Home  ›  Comics Comix Graphic Novels a History of Comic Art

Comics Comix Graphic Novels a History of Comic Art

Written By ۱۴۰۱ اردیبهشت ۵, دوشنبه Add Comment Edit

Academic written report of comics and graphic novels

Comics studies (likewise comic(s) art studies, sequential art studies [1] or graphic narrative studies)[2] is an academic field that focuses on comics and sequential fine art. Although comics and graphic novels have been generally dismissed as less relevant pop culture texts, scholars in fields such as semiotics, aesthetics, sociology, limerick studies and cultural studies are now re-because comics and graphic novels equally complex texts deserving of serious scholarly written report.

Not to be confused with the technical aspects of comics creation, comics studies exists only with the creation of comics theory—which approaches comics critically every bit an art—and the writing of comics historiography (the report of the history of comics).[three] Comics theory has pregnant overlap with the philosophy of comics, i.east., the written report of the ontology,[4] [5] epistemology[vi] and aesthetics[seven] of comics, the relationship between comics and other fine art forms, and the relationship between text and image in comics.[4]

Comics studies is also interrelated with comics criticism, the analysis and evaluation of comics and the comics medium.[8]

Theorizing comics [edit]

Although there has been the occasional investigation of comics as a valid art form, specifically in Gilbert Seldes' The 7 Lively Arts (1924), Martin Sheridan'due south Comics and Their Creators (1942), and David Kunzle's The Early Comic Strip: Narrative Strips and Picture show Stories in the European Broadsheet from c. 1450 to 1825 (1973), contemporary Anglophone comics studies in N America tin can be said to have burst onto the academic scene with both Will Eisner's Comics and Sequential Fine art in 1985 and Scott McCloud's Understanding Comics in 1993. Continental comics studies can trace its roots back to the pioneering work of semioticians such as Roland Barthes (especially his 1964 essay "Rhetoric of the Paradigm", published in English in the anthology Image—Music—Text)[9] and Umberto Eco (particularly his 1964 book Apocalittici e integrati).[x] These works were the offset attempts at a general system of comics semiotics.[11]

More recently, analysis of comics have begun to be undertaken by cerebral scientists, the well-nigh prominent being Neil Cohn, who has used tools from linguistics to detail the theoretical structure of comics' underlying "visual language", and has also used psychological experimentation from cerebral neuroscience to test these theories in actual comprehension. This piece of work has suggested similarities between the way that the brain processes language and the way information technology processes sequential images.[12] Cohn's theories are non universally accepted, with other scholars like Thierry Groensteen, Hannah Miodrag, and Barbara Postema offering alternative understandings.

Defining comics [edit]

"Comics ... are sometimes 4-legged and sometimes 2-legged and sometimes fly and sometimes don't ... to use a metaphor as mixed as the medium itself, defining comics entails cutting a Gordian-knotted enigma wrapped in a mystery ..."

— R. C. Harvey, 2001[13]

Photo of a middle-aged man in glasses

Like to the problems of defining literature and picture,[14] no consensus has been reached on a definition of the comics medium,[15] and attempted definitions and descriptions have fallen casualty to numerous exceptions.[16] Theorists such every bit Rodolphe Töpffer,[17] R. C. Harvey, Will Eisner,[18] David Carrier,[19] Alain Rey,[15] and Lawrence Grove emphasize the combination of text and images,[twenty] though there are prominent examples of pantomime comics throughout its history.[16] Other critics, such every bit Thierry Groensteen[20] and Scott McCloud, have emphasized the primacy of sequences of images.[21] Towards the shut of the 20th century, different cultures' discoveries of each other's comics traditions, the rediscovery of forgotten early comics forms, and the ascension of new forms fabricated defining comics a more complicated task.[22]

Composition studies [edit]

In the field of composition studies, an interest in comics and graphic novels is growing, partially due to the work of comics theorists but also due to composition studies' growing focus on multimodality and visual rhetoric. Composition studies theorists are looking at comics as sophisticated texts, and sites of complex literacy.

Gunther Kress defines multimodality as "the employ of several semiotic modes in the blueprint of a semiotic production or event, together with the detail way in which these mode are combined"[23] or, more simply as "any text whose meanings are realized through more than one semiotic code".[24]

Kristie S. Fleckenstein sees the relationship between image and text equally "mutually constitutive, mutually infused"—a relationship she names "imageword". Fleckenstein sees "imageword" as offering "a double vision of writing-reading based on [the] fusion of paradigm and word, a double vision of literacy".[25]

Dale Jacobs sees the reading of comics equally a form of "multimodal literacy or multiliteracy, rather than every bit a debased class of print literacy".[26] According to Jacobs, comics can assist educators to movement "toward attending to multimodal literacies" that "shift our focus from print merely to multiple modalities".[27] He encourages educators to encompass a didactics that will requite students skills to finer negotiate these multiple modalities.

Comics historiography [edit]

Comics historiography (the study of the history of comics)[3] studies the historical process through which comics became an autonomous art medium[28] and an integral part of culture.[29] An area of report is premodern sequential art; some scholars such equally Scott McCloud consider Egyptian paintings and pre-Columbian American picture manuscripts to be the very first form of comics and sequential art.[30] Some other area of study is the 20th-century emergence of the subculture of comics readers and comicphilia,[31] the passionate interest in comic books. (A person with a passionate involvement in comics is informally called a comicphile [32] or comics buff.)[33]

The first attempts at comics historiography began in the U.s.a. in the 1940s with the work of Thomas Chicken, Martin Sheridan, and Coulton Waugh. Information technology was not until the mid-1960s, with the publication of Jules Feiffer'due south The Slap-up Comic Volume Heroes, that the field began to take root. Historiography became an accepted practice in the 1970s with the work of Maurice Horn, Jim Steranko, Ron Goulart, Pecker Blackbeard, and Martin Williams. The late 1990s saw a wave of books jubilant American comics' centennial. Other notable writers on these topics include Will Jacobs, Gerard Jones, Rick Marschall, and R. C. Harvey.

Educational institutions [edit]

Comics studies is becoming increasingly more mutual at academic institutions beyond the world. Some notable examples include: Ohio State University,[34] University of Florida,[35] University of Toronto at Mississauga,[36] and Academy of California Santa Cruz,[37] amid others. West Liberty University is currently the only university offer a 4-year undergraduate literature degree in comics studies.[38] In United kingdom of great britain and northern ireland, growing interest in comics has led to the establishment of a center for comics studies, the Scottish Centre for Comics Studies (SCCS) at the University of Dundee in Scotland.[39] Abreast formal programs and degrees, it is common to run into individual courses defended to comics and graphic novels in many educational institutions.[40]

Sol Grand. Davidson's New York University thesis, Culture and the Comic Strips, earned him the first PhD in comics in 1959,[41] [42] while in France, Jean-Christophe Carte was awarded a Doctorate in Art and Art Sciences in 2011 from Université Paris i Panthéon-Sorbonne after defending his thesis The Comics and its Double: Linguistic communication and Frontiers of Comics: Practical, Theoretical and Editorial Prospects.[43] [44]

Teesside Academy began offering a BA in Comics and Graphic Novels in 2014,[45] likewise equally an MA in Comics from 2018.[46] They accept since appointed a team of renowned comics practitioners including Fionnuala Doran,[47] Julian Lawrence, Con Chrisoulis, Nigel Kitching and Tara McInerney.[48]

The University of Lancaster started offering a PhD degree in comics studies in 2015.[49] The same year French comics studies scholar Benoît Peeters (a educatee of Roland Barthes) was appointed every bit the UK's first ever comics professor at Lancaster University.[50]

Scholarly publications [edit]

Some notable academic journals specifically dedicated to comics studies are listed below in alphabetical order:

  • CuCo, Cuadernos de cómic (published by the Editorial de Universidad de Alcalá)
  • European Comic Fine art
  • ImageTexT (a peer reviewed, open-access journal that began in the jump of 2004 and is based at the University of Florida)
  • Image and Narrative (stylized as Epitome [&] Narrative, a peer-reviewed e-journal on visual narratology)
  • Inks: The Periodical of the Comics Studies Society (published by the Ohio State University Press)[51]
  • International Journal of Comic Art
  • Journal of Graphic Novels and Comics
  • Revista Latinoamericana de Estudios sobre la Historieta
  • Studies in Comics
  • SANE: Sequential Art Narrative in Education (based at the University of Nebraska–Lincoln)
  • The Comics Filigree: Journal of Comics Scholarship (outset published in January 2011; an open-access, researcher-led, peer-reviewed academic journal published past the Open Library of Humanities)

Conferences [edit]

Although presentations dedicated to comics are commonplace at conferences in many fields, unabridged conferences dedicated to this subject are condign more common. In that location have been conferences at SAIC (International Comic Arts Forum, 2009), MMU (The International Bande Dessinée Social club Conference), UTS (Sequential Fine art Studies Conference), Georgetown, Ohio State (Festival of Drawing Art),[52] and Bowling Green (Comics in Popular Culture conference),[53] and there is a yearly conference at University of Florida (Briefing on Comics and Graphic Novels).[54] Additionally, there is an annual Michigan Country University Comics Forum, which brings together academics and professionals working in the industry. Notable regularly held movable conferences include the Comic Art and Comics Area of the Popular Culture Association of America and the conference of the International Club for Humour Studies.[52]

The International Comic Arts Forum (ICAF), begun in 1995 at Georgetown University, has been described as one of the earliest bookish initiatives for the study of comics.[55] The German Gesellschaft für Comicforschung (ComFor, Society for Comics Studies) has organized yearly academic conferences since 2006.[56] The Comics Arts Briefing has met regularly since 1992 in conjunction with San Diego Comic-Con International and WonderCon.[57] Another of import conference is the annual International Graphic Novels and Comics Briefing held since 2010 organized by British academics. This briefing has been held in conjunction with the longer running International Bande Dessinée Social club conference. Comics Forum, a UK-based community of international comics scholars, also holds an annual conference at Leeds Central Library; the first was held in 2009.[58]

See also [edit]

  • Culling comics
  • Childhood studies
  • Glossary of comics terminology
  • Graphic medicine
  • Comics in education
  • Comics poetry
  • Conference on College Composition and Communication
  • "How to Read Nancy"
  • Institute for Comics Studies
  • Joe Kubert School of Cartoon and Graphic Art
  • List of comics critics
  • Academy Press of Mississippi: Nifty Comics Artists Series / Comics and Popular Civilisation category
  • Wilhelm Busch Museum
People
  • Donald Ault
  • Peter Coogan
  • Mark Evanier
  • Thierry Groensteen
  • Jeet Heer
  • James Kakalios
  • Shirrel Rhoades
  • Peter Sanderson
  • Jim Steranko
  • Michael Uslan
  • Kent Worcester

References [edit]

  1. ^ International Journal of Comic Fine art, volume 7, 2005, p. 574.
  2. ^ Pramod K. Nayar, The Indian Graphic Novel: Nation, History and Critique, Routledge, 2016, p. 13.
  3. ^ a b Benoît Crucifix, "Redrawing Comics into the Graphic Novel: Comics Historiography, Canonization, and Authors' Histories of the Medium", "Whither comics studies?" panel, International conference of the French Association for American Studies, Toulouse (France), May 24–27, 2016.
  4. ^ a b Meskin, Aaron (2011). "The Philosophy of Comics". Philosophy Compass. half dozen (12): 854–864. doi:x.1111/j.1747-9991.2011.00450.x.
  5. ^ Iain Thomson, in his "Deconstructing the Hero" (in Jeff McLaughlin, ed., Comics as Philosophy (Jackson: Academy Press of Mississippi, 2005), pp. 100–129), develops the concept of comics every bit philosophy.
  6. ^ Meskin, Aaron and Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach, Wiley-Blackwell, 2012, p. xxxi.
  7. ^ David Carrier, The Aesthetics of Comics, Penn State University Press, 2000, Part 1: "The Nature of Comics."
  8. ^ Bramlett, Frank, Roy Cook and Aaron Meskin (eds.), The Routledge Companion to Comics, Routledge, 2016, p. 330.
  9. ^ Roland Barthes, "Rhétorique de l'image", Communications four(1), 1964, pp. forty–51, translated as "Rhetoric of the Prototype", in: Roland Barthes, Image–Music–Text, essays selected and translated by Stephen Heath, New York 1977, pp. 32–51.
  10. ^ Umberto Eco, Apocalittici e integrati: comunicazioni di massa e teorie della cultura di massa, Bompiani, 1964. Cf. besides: Umberto Eco (1972). "Epilogue", in: Walter Herdeg and David Pascal (eds.): The Art of the Comic Strip, Zurich: The Graphis Press.
  11. ^ Jochen Ecke, Gideon Haberkorn (eds.), Comics equally a Nexus of Cultures: Essays on the Interplay of Media, McFarland, 2010, p. 238.
  12. ^ Neil Cohn, The Visual Linguistic communication of Comics: Introduction to the Structure and Cognition of Sequential Images, London: Bloomsbury, 2013, p. 1ff.
  13. ^ Harvey 2001, p. 76.
  14. ^ Groensteen 2012, pp. 128–129.
  15. ^ a b Groensteen 2012, p. 124.
  16. ^ a b Groensteen 2012, p. 126.
  17. ^ Thomas 2010, p. 158.
  18. ^ Beaty 2012, p. 65.
  19. ^ Groensteen 2012, pp. 126, 131.
  20. ^ a b Grove 2010, pp. 17–19.
  21. ^ Thomas 2010, pp. 157, 170.
  22. ^ Groensteen 2012, p. 112–113.
  23. ^ Kress, Gunther and Theo Van Leeuwen (2001). Multimodal Soapbox: The Modes and Media of Gimmicky Communication. Arnold Publishers. p. 20.
  24. ^ Kress, Gunther and Theo van Leeuwen (2006). Reading Images: The Grammar of Visual Design (2d ed.). Routledge. p. 177.
  25. ^ Fleckenstein, Kristie (2003). Embodied Literacies: Imageword and a Poetics of Didactics. Southern Illinois University Printing. p. 2.
  26. ^ Jacobs, Dale. "Marvelling at The Man Called Nova: Comics as Sponsors of Multimodal Literacy". The Periodical of the Conference on Higher Composition and Communication. 59 (ii): 182.
  27. ^ Jacobs, Dale. "Marvelling at The Man Called Nova: Comics as Sponsors of Multimodal Literacy". The Journal of the Conference on College Composition and Communication. 59 (2): 201.
  28. ^ Williams, Paul and James Lyons (eds.), The Ascent of the American Comics Artist: Creators and Contexts, University Press of Mississippi, 2010, p. 106.
  29. ^ Waugh, Coulton, The Comics, University Printing of Mississippi, 1991, p. xiii.
  30. ^ Scott McCloud, Understanding Comics, Harper Perennial, 1993, pp. 10–15.
  31. ^ Alexandre Linck Vargas, A invenção dos quadrinhos: teoria eastward crítica da sarjeta (The Invention of Comics: Theory and Criticism of Gutters), Ph.D. thesis, Federal University of Santa Catarina, 2015, Abstract: "we stumble upon the inventions of a comics artistry, from the [1960s] on, through conflicts with the art world (Pop Art, Lowbrow Art and exhibitions), through the emergence of an authorial disposal and of an institutionalized comicphilia..."
  32. ^ Warren, Jarod (23 July 2013). "Logline: Importance and Creation". Cinelinx.com. Retrieved nineteen May 2020.
  33. ^ Rhoades, Shirrel, A Consummate History of American Comic Books, Peter Lang, 2008, p. 66.
  34. ^ "Comics Studies @ OSU | Popular Civilisation Studies".
  35. ^ "UF | Comics Studies | Studying Comics at UF". English.ufl.edu. 2007-04-04. Retrieved 2009-11-23 .
  36. ^ Visual Civilization Studies - University of Toronto Mississauga.
  37. ^ Spiegelman, Art. "Comix 101." Lecture. Porter College, University of California, Santa Cruz, April 1992.
  38. ^ Graphic Narrative Major
  39. ^ "Scottish Heart for Comics Studies". scottishcomicstudies.com. Retrieved 2016-xi-28 .
  40. ^ "UF | Comics Studies | Education Comics". English.ufl.edu. 2007-04-09. Retrieved 2009-11-23 .
  41. ^ Sol M. Davidson. Civilization and the Comic Strips. Ph.D. diss., New York University, 1959.
  42. ^ Sol & Penny Davison Collection - George A. Smathers Libraries.
  43. ^ Article virtually Jean-Christophe Menu presenting his thesis at the Sorbonne.
  44. ^ Theses.fr: La bande dessinée et son double : langage et marges de la bande dessinée : perspectives pratiques, théoriques et éditoriales.
  45. ^ "Teesside University Comics and Graphic Novels BA". Teesside University. Retrieved 2018-07-06 .
  46. ^ "Teesside Academy Comics MA". Teesside University. Retrieved 2018-07-06 .
  47. ^ "The graphic tale of Irish revolutionary Roger Casement". The Irish gaelic News. 2016-08-xi. Retrieved 2018-07-06 .
  48. ^ "Tara McInerney Website". Tara McInerney. Retrieved 2018-07-06 .
  49. ^ "Lancaster University offers doctorate in comic books". Independent.co.u.k.. 2015-11-25. Retrieved 2016-06-06 .
  50. ^ "'Great snakes!' Tintin proficient appointed U.k.'s get-go comics professor". TheGuardian.com. 2015-11-26. Retrieved 2016-06-06 .
  51. ^ "Inks". The Comics Studies Society (CSS). Retrieved 2021-02-12 . (contains no URL to the Journal)
  52. ^ a b "Regularly Held Conferences".
  53. ^ Robert M. Weiner (ed.), Graphic Novels and Comics in Libraries and Athenaeum: Essays on Readers, Research, History and Cataloging, McFarland, 2010, p. 264.
  54. ^ "Comics Conference". www.english language.ufl.edu. Archived from the original on 2009-11-29. Retrieved 2009-11-21 .
  55. ^ Matthew Smith; Randy Duncan (19 September 2017). The Clandestine Origins of Comics Studies. Taylor & Francis. p. 316. ISBN978-1-317-50578-5.
  56. ^ "Gesellschaft für Comicforschung". Archived from the original on 2011-07-18. Retrieved 2010-x-22 .
  57. ^ The Comics Arts Conference and Public Humanities.
  58. ^ "Comics Forum". Comics Forum . Retrieved 2017-02-02 .

Works cited [edit]

  • Beaty, Bart (2012). Comics Versus Art. University of Toronto Press. ISBN978-1-4426-9627-3.
  • Groensteen, Thierry (Jump 2012). "The Current Land of French Comics Theory". Scandinavian Journal of Comic Art. i (ane): 111–122.
  • Grove, Laurence (2010). Comics in French: The European Bande Dessinée in Context. Berghahn Books. ISBN978-1-84545-588-0.
  • Harvey, R. C. (2001). "Comedy at the Juncture of Word and Image". In Varnum, Robin; Gibbons, Christina T. (eds.). The Linguistic communication of Comics: Word and Image. University Printing of Mississippi. pp. 75–96. ISBN978-1-57806-414-four.
  • Thomas, Evan (2010). "10: Invisible Art, Invisible Planes, Invisible People". In Aldama, Frederick Luis (ed.). Multicultural Comics: From Zap to Blue Beetle. University of Texas Press. ISBN978-0-292-73743-iii.

Further reading [edit]

  • Ayaka, Carolene and Ian Hague (eds.), Representing Multiculturalism in Comics and Graphic Novels, Routledge, 2014.
  • Bongco, Mila, Reading Comics: Language, Culture, and the Concept of the Superhero in Comic Books, Routledge, 2014.
  • Bonura, Massimo, Provenzano, Federico, Teorie due east Storia del Fumetto. Il fumetto e le sue teorie comunicative, Palermo, Zap edizioni, 2017.
  • Bramlett, Frank (ed.), Linguistics and the Written report of Comics, Springer, 2012.
  • Bramlett, Frank, Roy Cook and Aaron Meskin (eds.), The Routledge Companion to Comics, Routledge, 2016.
  • Shush, Liam, The Comic Book Film Adaptation: Exploring Modern Hollywood's Leading Genre, Academy Printing of Mississippi, 2015.
  • Caswell, Lucy Shelton and Jared Gardner, Drawing the Line: Comics Studies and INKS, 1994–1997, Ohio State University Press, 2017.
  • Esther Claudio, Julio Cañero (eds.), On the Edge of the Console: Essays on Comics Criticism, Cambridge Scholars Publishing, 2015.
  • Cohn, Neil (ed.), The Visual Narrative Reader, Bloomsbury, 2016.
  • del Rey Cabero, Enrique (2021). How to Study Comics & Graphic Novels : A Graphic Introduction to Comics Studies. Michael Goodrum, Josean Morlesin Mellado. Oxford. ISBN978-1-8383792-ane-6. OCLC 1301199489.
  • Denson, Shane, Christina Meyer, Daniel Stein, Transnational Perspectives on Graphic Narratives: Comics at the Crossroads, Bloomsbury, 2013.
  • DiPaolo, Marc, War, Politics and Superheroes: Ethics and Propaganda in Comics and Film, McFarland, 2011.
  • Dong, Lan (ed.), Teaching Comics and Graphic Narratives: Essays on Theory, Strategy and Practice, McFarland, 2012.
  • Duncan, Randy and Matthew J. Smith, The Power of Comics: History, Form and Culture, Continuum, 2009.
  • Earle, Harriet, Comics, Trauma, and the New Art of War, University Press of Mississippi, 2017.
  • Fuchs, Wolfgang J. and Reinhold Reitberger, Comics: Anatomy of a Mass Medium, Piddling Brown & Co, 1972.
  • Gravett, Paul, Comics Fine art, Yale University Press, 2013.
  • Groensteen, Thierry, Comics and Narration, University Press of Mississippi, 2013.
  • Groensteen, Thierry, The Arrangement of Comics, Academy Printing of Mississippi, 2009.
  • Hague, Ian, Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels, Routledge, 2014.
  • Hatfield, Charles, Alternative Comics: An Emerging Literature, University Press of Mississippi, 2005.
  • Heer, Jeet and Worcester, Kent (eds.), A Comics Studies Reader, University Press of Mississippi, 2009.
  • Klock, Geoff, How to Read Superhero Comics and Why, Continuum, 2002.
  • Kukkonen, Karin, Studying Comics and Graphic Novels, Wiley-Blackwell, 2013.
  • Kukkonen, Karin, Contemporary Comics Storytelling, University of Nebraska Press, 2013.
  • Lund, Martin, Re-Constructing the Man of Steel: Superman 1938–1941, Jewish American History, and the Invention of the Jewish–Comics Connexion, Palgrave Macmillan, 2016.
  • Magnussen, Anne and Hans-Christian Christiansen (eds.), Comics & Civilization: Analytical and Theoretical Approaches to Comics, Museum Tusculanum Press, 2000.
  • McLaughlin, Jeff (ed.), Comics equally Philosophy, University Press of Mississippi, 2005.
  • Meesters, Gert, "Creativity in Comics. Exploring the Frontiers of the Medium by Respecting Explicit Cocky-imposed Constraints," in Tony Veale, Kurt Feyaerts, Charles Forceville (ed.), Creativity and the Agile Mind: A Multi-Disciplinary Study of a Multi-Faceted Miracle, Walter de Gruyter, 2013, pp. 275–292.
  • Miller, Ann and Bart Beaty (eds.), The French Comics Theory Reader, Leuven University Press, 2014.
  • Miodrag, Hannah, Comics and Language: Reimagining Critical Soapbox on the Form, Academy Press of Mississippi, 2013.
  • Pizzino, Christopher, Arresting Development: Comics at the Boundaries of Literature, U of Texas Press, 2016.
  • Postema, Barbara, Narrative Structure in Comics: Making Sense of Fragments, Boydell & Brewer, 2013.
  • Reynolds, Richard, Super Heroes: A Modern Mythology, Academy Printing of Mississippi, 1994.
  • Saraceni, Mario, The Language of Comics, Routledge, 2003.
  • Schmitz-Emans, Monika (ed.), Comic und Literatur: Konstellationen, Walter de Gruyter, 2012.
  • Smith, Matthew and Randy Duncan (eds.), Disquisitional Approaches to Comics: Theories and Methods, Routledge, 2012.
  • Smith, Matthew and Randy Duncan (eds.), The Secret Origins of Comics Studies, Routledge, 2017.
  • Stein, Daniel and Jan-Noël Thon (eds.), From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative, Walter de Gruyter, 2015.
  • Weiner, Robert M. (ed.), Graphic Novels and Comics in Libraries and Archives: Essays on Readers, Research, History and Cataloging, McFarland, 2010.

Historiography [edit]

  • Barrier, J. Michael and Martin Williams. A Smithsonian Book of Comic-Book Comics (Smithsonian Institution Press, 1982) ISBN 978-0874742282
  • Blackbeard, Beak and Martin Williams, editors. The Smithsonian Collection of Newspaper Comics (Smithsonian Institution Press, 1977) ISBN 978-0874741728
  • Blackbeard, Bill and Dale Crain. The Comic Strip Century: Celebrating 100 Years of an American Art Course (Kitchen Sink Press, 1995) ISBN 9780878163557
  • Booker, M. Keith (ed.), Comics through Time: A History of Icons, Idols, and Ideas, Santa Barbara, California: ABC-CLIO, 2014.
  • Booker, K. Keith (ed.), Encyclopedia of Comic Books and Graphic Novels, Santa Barbara, California: ABC-CLIO, 2010.
  • Couperie, Pierre C. and Maurice Horn, editors. A History of the Comic Strip (Crown Publishers, 1968)
  • Craven, Thomas, editor. Drawing Cavalcade: A Collection of the Best American Humorous Cartoons from the Turn of the Century to the Nowadays (Simon & Schuster, 1943)
  • Feiffer, Jules. The Keen Comic Volume Heroes: The Origins and Early Adventures of the Classic Super-Heroes of the Comic Books (Dial Press, 1965)
  • Gabilliet, Jean-Paul, Of Comics and Men: A Cultural History of American Comic Books, University Press of Mississippi, 2010.
  • Goulart, Ron. The Adventurous Decade: Comic Strips In the Thirties (Crown Publishers, 1975) ISBN 9780870002526
  • Goulart, Ron. The Neat Comic Volume Artists (St. Martin's Press, 1986) ISBN 978-0312345570
  • Goulart, Ron. Ron Goulart'due south Great History of Comic Books: the Definitive Illustrated History from the 1890s to the 1980s (Gimmicky Books, 1986) ISBN 978-0809250455
  • Goulart, Ron. The Encyclopedia of American Comics: From 1897 to the Present (Facts on File, 1991) ISBN 978-0816018529
  • Goulart, Ron. The Comic Book Reader's Companion: an A-Z Guide to Anybody's Favorite Art Course (Harper Perennial, 1993) ISBN 9780062731173
  • Goulart, Ron. The Funnies: 100 Years of American Comic Strips (Adams Media Corp, 1995) ISBN 9781558505391
  • Goulart, Ron. Comic Book Encyclopedia: The Ultimate Guide to Characters, Graphic Novels, Writers, and Artists in the Comic Book Universe (Harper Collins, 2004) ISBN 978-0060538163
  • Hajdu, David, The Ten-Cent Plague: The Cracking Comic-Book Scare and How It Changed America, Picador, 2009 (originally Farrar, Straus and Giroux, 2008).
  • Harvey, R. C. The Art of the Funnies: An Aesthetic History (Academy Printing of Mississippi, 1994) ISBN 978-0878056743
  • Harvey, R. C. The Art of the Comic Volume: An Artful History (Academy Press of Mississippi, 1996) ISBN 978-0878057580
  • Horn, Maurice, editor. The World Encyclopedia of Comics (Chelsea Business firm, 1976) ISBN 978-0877540304
  • Horn, Maurice. The Earth Encyclopedia of Cartoons (Chelsea House, 1979) ISBN 978-0877541219
  • Horn, Maurice, editor. 100 Years of American Newspaper Comics: An Illustrated Encyclopedia (Gramercy Books, 1996) ISBN 978-0517124475
  • Jacobs, Will and Gerard Jones. The Comic Book Heroes: The Get-go History of Modern Comic Books: From the Silver Age to the Nowadays (Crown Publishers, 1985) ISBN 978-0517554401
  • Jones, Gerard, Men of Tomorrow: Geeks, Gangsters, and the Nativity of the Comic Volume, Basic Books, 2005.
  • Marschall, Rick. America'southward Great Comic Strip Artists: From the Yellow Kid to Peanuts (Abbeville Printing, 1989) ISBN 978-0896599178
  • Petersen, Robert Southward., Comics, Manga, and Graphic Novels: A History of Graphic Narratives, ABC-CLIO, 2011.
  • Pustz, Matthew (ed.), Comic Books and American Cultural History: An Anthology, Continuum, 2012.
  • Sheridan, Martin. Comics and Their Creators: Life Stories of American Cartoonists (Hale, Cushman & Flint, 1942)
  • Steranko, Jim. The Steranko History of Comics vol. 1 (Supergraphics, 1970) ISBN 0-517-50188-0
  • Steranko, Jim. The Steranko History of Comics vol. 2 (Supergraphics, 1972) ISBN 978-0517501887
  • Walker, Brian. The Comics: Earlier 1945 (Harry Due north. Abrams, 2004) ISBN 978-0810949706
  • Walker, Brian. The Comics: Since 1945 (Harry N. Abrams, 2006) ISBN 978-0810992603
  • Waugh, Colton. The Comics (Macmillan, 1947)
  • Williams, Paul and James Lyons (eds.), The Rise of the American Comics Artist: Creators and Contexts, University Press of Mississippi, 2010.
  • Wright, Bradford W., Comic Book Nation: The Transformation of Youth Civilization in America, Johns Hopkins Academy Printing, 2001.

External links [edit]

  • The National Association of Comic Fine art Educators' page
  • ComicsResearch.org
  • Comics in the Classroom
  • The Institute for Comics Studies (defunct)
  • Comics Research--annotated bibliographies for comics scholarship
  • Comic volume annotations and bibliographies
  • Online Bibliographies of Anime and Manga research
  • Neil Cohn's Visual Linguistic communication Lab website
  • Cognitive Comics: A Constructivist Approach to Sequential Art
  • The Comics Grid: Journal of Comics Scholarship
  • The Comics Studies Society (CSS)
  • Inks: their journal (publisher'southward site)
  • The Nippon Club for Studies in Cartoons and Comics (JSSCC, Nippon manga gakkai)
  • Association des Critiques et journalistes de Bande Dessinée
  • CuCo, Cuadernos de Cómic
  • Revista Latinoamericana de Estudios sobre la Historieta

greenearom1989.blogspot.com

Source: https://en.wikipedia.org/wiki/Comics_studies

0 Response to "Comics Comix Graphic Novels a History of Comic Art"

ارسال یک نظر

اشتراک در: نظرات پیام (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel