scholarly journals Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia

2014 ◽  
Vol 6 (1) ◽  
pp. 58-72 ◽  
Author(s):  
Sean A Guynes
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
Natural World ◽  
Sequential Art ◽  
Comic Strips ◽  
Word And Image ◽  
American Tradition ◽  
The Individual ◽  
Common Device ◽  
Peircean Semiotics

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.

scholarly journals (Anti)Fascism and Superhero Comics: An Anthropological Examination of Innovativeness in Comic Books as Exemplified by "V for Vendetta"

2020 ◽  
Vol 15 (4) ◽  
Author(s):  
Miloš Zarić
Keyword(s):  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Individual Level ◽  
Semiotic Model ◽  
The Individual ◽  
Semantic Dimension ◽  
Alan Moore ◽  
The Way ◽  
V For Vendetta

The paper analyzes the V for Vendetta comic books, written by Alan Moore and illustrated by David Lloyd. These volumes are graphic novels whose characteristics place them in the literary genre of the critical dystopia, but they have also been associated with the genre of the superhero comic, which, according to a number of authors including Alan Moore, is inextricably linked to the ideology and practice of the political right, which in its extreme form assumes the form of fascism. The way that fascism is treated in that work, as well as in two other comics discussed in the paper (Alan Moore and Dave Gibbon’s Watchmen and Frank Miller’s The Dark Knight Returns), is linked to the way in which the process of creativity/innovativeness functioned in the context of the revision/deconstruction of the superhero comic book genre in the 1980s, both on the collective (intra-genre) and the individual level, on the level of the thought structure of the British writer Alan Moore. Using the structural-semiotic model of analysis, the paper seeks to fathom the logic of this deconstruction procedure "broken down" into the three comic books discussed in the paper, with particular emphasis on the analysis of V for Vendetta, with the aim of establishing its "hidden", connotative semantic dimension. The study adopts a modern view of the comic book according to which the essence of this medium, which distinguishes it from other narrative and graphic forms of expression as well as from film, can be recognized in the specific, sequential way of combining its visual and narrative components, thus generating meanings whose interpretation depends on the intention of the author but also on the view of the reader.

scholarly journals Representation of the soviet era in national comics

2021 ◽  
Vol 1 (24) ◽  
pp. 185-192
Author(s):  
Tatiyana I. Erokhina ◽  
◽  
Evgeni S. Zheltov ◽  
Keyword(s):  
Functional Analysis ◽  
Mass Culture ◽  
Comic Books ◽  
Comic Book ◽  
Visual Images ◽  
Historical Events ◽  
Comic Strips ◽  
Soviet Culture ◽  
Modern Mass ◽  
Controversial Nature

The article studies representation of the soviet era images in the national comics culture. Paying attention to the popularity and relevance of soviet culture in contemporary mass culture, the authors emphasize the controversial nature of showing the «Soviet past». Analyzing the peculiarities of representation, which is a polysemantic concept and can pursue different goals, the authors focus on the «spectacular» function of representation typical of modern mass culture. The article givess a thorough analysis of national comics in which the representation of the soviet era is most obvious; moreover, the comic strips creators claim it is a deliberate technique. The authors of the article note that the representation of the soviet era can be featured in the plot of a comic book, with references to historical events or historical chronotope of the soviet era. The soviet era can be represented in the system of recognizable characters with possible prototypes in soviet culture. National comic books, addressed to the russian reader, can actualize the visual images of the soviet era. Analyzing various techniques and ways of showing the Soviet era in comics, the authors offer a functional analysis of representation, noting that resorting to the soviet era can serve different purposes and have both positive and negative connotations. The article examines different functions of the soviet era representation connected both with nostalgic trends in society and with ironic perception of the soviet past.

For a Few Comic Strips More: Reinterpreting the Spaghetti Western through the Comic Book

2016 ◽  
Author(s):  
William Grady
Keyword(s):  
Comic Books ◽  
Comic Book ◽  
Comic Strips ◽  
Bande Dessinee ◽  
Spaghetti Westerns ◽  
Bounty Hunter ◽  
The Impact

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.

The Bible and Graphic Novels and Comic Books

2017 ◽  
Author(s):  
Andrew T. Coates
Keyword(s):  
Twentieth Century ◽  
Comic Books ◽  
Graphic Novels ◽  
Comic Book ◽  
Sequential Art ◽  
The Bible ◽  
American Protestantism ◽  
History Of ◽  
Words And Images ◽  
The Relationship

“The Bible and Graphic Novels and Comic Books” argues that Protestants used images for a surprising range of religious purposes in their twentieth-century comic book Bibles. The chapter provides a brief theoretical overview of the medium of sequential art and the relationship between words and images in Protestant comic book Bibles. It also examines the history of Protestant comic book Bible production from the 1930s to the 2010s. The chapter argues that changing artistic styles in comic books reveal changing religious and cultural sensibilities in twentieth-century American Protestantism. The chapter offers close examinations of significant examples from the history of comic book Bibles, discussing the religious work these images performed in Protestant communities.

KOMIK DI LINGKARAN INDUSTRI MUSIK

DeKaVe ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Terra Bajraghosa
Keyword(s):  
Comic Books ◽  
Music Industry ◽  
Comic Book ◽  
Narrative Approach ◽  
Visual Narrative ◽  
Common Practices ◽  
Visual Style ◽  
Song Lyrics ◽  
The Common

Comic ges. Based on comprehention as a narrative media, comics in Indonesia are oftenly compared to bas-reliefs on Borobudur temple and Wayang Beber.. From many kind of stories Indonesian comic books recently offered, with the developed visual wrapping, some comics steal attentions by its unique themes. These comic books are created because of the inspiration and relation to music industry. These comic books couldn't be seen from the visual style alone, as they were created in many visual genres, but they could be seen from their relations to music industry, whether the mainstream or indie ones. These comic books are published together with the music CDs, telling fictional stories from factual bands or musicians, telling a band's factual stories, or created by one of the band members. To understand modes of creation of these music industry-related-comic books, visual narrative approach will be applied. Through visual narrative approach, the band members' or musician's necessity for telling stories via comics, beside the common practices via music and song lyrics, will be observed.Keywords : Comic book, music industry, visual narrative

Gender Differences in Clothing Worn in Current Popular Comic Books

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Kyle Landon Jossy
Keyword(s):  
Gender Differences ◽  
Content Analysis ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Lower Body ◽  
Female Characters ◽  
Male And Female ◽  
Males And Females

This study looked at how males and females were portrayed, based on the amount of skin shown in the clothing worn.  A Content analysis was performed on a sample of 20 randomly selected popular comics from the last 3 years.  Both male and female characters were rated on how much skin they showed in three clothing categories; neck line, sleeve length, and lower body.  Results showed that in all 3 categories, women consistently wore more revealing clothing.  The findings demonstraetd that the comic book industry is comparable to other forms of media, in the sexualization of female characters, by having them wear more revealing clothing.

Ibn Khaldun’s Theory of Social Change

1998 ◽  
Vol 15 (2) ◽  
pp. 25-45 ◽  
Author(s):  
Fida Mohammad
Keyword(s):  
Industrial Revolution ◽  
Natural World ◽  
Social Knowledge ◽  
Philosophical Tradition ◽  
Historical Process ◽  
Ibn Khaldun ◽  
Historical Processes ◽  
The Will ◽  
The Individual ◽  
Compare And Contrast

In this article I shall compare and contrast Ibn Khaldun’s ideas aboutsociohistorical change with those of Hegel, Marx, and Durkheim. I willdiscuss and elaborate Ibn Khaldun’s major ideas about historical andsocial change and compare them with three important figures of modemWestern sociology and philosophy.On reading Ibn Khaldun one should remember that he was living in thefourteenth century and did not have the privilege of witnessing the socialdislocation created by the industrial revolution. It is also very difficult tocategorize Ibn Khaldun within a single philosophical tradition. He is arationalist as well as an empiricist, a historicist as well as a believer inhuman agency in the historical process. One can see many “modem”themes in his thinking, although he lived a hundred years beforeMachiavelli.Lauer, who considers Ibn Khaldun the pioneer of modem sociologicalthought, has summarized the main points of his philosophy.’ In his interpretationof Ibn Khaldun, he notes that historical processes follow a regularpattern. However, whereas this pattern shows sufficient regularity, itis not as rigid as it is in the natural world. In this regard the position ofIbn Khaldun is radically different from those philosophies of history thatposit an immutable course of history determined by the will of divineprovidence or other forces. Ibn Khaldun believes that the individual isneither a completely passive recipient nor a full agent of the historicalprocess. Social laws can be discovered through observation and datagathering, and this empirical grounding of social knowledge represents adeparture from traditional rational and metaphysical thinking ...

The Oxford Handbook of Comic Book Studies

2019 ◽  
Keyword(s):  
United States ◽  
Comic Books ◽  
Academic Discipline ◽  
World System ◽  
Comic Book ◽  
The United States ◽  
Global Perspective ◽  
Visual Narrative ◽  
The Subject ◽  
Book Studies

Comic book studies has developed as a solid academic discipline, becoming an increasingly vibrant and field in the United States and globally. A growing number of dissertations, monographs, and edited books publish every year on the subject, while world comics represent the fastest-growing sector of publishing. The Oxford Handbook of Comic Book Studies examines the history and evolution of the visual narrative genre from a global perspective, bringing together readable, jargon-free essays written by established and emerging scholars from diverse geographic, institutional, gender, and national backgrounds. In particular, the Handbook explores how the term “global comics” has been defined, as well the major movements and trends that drive the field. Each essay will help readers understand comic books as a storytelling form grown within specific communities, and will also show how these forms exist within what can be considered a world system of comics.

scholarly journals Humanizing a Superhero: An Empirical Test in the Comic Books Industry

2016 ◽  
Vol 9 (11) ◽  
pp. 189
Author(s):  
Michela Addis ◽  
Gabriele Troilo
Keyword(s):  
Content Analysis ◽  
Quantitative Study ◽  
Comic Books ◽  
Empirical Test ◽  
Book Industry ◽  
Comic Book ◽  
Secondary Data ◽  
Data Sources ◽  
Secondary Data Sources

<p>One of the most firmly-established and widespread marketing policies in the comic book industry is the humanization of superheroes as a strategy to achieve success, especially for characters populating the Marvel Universe. However, there is no clear evidence of how exactly artists actually and operatively create human superheroes, and whether those variables truly affect sales of comic books. To address those two issues we run a quali-quantitative study by interviewing experts, and regressing sales on a broad range of variables of comic books gathered through content analysis and secondary data sources. Our findings show that humanization is not as powerful as expected in driving sales of comic books.</p>

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