From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative

Poetics Today ◽  
2015 ◽  
Vol 36 (4) ◽  
pp. 570-572
Author(s):  
Eyal Segal
Keyword(s):  
Graphic Novels ◽  
Comic Strips ◽  
Graphic Narrative ◽  
History Of

Book Reviews

2014 ◽  
Vol 7 (1) ◽  
pp. 112-126
Author(s):  
Ian Hague ◽  
Nancy Pedri ◽  
José Alaniz ◽  
Stefano Ascari ◽  
Silke Horstkotte
Keyword(s):  
Graphic Novels ◽  
Narrative Structure ◽  
Comic Strip ◽  
Comic Strips ◽  
Graphic Narrative ◽  
Making Sense ◽  
Graphic Narratives ◽  
History Of

Daniel Stein and Jan-Noël Thon, eds, From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic NarrativeBarbara Postema, Making Sense of Fragments: Narrative Structure in ComicsShane Denson, Christina Meyer and Daniel Stein, eds., Transnational Perspectives on Graphic Narratives: Comics at the CrossroadsMélanie Van Der Hoorn, Bricks and Balloons: Architecture in Comic Strip FormThomas Hausmanninger, Verschwörung und Religion: Aspekte der Postsäkularität in den franco-belgischen Comics [Conspiracy and Religion: Aspects of Post-Secularity in Franco-Belgian Comics]

Asian American Graphic Narrative

2018 ◽  
Author(s):  
Monica Chiu ◽  
Jeanette Roan
Keyword(s):  
United States ◽  
Asian Americans ◽  
Asian American ◽  
Graphic Novels ◽  
The United States ◽  
Comic Strips ◽  
Graphic Narrative ◽  
Award Winning ◽  
Graphic Narratives ◽  
Before And After

Asian American graphic narratives typically produce meaning through arrangements of images, words, and sequences, though some forgo words completely and others offer an imagined “before” and “after” within the confines of a single panel. Created by or featuring Asian Americans or Asians in a US or Canadian context, they have appeared in a broad spectrum of formats, including the familiar mainstream genre comics, such as superhero serials from DC or Marvel Comics; comic strips; self-published minicomics; and critically acclaimed, award-winning graphic novels. Some of these works have explicitly explored Asian American issues, such as anti-Asian racism, representations of history, questions of identity, and transnationalism; others may feature Asian or Asian American characters or settings without necessarily addressing established or familiar Asian American issues. Indeed, many works made by Asian American creators have little or no obvious or explicit Asian American content at all, and some non-Asian American creators have produced works with Asian American representations, including racist stereotypes and caricatures. The earliest representations of Asians in comics form in the United States were racist representations in the popular press, generally in single-panel caricatures that participated in anti-immigration discourses. However, some Asian immigrants in the early to mid-20th century also used graphic narratives to show and critique the treatment of Asians in the United States. In the realm of mainstream genre comics, Asian Americans have participated in the industry in a variety of different ways. As employees for hire, they created many well-known series and characters, generally not drawing, writing, or editing content that is recognizably Asian American. Since the 2010s, though, Asian American creators have reimagined Asian or Asian American versions of legacy characters like Superman and the Hulk and created new heroes like Ms. Marvel. In the wake of an explosion of general and scholarly interest in graphic novels in the 1990s, many independent Asian American cartoonists have become significant presences in the contemporary graphic narrative world.

scholarly journals APLICAÇÃO DE UMA HISTÓRIA EM QUADRINHOS, TRINITY, NA EDUCAÇÃO EM QUÍMICA

Química Nova ◽  
2021 ◽  
Author(s):  
Guilherme Silva ◽  
Carolina Sotério ◽  
Salete Queiroz
Keyword(s):  
Chemistry Education ◽  
Science Learning ◽  
Atomic Bomb ◽  
Comic Strip ◽  
Educational Tool ◽  
Instructional Tool ◽  
Comic Strips ◽  
Chemistry Teachers ◽  
History Of

THE APPLICATION OF A COMIC STRIP, TRINITY, IN CHEMISTRY EDUCATION. Faced with obstacles encountered in lessons and the search for actions that meet current educational needs, some attention has been paid to the role of comics as instructional tool. This article focuses on the use of a comic strip, Trinity: A Graphic History of the First Atomic Bomb, to develop knowledge and promote science learning. Three case studies were extracted from the comic and implemented to a group of pre-service chemistry teachers. A questionnaire was utilized to assess their perceptions about the usefulness of comics for their learning. One hundred percent of students indicated that comics helped improve their understanding of the nature of science. On the basis of the data, comic strips may be utilized as an acceptable educational tool in science education.

10. The letterless canon

2021 ◽  
pp. 104-111
Author(s):  
Ilan Stavans
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Graphic Novels ◽  
Jewish Literature ◽  
Comic Strips ◽  
Stand Up Comedy ◽  
Television Shows ◽  
Comedy Film ◽  
Film Scripts ◽  
The Way

“The letterless canon” argues that Jewish literature from the mid-twentieth century onward is not restricted to fiction, poetry, and theater. The book as a tool for the dissemination of knowledge has undergone a metamorphosis. Along the way, the border between high-brow and popular culture has been erased. Comic strips like Superman and graphic novels can be viewed as literary artifacts. Indeed we should consider the work of Will Eisner (A Contract with God), Art Spiegelman (Maus), and Alison Bechdel (Fun House), each of whom offers different contributions. There is also the matter of stand-up comedy, film scripts, and television shows which examine, from a Jewish perspective, gender, racial, and class issues.

“So You Still Believe in the Future?”

2020 ◽  
pp. 263-287
Author(s):  
Matthew J. A. Green
Keyword(s):  
Graphic Novels ◽  
The Political ◽  
Text And Image ◽  
Graphic Narrative ◽  
Non Fiction ◽  
Revolutionary Politics ◽  
International Reputation ◽  
And Gender ◽  
Political Commitments ◽  
Marxist Tradition

The third in a trilogy of graphic novels by Mary and Bryan Talbot, The Red Virgin and the Vision of Utopia both explores the intersection of violence, law, and gender, and allows an unprecedented opportunity to explore what can be called the expository function of graphic narrative. This chapter provides the first ever exploration of the continuity between Mary Talbot’s writing for comics and her academic work, whilst also addressing the surprising gap in scholarly work on Bryan Talbot whose international reputation and pioneering work in the medium merit further enquiry. Drawing on a Marxist tradition of critique embodied by Frederic Jameson and Slavoj Žižek, the chapter explores the political commitments of this graphic novel, enriching our understanding of the way Red Virgin combines fiction and non-fiction, as well as text and image, to provide a nuanced contribution to debates concerning utopianism and revolutionary politics within critical comics studies.

Political Historietas and Graphic Humor in Argentina

2015 ◽  
Author(s):  
Laura Vazquez
Keyword(s):  
Latin American ◽  
Graphic Novels ◽  
English Word ◽  
Forthcoming Article ◽  
Comic Strips ◽  
Daily News ◽  
Political Humor ◽  
Latin American History ◽  
Economic Elite ◽  
The 1960S

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Latin American History. Please check back later for the full article. The Spanish word “historietas,” like the English word “comics,” refers to a broad and heterogeneous body of work. A comic strip, a comic series, and a graphic novel are obviously not the same thing. One term can hide genres as diverse as gag cartoons, caricatures, illustrations, figurative narration, and narrative figuration. While comic strips and historietas often share a metonymic perspective, they represent two distinct practices. Comic strips published in newspapers and magazines are part of a hybrid genre similar to cartoons and historietas. Comic strips and cartoons both feature stand-alone stories. Comic strips and historietas both present their plots in a sequential graphic narrative. Historietas differ from comic strips and cartoons by appearing in adventure magazines, graphic novels, and serials that vary in content and publication format, each adhering to its own production conditions and genre rules. Graphic humor in Argentina has historically been tied to the political and economic elite. Even so, graphic humorists were able to surreptitiously convey subversive messages through their drawings and words. To work in the professional print industry has long been defined as having one foot in media business and the other in public interest. Due to the types of publications featuring historietas, their circulation, and their readership, historieta artists (historietistas) enjoyed a comparatively greater degree of autonomy in communicating social and political criticism. For graphic humor, its comedy or realism is connected to the type of commentary that appears in the opinion page of the daily news. Such is the case with magazines like Tía Vicenta, Humor Registrado, Satiricón, and Hortensia. The central characteristics of political humor link a historieta to the social and cultural conventions of its time. Graphic humor can be read in light of the ways it is unavoidably intertextual and metacommunicational, conditioned by existing discourse. Starting in the 1960s, realist and adventure historietas cultivated stylistic voics in tune with emerging forms of reflexive irony and the historieta’s unique visual properties. Playful experimentation in the textual and graphic dimensions of the historieta resulted in strongly political tales with elements of novelty and improvisation. Historietas written by Héctor Oesterheld and drawn by Alberto Breccia are paradigmatic of this tension between historietas and politics. Their narrative and aesthetic innovations highlight how historietas can be organized as ideological discourse, intervening alongside popular culture in the debates and dilemmas of the time.

Serials to Graphic Novels

2017 ◽  
Author(s):  
Catherine J. Golden
Keyword(s):  
Nineteenth Century ◽  
Children's Literature ◽  
Material Culture ◽  
Graphic Novels ◽  
Children’S Literature ◽  
Graphic Novel ◽  
Victorian Novels ◽  
Book Illustration ◽  
History Of ◽  
Illustrated Book

The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.

The Social History of Alcohol as Portrayed in the Comics up to the End of the Prohibition Era

1986 ◽  
Vol 16 (4) ◽  
pp. 585-608 ◽  
Author(s):  
Sylvia Lambert ◽  
Stephen Israelstam
Keyword(s):  
United States ◽  
Social History ◽  
The United States ◽  
Considerable Effect ◽  
Comic Strips ◽  
Daily Newspapers ◽  
The Social ◽  
Wide Range ◽  
History Of ◽  
The Media

The mass media tend to shape the values and opinions of their audience as well as reflect the culture in which they exist. The comics have long been an integral part of the media, appealing to a wide range of age and social class. As such, they could have considerable effect on attitudes and behaviours regarding alcohol consumption. In this paper, we examine the comic strips appearing in the daily newspapers before, during and up to the end of the Prohibition era in the United States, to see how alcohol was portrayed during this period when its manufacture and sale were prohibited.

Sign in / Sign up

Export Citation Format

Share Document