DOCSLIB.ORG

Graphic Novels for Children and Teens

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Graphic Novels for Children and Teens J/YA Graphic Novel Titles The 9/11 Report: A Graphic Adaptation Sid Jacobson Hill & Wang Gr. 9+ Age of Bronze, Volume 1: A Thousand Ships Eric Shanower Image Comics Gr. 9+ The Amazing “True” Story of a Teenage Single Mom Katherine Arnoldi Hyperion Gr. 9+ American Born Chinese Gene Yang First Second Gr. 7+ American Splendor Harvey Pekar Vertigo Gr. 10+ Amy Unbounded: Belondweg Blossoming Rachel Hartman Pug House Press Gr. 3+ The Arrival Shaun Tan A.A. Levine Gr. 6+ Astonishing X-Men Joss Whedon Marvel Gr. 9+ Astro City: Life in the Big City Kurt Busiek DC Comics Gr. 10+ Babymouse Holm, Jennifer Random House Children’s Gr. 1-5 Baby-Sitter’s Club Graphix (nos. 1-4) Ann M. Martin & Raina Telgemeier Scholastic Gr. 3-7 Barefoot Gen, Volume 1: A Cartoon Story of Hiroshima Keiji Nakazawa Last Gasp Gr. 9+ Beowulf (graphic adaptation of epic poem) Gareth Hinds Candlewick Press Gr. 7+ Berlin: City of Stones Berlin: City of Smoke Jason Lutes Drawn & Quarterly Gr. 9+ Blankets Craig Thompson Top Shelf Gr. 10+ Bluesman (vols. 1, 2, & 3) Rob Vollmar NBM Publishing Gr. 10+ Bone Jeff Smith Cartoon Books Gr. 3+ Breaking Up: a Fashion High graphic novel Aimee Friedman Graphix Gr. 5+ Buffy the Vampire Slayer (Season 8) Joss Whedon Dark Horse Gr. 7+ Castle Waiting Linda Medley Fantagraphics Gr. 5+ Chiggers Hope Larson Aladdin Mix Gr. 5-9 Cirque du Freak: the Manga Darren Shan Yen Press Gr. 7+ City of Light, City of Dark: A Comic Book Novel Avi Orchard Books Gr. 4+ Clan Apis Jay Hosler Active Synapse Gr. 4+ Death Note Tsugumi Ohba Viz Media Gr. 9+ Deogratias, a Tale of Rwanda Jean-Philippe Stassen First Second Gr. 10+ Dignifying Science: Stories about Women Scientists Gr. 5+ Two-Fisted Science: Stories about Scientists Gr. 5+ Fallout Gr. 9+ Jim Ottaviani, et. al. Gt Labs Ghost World Daniel Clowes Fantagraphics Gr. 10+ Graphic Classics Arthur Conan Doyle H.P. Lovecraft Edgar Allen Poe H.G. Wells Eureka Productions Gr. 5+ Herobear and the Kid: Inheritance Mike Kunkel Astonish Comics Gr. 5+ Hikaru No Go Yumi Hotta Viz Gr. 5-9 In the Shadow of No Towers Art Spiegelman Pantheon Books Gr. 10+ Invention of Hugo Cabret Brian Selznick Scholastic Gr. 4-9 Jellaby Kean Soo Hyperion Gr. 4-8 Johnny Jihad Ryan Inzana NBM Publishing Gr. 10+ Journey Into Mohawk Country H.M. Van den Bogaert Roaring Book Press Gr. 9+ La Perdida Jessica Abel Pantheon Gr. 10+ The League of Extraordinary Gentlemen Alan Moore America’s Best Comics Gr. 10+ Little Lit Strange Stories for Strange Kids Art Spiegelman Harper Collins Gr. 2+ Magic Pickle Scott Morse Graphix Gr. 3+ Mail Order Ninja Joshua Elder Tokyopop Gr. 3+ Manga Guide to… Various No Starch Press Gr. 10+ Manga Shakespeare-various titles Richard Appignanesi Amulet Books Gr. 7+ Marvels Kurt Busiek Marvel Gr. 9+ Maus I: A Survivor’s Tale: My Father Bleeds History Maus II: A Survivor’s Tale: Here My Troubles Began Art Spiegelman Pantheon Gr. 9+ The Metamorphosis Franz Kafka, adapted by Peter Kuper Three Rivers Press Gr. 7+ Minx Publishing Titles: Burnout by Rebecca Donner Gr. 8+ Clubbing by Andi Watson Gr. 7+ Confessions of a Blabbermouth by Mike Carey Gr. 7+ Good as Lily by Derek Kirk Kim Gr. 9+ Janes in Love by Cecil Castellucci Kimmie66 by Aaron Alexovich Gr. 9+ Plain Janes by Cecil Castellucci Gr. 7+ (also the sequel: Janes in Love) Re-Gifters by Mike Carey Gr. 7+ The New York Four by Alex Wood Gr. 9+ Water Baby by Ross Campbell Gr. 10+ Mom’s Cancer Brian Fies Image Gr. 9+ Nausicaa of the Valley of the Wind, Volume 1 Hayao Miyazaki Viz Gr. 7+ Owly: The Way Home & The Bittersweet Summer Andy Runton Top Shelf Gr. 3-7 Palestine Joe Sacco Fantagraphics Gr. 9+ Pedro and Me: Friendship, Loss, and What I Learned Judd Winick Henry Holt Gr. 9+ The Photographer Emmanuel Guibert First Second Gr. 10+ Pride of Baghdad Brian K. Vaughan DC Comics Gr. 9+ Promethea Alan Moore DC Comics Gr. 10+ Queen Bee Chynna Clugston Graphix Gr. 5+ Re-gifters Mike Carey Gr. 7+ Robot Dreams Sarah Varon First Second Gr. 3+ Runaways Brian K. Vaughan Marvel Gr. 9+ Safe Area Gorazde: the War in Eastern Bosnia Joe Sacco Fantagraphics Gr. 9+ Sandman Volume 1: Prelude and Nocturnes Neil Gaiman DC Comics Gr. 9+ Sloth Gilbert Hernandez Vertigo Gr. 10+ Spirited Away books 1-5 Hayao Miyazaki Viz Gr. 3+ Stitches David Small WW Norton & Co Gr. 10+ The Storm in the Barn Matt Phelan Candlewick Press Gr. 4+ Stormbreaker: the graphic novel Anthony Johnson (adapted from novel by Anthony Horowitz) Philomel Books Gr. 5+ The Tale of One Bad Rat Bryan Talbot Dark Horse Gr. 9+ Tellos: Reluctant Heroes Tellos: Kindred Spirits Todd Dezago Image Comics Gr. 5+ To Dance: a memoir Siena Cherson Siegel Aladdin Gr. 3+ Toon Books-assorted titles Various Authors Raw Junior Gr. K-3 Ultimate Spider Man: Power & Responsibility Brian Michael Bendis Marvel Gr. 7+ Understanding Comics: The Invisible Art Reinventing Comics: How Imagination and Technology are Revolutionizing and Art Form Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels Scott McCloud DC Comics / Harper Gr. 5+ V for Vendetta Alan Moore DC Comics Gr. 10+ Vampire Kisses Series Ellen Schreiber Tokyopop Gr 7+ (Manga with characters from Schreiber’s YA series: Vampire Kisses) Vampire Loves Joann Sfar First Second Gr. 7+ Watchmen Alan Moore DC Comics Gr. 10+ WJHC: On the Air! Jane Smith Fisher Wilson Place Comics Gr. 5+ Yotsuba&! (manga) Kiyohiko Azuma ADV Manga Gr. 5+ .
Load more

Recommended publications
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • The Art of Storytelling: a Peek Into the Graphic Literary World Literary World Has Never Been Only Black and White
    Mgr. et Mgr. Jana Kasparova; University of West Bohemia, Faculty of Philosophy and Arts, Dept. of English Lang. and Lit. The Art of Storytelling: A Peek Into the Graphic Literary World Literary world has never been only black and white. The characters we love to read about have never been only good and bad. Let us peek into the world where graphics and colours play as important role as the words and letters written on the page. Let us explore the world of contemporary comic books and graphic novels, learn about their characteristics and specifics and meet the authors who are considered to be the superheroes of this rediscovered literary genre. Someone might think that comics and graphic novels are just for children and young adults. But that would be a mistake! Look at a few examples of graphic novels which may blow your mind and teach you about real world! Graphic novel VERSUS Comic Book Before talking about particular representatives of contemporary graphic literature, learn a bit about the basics of the genre. Do you know the terminology? Can you define the following terms, pointing at possible differences between them? comic book - graphic novel - A brief historical overview combination of words and pictures stretches back into antiquity (ancient Egyptian wall paintings) current vocabulary shaped with the rise of the comic strip popularized in newspapers at the start of the 20th century introduction of the fundamentals of the comics language — (balloons, panel to panel narrative progression) Winsor McCay, George Herriman, E.C.
    [Show full text]
  • The Dahl House
    Microcosm Publishing PO Box 14332 Portland, OR 97293 www.microcosmpublishing.com Welcome to the Dahl House Alienation, Incarceration and Inebriation in the New American Rome by Ken Dahl The new Welcome to the Dahl House book collects 10 years of comic artist Ken Dahl’s best work. Dahl, winner of the Ignatz Award for best mini-comic for his STD nightmare Monsters #1 , gives the goods in equally hilarious and harrowing doses. His comics show a dirty, beaten down, drunk-as-hell America where the underdog always rules—even if he never wins. Dahl’s work is normal ol’ painful life with all the warts and scars and stretch-marks fully visible and well-lit. It’s heavy stuff, and decidedly not for the faint of heart, but Dahl’s caustic sense of humor, courage under fire, and strong undercurrent of hope balance out the dark with light and give his comics a well-rounded, triumphant epicness. Like a graphic novel mash up of Gummo, Jesus’ Son, and Married with Children, Welcome to the Dahl House tells it like it is, the existential American experience in 128 pages. “A double-barreled assault on American culture and consumerism and its dev - astatng results ... Dahl’s writing is simply brilliant. He successfully presents a view of America from the outside.” - Midnight Fiction “Ken Dahl’s comics are really well drawn, imaginative, spirited, and forthright, SUBJECT CATEGORY: Graphic Novel, Comic but best of all, painfully, painfully honest.” - Ivan Brunetti, author of Misery RELEASE: 7/1/08 Loves Company PRICE: Retail: $6 | Wholesale: $4.20 ISBN: 978-1-934620-02-1 FORMAT: paperback, 5.5 x 7”, 128 pgs, illustrated ABOUT THE AUTHOR: Born in Honolulu, raised on the roads of the MARKETING NOTES: continental US, Ken Dahl comes at comix- - Author winner of Ignatz Award for best mini-comic makin' with a wealth of world-weariness and - Book is featured on 25,000 postcards distributed wisdom under his belt.
    [Show full text]
  • Brian Michael Bendis Chris Bachalo
    Born with genetic mutations that give them abilities beyond those of normal humans, mutants are the next stage in evolution. As such, they are feared and hated by humanity. But a group of mutants known as the X-Men fight for peaceful coexistence between mutants and humankind. But not all mutants see peaceful coexistence as a reality. CYCLOPS IS THE PUBLIC FACE FOR WHAT HE CALLS “THE NEW MuTANT REVOLuTION.” VOWING TO PROTECT THE MuTANT RACE, HE’S BEGuN TO GATHER AND TRAIN A NEW GENERATION OF YOUNG MUTANTS. UPON THE READING OF CHARLES XAVIER’S LAST WILL AND TESTAMENT, THE X-MEN UNCOVERED HIS DARKEST SECRET. YEARS AGO, XAVIER DISCOVERED A YOUNG MUTANT NAMED MATTHEW MALLOY, WHOSE ABILITIES WERE SO TERRIFYING THAT XAVIER WAS FORCED TO MENTALLY BLOCK ALL THE BOY’S MEMORIES OF HIS POWERS. WITH THE MENTAL BLOCKS FAILING AFTER CHARLES’ DEATH, THE x-MEN SOUGHT MATTHEW OUT, BUT FAILED TO REACH HIM BEFORE HE UNLEASHED HIS POWERS uPON S.H.I.E.L.D.’S FORCES. CYCLOPS ATTEMPTED TO REASON WITH MATTHEW, OFFERING HIM ASYLUM WITH HIS MUTANT REVOLUTIONARIES, BUT MATTHEW LOST CONTROL OF HIS POWERS AGAIN. IN THE AFTERMATH, MAGNETO ARRIVED AND URGED MATTHEW NOT TO TRUST CYCLOPS, BUT FAILED AND WAS TRANSPORTED MILES AWAY. FACING THE OVERWHELMING THREAT OF MATTHEW’S POWER, S.H.I.E.L.D. FORCES UNLEASHED A MASSIVE BARRAGE OF MISSILES, SEEMINGLY INCINERATING MATTHEW, CYCLOPS, AND MAGIK. MEANWHILE, EVA BELL, CHOOSING TO TAKE MATTERS INTO HER OWN HANDS, TRAVELLED BACK IN TIME, COMING FACE-TO-FACE WITH CHARLES XAVIER. BRIAN MICHAEL BENDIS CHRIS BACHALO Writer Pencils TIM TOWNSEND, MARK IRWIN, CHRIS BACHALO & CHRIS BACHALO & JAIME MENDOZA, VICTOR OLAZABA & AL VEY ANTONIO FABELA TIM TOWNSEND Inks Colors Cover VC’S JOE CARAMAGNA XANDER JAROWEY MIKE MARTS Lettering & Production Assistant Editor Editor AXEL ALONSO JOE QUESADA DAN BUCKLEY ALAN FINE Editor in Chief Chief Creative Officer Publisher Executive Producer X-MEN created by STAN LEE & JACK KIRBY UNCANNY X-MEN No.
    [Show full text]
  • Sloane Drayson Knigge Comic Inventory (Without
    Title Publisher Author(s) Illustrator(s) Year Number Donor Box # 1,000,000 DC One Million 80-Page Giant DC NA NA 1999 NA Sloane Drayson-Knigge 1 A Moment of Silence Marvel Bill Jemas Mark Bagley 2002 1 Sloane Drayson-Knigge 1 Alex Ross Millennium Edition Wizard Various Various 1999 NA Sloane Drayson-Knigge 1 Open Space Marvel Comics Lawrence Watt-Evans Alex Ross 1999 0 Sloane Drayson-Knigge 1 Alf Marvel Comics Michael Gallagher Dave Manak 1990 33 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 1 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 2 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 3 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 1999 4 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 5 Sloane Drayson-Knigge 1 Alleycat Image Bob Napton and Matt Hawkins NA 2000 6 Sloane Drayson-Knigge 1 Aphrodite IX Top Cow Productions David Wohl and Dave Finch Dave Finch 2000 0 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 600 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 601 Sloane Drayson-Knigge 1 Archie Marries Veronica Archie Comics Publications Michael Uslan Stan Goldberg 2009 602 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009 603 Sloane Drayson-Knigge 1 Archie Marries Betty Archie Comics Publications Michael Uslan Stan Goldberg 2009
    [Show full text]
  • Cosmopolitanism, Remediation and the Ghost World of Bollywood
    COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp.
    [Show full text]
  • The Financial Aspects of Comic Book Self Publishing
    The Financial Aspects of Comic Book Self Publishing FIN6416-798 Advanced Financial Analysis Prepared for: Dr. Susan Long University of South Florida Due: April 26 2005 Written By: Chris Harden FIN6416-798 Financial Aspects of Comic Book Self Publishing Prepared for: Dr. Susan Long Due: April 26 2005 Written By: Chris Harden Table of Contents Table of Contents......................................................................................................................... 2 Introduction.................................................................................................................................. 4 Purpose of this Discussion:...................................................................................................... 4 Product & Process – How a Comic Book is Created, Distributed, and Sold........................... 4 The Product.......................................................................................................................... 4 The Process .......................................................................................................................... 5 Economic Analysis - A Look at the Industry: ........................................................................ 6 Financials:............................................................................................................................ 6 Financial Analysis: Choosing a Business Model......................................................................... 7 The Source Data:.....................................................................................................................
    [Show full text]
  • English-Language Graphic Narratives in Canada
    Drawing on the Margins of History: English-Language Graphic Narratives in Canada by Kevin Ziegler A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2013 © Kevin Ziegler 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This study analyzes the techniques that Canadian comics life writers develop to construct personal histories. I examine a broad selection of texts including graphic autobiography, biography, memoir, and diary in order to argue that writers and readers can, through these graphic narratives, engage with an eclectic and eccentric understanding of Canadian historical subjects. Contemporary Canadian comics are important for Canadian literature and life writing because they acknowledge the importance of contemporary urban and marginal subcultures and function as representations of people who occasionally experience economic scarcity. I focus on stories of “ordinary” people because their stories have often been excluded from accounts of Canadian public life and cultural history. Following the example of Barbara Godard, Heather Murray, and Roxanne Rimstead, I re- evaluate Canadian literatures by considering the importance of marginal literary products. Canadian comics authors rarely construct narratives about representative figures standing in place of and speaking for a broad community; instead, they create what Murray calls “history with a human face . the face of the daily, the ordinary” (“Literary History as Microhistory” 411).
    [Show full text]
  • List of American Comics Creators 1 List of American Comics Creators
    List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with
    [Show full text]
  • Check All That Apply)
    Form Version: February 2001 EFFECTIVE TERM: Fall 2003 PALOMAR COLLEGE COURSE OUTLINE OF RECORD FOR DEGREE CREDIT COURSE X Transfer Course X A.A. Degree applicable course (check all that apply) COURSE NUMBER AND TITLE: ENG 290 -- Comic Books As Literature UNIT VALUE: 3 MINIMUM NUMBER OF SEMESTER HOURS: 48 BASIC SKILLS REQUIREMENTS: Appropriate Language Skills ENTRANCE REQUIREMENTS PREREQUISITE: Eligibility for ENG 100 COREQUISITE: NONE RECOMMENDED PREPARATION: NONE SCOPE OF COURSE: An analysis of the comic book in terms of its unique poetics (the complicated interplay of word and image); the themes that are suggested in various works; the history and development of the form and its subgenres; and the expectations of comic book readers. Examines the influence of history, culture, and economics on comic book artists and writers. Explores definitions of “literature,” how these definitions apply to comic books, and the tensions that arise from such applications. SPECIFIC COURSE OBJECTIVES: The successful student will: 1. Demonstrate an understanding of the unique poetics of comic books and how that poetics differs from other media, such as prose and film. 2. Analyze representative works in order to interpret their styles, themes, and audience expectations, and compare and contrast the styles, themes, and audience expectations of works by several different artists/writers. 3. Demonstrate knowledge about the history and development of the comic book as an artistic, narrative form. 4. Demonstrate knowledge about the characteristics of and developments in the various subgenres of comic books (e.g., war comics, horror comics, superhero comics, underground comics). 5. Identify important historical, cultural, and economic factors that have influenced comic book artists/writers.
    [Show full text]
  • Studies in Literature and Culture: the Graphic Novel
    NACAE National Association of Comics Art Educators Studies in Literature and Culture: The Graphic Novel • REQUIRED TEXTS: Chynna Clugston-Major, Blue Monday: Absolute Beginners (Oni Press) Will Eisner, A Contract with God and Other Tenement Stories (DC Comics) Mike Gold (Ed.), The Greatest 1950s Stories Ever Told (DC Comics) Harold Gray, Little Orphan Annie: The Sentence (Pacific Comics Club) Jason Lutes, Jar of Fools (Drawn & Quarterly) Scott McCloud, Understanding Comics (Harper-Perennial) Frank Miller and David Mazzuchelli, Batman: Year One (DC Comics) Art Spiegelman, Maus: A Survivor’s Tale (Vol. I) (Pantheon) James Sturm, The Revival (Bear Bones Press) You will also need the following: • A notebook. I would like you to keep track of major points which come up in my lectures and also in our class discussions. • A folder or binder for reserve readings and class handouts. I would suggest you make copies of the reserve readings available at the library. I will also give you a number of photocopied handouts which include directed-reading questions and material which supplements the primary readings for the course. • GRADES ––Attendance and class participation (including short response papers and reading quizzes): 25% ––Writing Assignment/Mini-comic project: 25% ––Midterm exam: 25% ––Final exam: 25% * Your papers must be turned in on time! I will deduct a full grade for each day a paper is late. If you have any questions about your papers or the assigned paper topics, please see me during my office hours or by appointment. I will be glad to talk with you about our readings and about your essays.
    [Show full text]
  • Sandman, Aesthetics and Canonisation Today I Want To
    Sandman, Aesthetics and Canonisation Today I want to examine the ways in which Neil Gaiman’s Sandman has used narrative, format and aesthetic to move ever closer to the notion of the literary text. Particularly going to consider how it exploits the author function and enacts the struggle for cultural worth that comics seem consistently engaged in. Sandman is an epic series rewriting a golden-age superhero into an immortal deity. It is best remembered for its mythological content and literary references, and these elements have allowed it to claim its place as a canonised graphic novel (despite not actually being a singular GN but a maxi-series across multiple trade paperbacks!). Neil Gaiman’s authorship and authority dominate the text and epitomise Michel Foucault’s author function. But Sandman also draws heavily on mixed media and artistic variation and these aspects are less often discussed. Far from supporting a singular author function, Sandman’s visual style is multiple and varied. But despite this, in paratexts the artistic contributions are frequently subsumed into Gaiman’s authorship. However, a closer reading demonstrates that in fact this artistic variety destabilises clear-cut authorship and enacts the particular status struggles of comics as a collaborative medium struggling against the graphic novel branding. SLIDE: literary pix Sandman was launched in 1989 and became the flagship title for DC’s new Vertigo imprint. Vertigo’s publications contributed heavily to the mainstream cultural revaluation of comics as graphic novels, and critics such as Candace West have argued that Sandman in particular was instrumental here due to the attention the series received from mainstream media such as Rolling Stone magazine.
    [Show full text]