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The Alderwood

Literatuurwetenschap strips

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Zeer veel zelfs. Kijk maar eens op webofknowledge:

Een random setje van recente dingen die wel leuk lijken:

- The Conquest of Space: Evolution of Panel - Arrangements and Page Layouts in Early Comics Published in Belgium (1880-1929). 

By: Lefevre, Pascal EUROPEAN COMIC ART   Volume: 2   Issue: 2   Pages: 227-252   Published: JUN 2009 This article focuses on panel arrangements and page layouts of early comics published in Belgium in the five decades before the start of Tintin in 1929. It investigates the degree of standardisation in this pivotal period, in which the old system of graphic narratives with captions evolved to comics with balloons. The years between 1880 and 1929 boasted a variety of publication formats (broadsheets, illustrated magazines for adults and for children, comic strips, artists' books), within which one can see both similar and different conventions at work.


-The Difference between Heroes and Monsters: Marvel Monsters and Their Transition into the Superhero Genre

By: McGunnigle, Christopher UNIVERSITY OF TORONTO QUARTERLY   Volume: 87   Issue: 1   Special Issue: SI   Pages: 110-135   Published: WIN 2018. The monster is an amorphous and ambiguous manifestation of social values, representing fear and revulsion of a cultural Other while engendering escapist power fantasies. The monster era of Marvel Comics from the late 1950s to the early 1960s created a new mediation of the monster based heavily on the comicbook industry's desire for a model of mass producible creative content. Graphic narrative's hybridization of verbal and visual rhetoric captures the cultural fluidity of the monster by using multimedia signifiers of ambiguity and reiterating popular visual archetypes. However, Marvel monster categories are as much a result of economic and visual limitations of the comic book medium. Marvel monster rhetoric, in turn, transformed the dichotomy of fear and desire at the heart of the monster into a new superheroic archetype. This article explores the verbal and visual rhetoric of the monster era and what rhetorics transferred to Marvel's silver age superheroes of the 1960s.


-Re-Examining the "What is Manga" Problematic: The Tension and Interrelationship between the "Style" Versus "Made in Japan" Positions

By: Kacsuk, Zoltan ARTS   Volume: 7   Issue: 3     Article Number: 26   Published: SEP 2018. The term manga is used to refer to a range of related and at times exclusive domains according to the position of the speaker. In the present paper, I examine one of the fundamental dichotomies underpinning the arguments in relation to the meaning of manga, the tension and interrelationship between the "style" versus "made in Japan" positions. Building on research on manga, comics, and bande dessinee, I outline a framework that attempts to take stock of the most common features associated with works being considered manga. Highlighting some of the possible connections between visual style and content-specific elements on the one hand, and the Japanese language plus the culture of manga production, dissemination, and consumption in Japan on the other hand, I argue that the manga as style position is not as pure a possibility-transcending all cultural and material situatedness-as it is sometimes held up to be. At the same time, the manga is made in Japan position is not as simplistic as it is commonly thought to be and indeed points to a far deeper and more fundamental interrelationship between manga and Japan-as its real and mythical place of origin-than its proponents might actually articulate.

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Natuurlijk, Stuvio. Ik heb op dit forum ook al een en ander gelinkt.

Om een voorbeeld van Vlaemsche bodem te geven. Joris Vermassen, zelf striptekenaar onder de pseudoniemen Fritz Van Den Heuvel en Fritz, is niet zo lang geleden nog gedoctoreerd met "De vloek van Flaubert. Heilige tekst, goddeloos beeld - op zoek naar een verzoening" (2016). Hij pende ook enkele artikels neer, zoals: "Help. There's a picture in my novel".

Over de historische verbinding tussen tekeningen in proza.

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