletin of Kemerovo State University 21, n.º 4 (31 de dezembro de 2019): 1139–49. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1139-1149.

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The paper features linguistic and creative foundations in the German comic book "Dig, Dag, Digedag". Modern linguacultural, cognitive studies, and discursive practices are aimed at studying comics, which are a series of drawings with brief accompanying texts. However, comic books consist of two components – verbal and nonverbal, which means that graphic novels and strips have linguacreative foundations. The author performed philological and semiotic analyzes to identify the linguistic and creative foundations of the German comic book. The algorithm of the philological analysis included literary description of the time and place, the most original and interesting scenes in several editions, lexical expressive means and stylistic devices. The semiotic analysis featured the graphics related to the non-verbal component. The linguistic and creative foundations of the comic are manifested in original plots that allow its readers to escape from everyday and political problems through fun, exciting, and informative trips to Ancient Rome, Sicily, ancient Arab countries, the Moon and Mars, as well as to an uninhabited island. The carefully selected scientific and mundane knowledge is transmitted through verbal means and comic book graphics, making young readers expand their horizon. The use of such tools as hyperbole, metaphor, pun, as well as diverse vocabulary within the text of the comic, also suggests linguistic creativity of the German comic book "Dig, Dag, Digedag".
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Dozier, Ayanna. "Wayward Travels". Feminist Media Histories 4, n.º 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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Plekhanov, A. A. "The magazine Krokodil as a space of the Soviet comic strip in the 1940s". Shagi / Steps 9, n.º 3 (2023): 192–217. http://dx.doi.org/10.22394/2412-9410-2023-9-3-192-217.

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The article is devoted to the history of Soviet comics in the 1940s through the example of the Krokodil magazine. The first part discusses stereotypes about the history of comics in the USSR, analyses the concept of the comic strip as the main form of comics in the Soviet period, and considers the use of Media studies as a framework. The purpose of the article is to examine the work of Krokodil as a space for the development of the Soviet comic strip, through R. Duncan’s and M. J. Smith’s communication model of the comic book. The second part explores the process of work of the magazine’s artists, the censorship by various gatekeepers’ actors, the typical features of the visual language of the Soviet comic strip, the distribution and perception of comic strips and the magazine itself. It is especially noted that the distinction between caricature and comic strip is not typical for the 1940s, and it will emerge only by the 1960s. The article also provides a parsing of a corpus of diaries from the 1940s, in which memories of Krokodil are highlighted. The hypothesis of H. Alaniz about the special role of comics during the Great Patriotic War is verified and questioned.
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Kühn Paulsen, Felix. "Rytme og netværk i Homo Metropolis". Passage - Tidsskrift for litteratur og kritik 33, n.º 79 (1 de julho de 2018): 47–59. http://dx.doi.org/10.7146/pas.v33i79.127527.

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This article investigates serialization in newspaper comic strips (exemplified by Danish Nikoline Werdelin’s strip Homo Metropolis) with a dual focus on publication structure and composition of individual strips. Reading the forms of Rhythm and Network as symptoms of serialization, the analysis seeks to outline the difference between meeting the comic strip in daily newspapers or in collected books. Furthermore, it investigates how the actual punchlines takes form through constant fluctuation between repetition and interruption. In this way, the article reads Homo Metropolis as an example of how serialized storytelling constantly negotiates the tension between the individual story/punchline and larger network of narratives.
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Li, Yuzhang. "The Development and Evolution of Narrative Characteristics from Comic Strips to Original Chinese Picture Books". Communications in Humanities Research 26, n.º 1 (3 de janeiro de 2024): 216–26. http://dx.doi.org/10.54254/2753-7064/26/20232066.

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After nearly one hundred years of interpretation, comic strips can be chronologically sorted into emergent, prosperity, change and bottleneck. Through research, this paper discusses the comprehensive impact of social and economic factors on each of these periods and deduces and summarizes the characteristics of differentiated narratives. In the new period, Chinese comic strips gradually receded due to market factors, while original Chinese picture books grew. Although there is a difference in the visual presentation form between the two, they have partly inherited the characteristics of the comic strips in the 80's and 90's. The thesis conducts a comparative study on the differences and similarities between the two and discusses their creative value and contemporary significance.
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John, A. L. "Comic Books and Comic Strips: A Bibliography of the Scholarly Literature". Choice Reviews Online 44, n.º 11 (1 de julho de 2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.

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Derkachova, Olga, Oksana Tytun e 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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Teses / dissertações sobre o assunto "A Comic books, strips"

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Lorenz, Peter. "Maßnahmen zur Schaffung einer zukunftsfähigen Organisation der Comic-Spezialbibliothek "Bei Renate"". Berlin : Humboldt-Universität zu Berlin, 2005. http://books.google.com/books?id=SYtQAAAAMAAJ.

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Pevey, Aaron. "From Superman to superbland the Man of Steel's popular decline among postmodern youth /". unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04172007-133407/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Chris Kocela, committee chair; Paul Schmidt, Michael Galchinsky, committee members. Electronic text (95 p. : ill. 9some col.)) : digital, PDF file. Description based on contents viewed Nov. 16, 2007. Includes bibliographical references (p. 78-81).
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Herman, Janique Luschan Vogl. "An interrogation of morality, power and plurality as evidenced in superhero comic books: a postmodernist perspective". Thesis, University of Fort Hare, 2013. http://hdl.handle.net/10353/d1005646.

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The desire for heroes is a global and cultural phenomenon that gives a view into society’s very heart. There is no better example of this truism than that of the superhero. Typically, Superheroes, with their affiliation to values and morality, and the notion of the grand narratives, should not fit well into postmodernist theory. However, at the very core of the superhero narrative is the ideal of an individual creating his/her own form of morality, and thus dispensing justice as the individual sees fit in resistance to metanarrative’s authoritarian and restrictive paradigms. This research will explore Superhero comic books, films, videogames and the characters Superman, Spider-Man and Batman through the postmodernist conceptions of power, plurality, and morality.
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Du, Plessis Carla (Carla Susan). "Reconsidering the conventions employed in comix and comix strips". Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21211.

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

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

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

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

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Ehritz, Andrew A. "FROM INDOCTRINATION TO HETEROGLOSSIA: THE CHANGING RHETORICAL FUNCTION OF THE COMIC BOOK SUPERHERO". Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1155044370.

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Young, Hiu-tung, e 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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Livros sobre o assunto "A Comic books, strips"

1

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

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2

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

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3

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

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4

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

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5

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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7

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

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8

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

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9

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

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

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Capítulos de livros sobre o assunto "A Comic books, strips"

1

Dowdy, Joanne Kilgour. "Comic Strips are Comic Plays". In Teaching Drama in the Classroom, 33–35. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_7.

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Gordon, Ian. "Why Kid Comics". In Kid Comic Strips, 1–11. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55580-9_1.

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Gordon, Ian. "America and Australia: Skippy and Ginger Meggs". In Kid Comic Strips, 13–36. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55580-9_2.

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Gordon, Ian. "America and France: Perry Winkle and Bicot". In Kid Comic Strips, 37–61. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55580-9_3.

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Gordon, Ian. "America and Britain: Dennis the Menace (s)". In Kid Comic Strips, 63–86. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55580-9_4.

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Gordon, Ian. "Comics Scholarship and Comparative Studies". In Kid Comic Strips, 87–90. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55580-9_5.

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Forni, Kathleen. "Comic Books". In Beowulf’s Popular Afterlife in Literature, Comic Books, and Film, 98–121. New York: Routledge, 2018. | Series: Routledge studies in medieval literature and culture; 9: Routledge, 2018. http://dx.doi.org/10.4324/9780429466014-6.

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Femers-Koch, Susanne. "Comic strips für eine ernste Sache?" In Textspiele in der Wirtschaftskommunikation, 147–83. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-18899-3_7.

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de Forges, Anne Richer, Frank Verheijen, Dominique Arrouays, Eric Blanchart e Martial Bernoux. "Soil in Comic Strips and Cartoons". In Soil and Culture, 439–52. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2960-7_27.

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canemaker, john. "new york and the great comic strips". In winsor mccay, 76–131. [Revised edition]. | Boca Raton : Taylor & Francis, 2018.: CRC Press, 2018. http://dx.doi.org/10.1201/b22526-4.

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Trabalhos de conferências sobre o assunto "A Comic books, strips"

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

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In the realm of comic books, laughter onomatopoeia (LO) plays a crucial role in character portrayal. The sound symbolism of LO can be used to assign distinct character roles and to suggest similarities in terms of appearance and personality traits. For instance, Kinsui (2014) posited that ‘hoho’ is typically associated with a young woman from a well-respected family. However, scholarship on the relationship between variable LO and character types is limited in the current literature, emphasizing the need for further study. This thesis addresses this research gap by examining the association between phonological features and character types. Using the Japanese comic series ‘One Piece’ as a case study, the research collected laughter phrases and utilized a laughter notation system to assign character roles. The results suggest that characters employing LO with common phonological elements possess analogous external and personality characteristics, demonstrating the impact of sound symbolism on character attributes, with voiced sounds, p sounds, and palatalization sounds having distinctive correlations with specific character traits.
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Kato, Kyoko, Qinglian Guo, Norio Sato, Yuko Hoshino e Masahito Saito. "Developing software for translation of comic strips". In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280720.1280830.

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Salvador-Cisneros, Katherine, e Wellington Wonsang. "COMIC STRIPS AND ITS POTENTIAL IN RESEARCH COMMUNICATION INNOVATIVE WAYS TO COMMUNICATE RESEARCH IN THE HUMANITIES: COMIC STRIPS". In 18th International Technology, Education and Development Conference. IATED, 2024. http://dx.doi.org/10.21125/inted.2024.1995.

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Rigaud, Christophe, Srikanta Pal, Jean-Christophe Burie e Jean-Marc Ogier. "Toward speech text recognition for comic books". In MANPU '16: First International Workshop on coMics ANalysis, Processing and Understanding. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3011549.3011557.

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"Automatic Text Localisation in Scanned Comic Books". In International Conference on Computer Vision Theory and Applications. SciTePress - Science and and Technology Publications, 2013. http://dx.doi.org/10.5220/0004301308140819.

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Kusumawati, Eny. "Explicit Instruction, Comic Strips and ESP Reading Comprehension". In Tenth International Conference on Applied Linguistics and First International Conference on Language, Literature and Culture. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0007163201270133.

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Ho, Anh Khoi Ngo, Jean-Christophe Burie e Jean-Marc Ogier. "Panel and Speech Balloon Extraction from Comic Books". In 2012 10th IAPR International Workshop on Document Analysis Systems (DAS). IEEE, 2012. http://dx.doi.org/10.1109/das.2012.66.

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Rigaud, Christophe, Jean-Christophe Burie e Jean-Marc Ogier. "Segmentation-Free Speech Text Recognition for Comic Books". In 2017 14th IAPR International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2017. http://dx.doi.org/10.1109/icdar.2017.288.

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Guo, Qinglian, Kyoko Kato, Norio Sato e Yuko Hoshino. "An algorithm for extracting text strings from comic strips". In ACM SIGGRAPH 2006 Research posters. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179622.1179710.

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Immerry, T., F. Dahlan, H. Hidayat, Wasana Wasana e Pramono Pramono. "Designing Minangkabau Idiomatic Expression Comic Strips for Cultural Literacy". In Proceedings of the 2nd International Conference on Local Wisdom, INCOLWIS 2019, August 29-30, 2019, Padang, West Sumatera, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.29-8-2019.2289023.

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Relatórios de organizações sobre o assunto "A Comic books, strips"

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Hoogendoorn, Kathryn. Lab’s original mission inspires entire genre of comic books, characters. Office of Scientific and Technical Information (OSTI), outubro de 2021. http://dx.doi.org/10.2172/1828682.

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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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