Jewish Graphic Novels: a Selected Bibliography by Wendy Wasman
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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. -
Drawn&Quarterly
DRAWN&QUARTERLY winter 2013 MIRIAM KATIN’S LETTING IT GO MIRIAM KATIN LETTING IT GO A HOLOCAUST SURVIVOR STRUGGLES TO LET THE PAST GO Miriam Katin’s debut graphic novel, the 2006 memoir We Are On Our Own, was a unique portrait of how one family survived the Second World War. A companion to We Are On Our Own, Letting It Go shows Miriam, now an adult, dealing with her son Ilan’s recent move to Berlin. As Miriam struggles to accept his decision, she realizes that her hesitations have more to do with longheld grudges than any sort of legitimate concerns. Whereas We Are On Our Own probed Miriam’s loss of faith and talked about her experiences during the War, Letting It Go examines the lasting trauma of surviving World War II from a very different vantage point, focusing on Miriam’s life as a middle-aged New Yorker. The flowing, expressive style employed in We Are On Our Own has been refined in this full- color masterpiece. A panel-less style lets the story flow, with wise and funny anecdotes along the way. Katin has the light hand of a master storyteller in this, an insightful, serious, but NOT FINAL COVER wry account of the myriad ways trauma inflects daily existence, both for survivors and for their families. “Richly illustrated in pencil, this book should not be missed by anyone with an interest in history, love or faith--so anyone, really.” –Time Magazine “A skillfully rendered memoir about Katin and her mother’s harrowing escape from Budapest in 1944. -
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. -
A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duncan, Ralph Randolph II, "Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form." (1990). LSU Historical Dissertations and Theses. 4910. https://digitalcommons.lsu.edu/gradschool_disstheses/4910 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The qualityof this reproduction is dependent upon the quality of the copysubmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Report on Micro Data, Sorted by Title
English Language Graphic Novels Winners and Nominations of Comics and Graphic Novels Awards up to 2004 (list sorted first by title) Prepared by Olivier Charbonneau [email protected] Concordia University Data current as of May 18, 2004 PS. Please feel free to use and circulate this list – as long as the person using or receiving it does not use it for commercial purposes (selecting books for a library is OK) and agrees to send me a thank you letter at the following address: Olivier Charbonneau, Webster Library, room LB-279 Concordia University 1400 de Maisonneuve Blvd. W. Montreal, Quebec, H3G 1M8 Page 1 of 56 Title Publisher Wins Nominations 100 Unknown 1 Workman, John letterer 100 BulletDC 4 5 Azzarello, Brian writer Johnson, Dave cover 2002-2003 Risso, Eduardo artist 1001 Nights of BacchusDark Horse Comics 1 Schutz, Diana editor 1963 Image 2 Moore, Alan 20 Nude Dancers 20Tundra 1 Martin, Mark 20/20 VisionsDC/Vertigo 1 Alonso, Axel editor Berger, Karen editor 300Dark Horse Comics 2 2 Miller, Frank Varley, Lynn colorist 32 Stories Drawn & Quarterly 1 Tomine, Adrian A Contract with GodDC 2 Eisner, Will A Decade of Dark HorseDark Horse Comics 1 Stradley, Randy editor A History of ViolenceParadox 1 Wagner, John A Jew in Communist PragueNBM 1 4 Giardino, Vittorio Nantier, Terry editor A Small KillingVG Graphics/Dark Horse 1 1 Moore, Alan Zarate, Oscar A1Atomeka 1 2 Elliott, Dave editor Abraham StonePlatinum/Malibu 2 Kubert, Joe Page 2 of 56 Title Publisher Wins Nominations Acid Bath CaseKitchen Sink Press 1 Schreiner, Dave editor -
Exploring Animal Imagery in Graphic Novels About Genocide
Genocide Studies and Prevention: An International Journal Volume 12 Issue 2 Images And Collective Violence: Article 11 Function, Use And Memory 10-2018 Cockroaches, Cows and "Canines of the Hebrew Faith": Exploring Animal Imagery in Graphic Novels about Genocide Deborah Mayersen University of Wollongong Follow this and additional works at: https://scholarcommons.usf.edu/gsp Recommended Citation Mayersen, Deborah (2018) "Cockroaches, Cows and "Canines of the Hebrew Faith": Exploring Animal Imagery in Graphic Novels about Genocide," Genocide Studies and Prevention: An International Journal: Vol. 12: Iss. 2: 165-178. DOI: https://doi.org/10.5038/1911-9933.12.2.1486 Available at: https://scholarcommons.usf.edu/gsp/vol12/iss2/11 This Article is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Genocide Studies and Prevention: An International Journal by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Cockroaches, Cows and “Canines of the Hebrew Faith”: Exploring Animal Imagery in Graphic Novels about Genocide Deborah Mayersen University of Wollongong Wollongong, New South Wales, Australia Introduction On the banks on the Danube in Budapest, two elegantly dressed friends meet for coffee.1 A small child and her small dog interact playfully in the foreground. Yet the discussion underway belies the seemingly idyllic scene. It is 1944 and Esther has just received an order to hand over her daughter’s beloved dog to the Nazis, as Jews are no longer permitted to own pets. Esther and Eva joke as to what Hitler will do with all these “Jewish dogs,” or “canines of the Hebrew faith.”2 The joke quickly wears thin, however, as Esther and her young daughter Lisa struggle to survive the Holocaust. -
Nieuwigheden Anderstalige Strips 2013 Week 3
NIEUWIGHEDEN ANDERSTALIGE STRIPS 2013 WEEK 3 Engels Batman Incorporated 19,99 (Yanick Paquette & Grant Morrison – DC Comics) Dorothy and the Wizard in Oz 19,99 (Skottie Young & Eric Shanower – Marvel) Dungeon & Dragons: Forgotten Realms 24,99 (Lee Ferguson & Ed Greenwood – IDW Publishing) The Complete Dick Tracy 14: 1951-53 39,99 (Chester Gould – IDW Publishing) Woodwork: 1927-1981 59,99 (Wallace Wood – IDW Publishing) Manga – Engelstalig: Bleach 54 9,99 (Tite Kubo – Viz Media) WEEK 4 Engels: Absolute Batman & Robin: Batman Reborn 99,99 (Grant Morrison - DC Comics) Batman: Trough the Looking Glass 14,99 (Sam Kieth & Bruce Jones - DC Comics) Captain America: Land of the Free 19,99 (Andy Kubert & Marc Waid - Marvel) Cherubs 19,99 (Bryan Talbot - Dark Horse) Comics About Cartoonists 39,99 (Editor: Craig Yoe - IDW) Delphine 24,99 (Richard Sala – Fantagraphics) Nancy 2: Nancy Likes Christmas 26,95 (Ernie Bushmiller – Fantagraphics) Northlanders 7: The Icelandic Trilogy 16,99 (Paul Azaceta & Brian Wood - Vertigo) Reset 15,99 (Peter Bagge - Dark Horse) The Amaing Spider-Man: Ends of the Earth 24,99 (Stefano Caselli & Dan Slott - Marvel) The Complete Pogo 2: Bona Fide Balderdash 39,99 (Walt Kelly – IDW Publishing) Zorro: The Complete Dell Comics Adventures 49,99 (Alex Toth / Hermes Press) Franstalig: La veritable histoire de Spirou 1937-1946 55 (Christelle et Bertrand Pissavy-Yvernault / Dupuis) Spirou intégrale 0: 1938-1943 24 (Rob-Vel / Dupuis) Manga – Engels: Message to Adolf 2 26,95 (Osamu Tezuka – Vertical) WEEK 5 Engelstalig: Batwoman 1: -
|||GET||| Dropsie Avenue 1St Edition
DROPSIE AVENUE 1ST EDITION DOWNLOAD FREE Will Eisner | 9780393328110 | | | | | Dropsie Avenue: The Neighborhood I just could not decide how to grade this book at first. It's about as far from a "comic book" as you can get, but that's actually a compliment. Over the span of these three books, though, emotions jostle and balance each other; sometimes the stories seem upbeat, sometimes fatalistic. To ask other readers questions about Dropsie Avenueplease Dropsie Avenue 1st edition up. But if I am only for myself, what am I? The true main character is Dropsie Avenue itself, in all its messy, gritty, dirty, glory. Synopsis About this title Published quietly inWill Eisner's revolutionary literary work A Contract With God marked the invention of the modern graphic novel, took on a life of its own, and inspired a generation of "sequential artists. According to comics historian R. Okay, I get the idea — each group that lives in this part of the Bronx thinks that it is better than the newcomers and the neighborhood slowly gets worse and worse. It's not a very insightful piece of work despite the early promise of the first and titular Dropsie Avenue 1st edition in the Trilogy. Movies and books usually tell us the story of one or few persons, not the story of one or few buildings. Retrieved January 30, Frimme Hersh grieves over the death of his daughter, which he perceives as a breach of his contract with God; [47] street singer Eddie returns to insignificance when he finds himself unable to find his would-be benefactor; [2] Goldie's and Willie's romantic ideals are disillusioned after her near-rape and his seduction. -
The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E
Cambridge University Press 978-1-107-17141-1 — The Cambridge History of the Graphic Novel Edited by Jan Baetens , Hugo Frey , Stephen E. Tabachnick Index More Information 659 Index (À Suivre) see also Adèle Blanc- Sec (Tardi) ; Corto anime, Japanese Maltese (Pratt) adaptations of Tezuka’s works, 597 – 598 comics as literature, 252 – 253 , 266 – 267 Akira (Otomo), 331 – 332 , 546 , 598 retelling of genre i ction, 251 – 252 , 253 Astro Boy (Tezuka), 324 , 326 , 333 The World of Edena cycle (Moebius), domestication of, 333 264 – 266 foreignization strategies and, 331 – 333 (L’)Association, 69 subtitles and foreignization, 326 Abdelrazaq, Leila transculturation of texts, 326 Baddawi , 416 – 417 arabesque romanticism, 26 – 27 , 30 , 32 Abel, Robert W., 372 Archie , 103 , 305 , 357 – 358 , 469 Abirached, Zeina art brut, 136 , 140 – 141 A Game for Swallows: to Die, to Leave, to Atwood, Margaret, 492 Return , 415 – 416 author–artist teams Abouet, Marguerite complete author remit of graphic Aya de Yopugon , 601 novels, 54 Adams, Jef , 398 , 400 creative output, 11 Adèle Blanc- Sec (Tardi) Moore and Gibbons, 226 – 227 narrative structure, 260 – 261 negative capability, 201 noir tradition in, 258 rise in, 219 otherness in, 258 – 260 on Sandman (Gaiman), 345 – 346 urban environment of, 258 – 260 Töpf er’s embodiment of, 32 – 33 and World War I, 261 – 262 authorship adult comic strips see also Barbarella (Forest) ; auterist model, 219 Grove Press of comix, 159 – 160 debates over, 133 – 134 creative expression and underground in France, 134 – 135 , 263 comics, 156 – 157 , 158 , 161 – 162 , 269 , 304 inl uence of Barbarella on, 135 – 136 Daniel Clowes’ author– reader relationship, scholarship on, 6 – 7 366 – 368 Adult Comics (Sabin), 5 , 6 , 380 Eisner’s portrait of the artist at work, Aldama, F. -
Collaborative Features of Graphic Narratives
Collaborative Features of Graphic Narratives: Research for Lovely, Satisfied, Indifferent Eyes by Brigid Fitzpatrick An undergraduate honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Fine Arts in University Honors and Art Practices Thesis Advisor Lisa Jarrett, M.F.A. Portland State University 2019 Fitzpatrick 1 Introduction In high school, I decided I wanted to be a graphic novelist, without having actually read any graphic novels, or knowing anything about the theory, technique, and history surrounding the medium. It was the obvious solution in my mind to the conflict I’d had since childhood about whether I should be a writer or an artist. Graphic novels, using both image and text, were the more “serious” versions of the Sunday comics I used to pour over whenever I went to my grandfather’s house, who stockpiled them for me between visits. The only work of graphic narratives my parents had in my home was one collection of Gary Larson’s The Far Side comics. I grew up avidly reading novels, but there was nothing graphic about them. A barrier I had between myself and graphic narratives was my inclination to reject the gatekeeping I observed in the communities surrounding comics. I wasn’t concerned about my lack of experience with graphic narratives until I began college, where I came to understand the importance of knowing one’s discourse community and the art history of one’s medium. I dipped my toe into the discourse community of graphic narratives when I took “The Graphic Novel,” an Honors seminar. -
Premier État Au 29 Septembre 2006
La Sélection de La Cité 2007 Une sélection de titres parus en 2006 ___________________________________________________________________ SELECTION JEUNESSE Ariol (n° 006) : Oh ! la mer ! / scén. Emmanuel Guibert ; dessin Marc Boutavant. - Paris : Bayard jeunesse, 2006. - 56 p. ; ill. en coul, couv ill. en coul ; 26 cm. - (Bayard BD) - ISBN 2-7470-2009-6 L'atelier de Jojo et Yvan / Jean-Yves Duhoo - Paris : L'Association, 2006. - n.p. ; ill. en coul. et en n.et bl., couv. ill. en coul. ; 27 cm. ISBN 2-84414-223-0. Les Aventures de Mégamonsieur (n° 002) : Y'en a marre des fioulpes ! / scén. et dessin Martin Desbat, coloriste ; Mathieu Binand , coloriste. - Champigny-sur-Marne (Val-de-Marne) : Lito, 2006. - 52 p. ; ill. en coul, couv ill. en coul ; 30 cm. - (Onomatopée). - ISBN 2-244-49719-4. Les Aventures de Basil & Victoria (n° 004) : Pearl / scén. Yann ; dessin Edith. - Paris : Les Humanoïdes Associés, 2006. - 46 p. ; ill. en coul, couv ill. en coul ; 30 cm. - (Les 3 masques). - ISBN 2-7316-1653-9. Les Démons d'Alexia (n° 003) : Yorthopia / scén. V. Dugomier ; dessin Benoît Ers ; Scarlett Smulkowski , coloriste. - Marcinelle (Belgique) : Dupuis, 2006. - 47 p. ; ill. en coul, couv ill. en coul ; 30 cm. - ISBN 2-8001-3785-1. Dieu qui pue Dieu qui pète : et autres histoires africaines / scén. Fabien Vehlmann ; dessin Frantz Duchazeau ; Brigitte Findakly , coloriste. - Toulouse : Milan Jeunesse, 2006. - 44 p. ; ill. en coul, couv ill. en coul ; 29 cm. - (Capsule Cosmique). - ISBN 2-7459-1882-6. L'Empire des hauts murs / dessin et scén. Simon Hureau ; conçu par (maquette) Trait Pour Trait. - 1ère édition. -
Modern Marvels Jewish Adventures in the Graphic Novel
jewish literature Identity and Imagination modern marvels Jewish Adventures in the Graphic Novel Essay by Jeremy Dauber atran assistant professor of yiddish language, literature, and culture at columbia university Presented by Nextbook and the American Library Association modern marvels Jewish Adventures in the Graphic Novel Jeremy Dauber Back when he was on Saturday Night Live, Adam Sandler used to do a skit called “The Hanukkah Song,” where he would sing about all the celebrities no one knew were Jewish (“David Lee Roth lights the menorah, / So do James Caan, Kirk Douglas, and the late Dinah Shore-ah.”). If Sandler were to write a similar tune about comic books, he’d have his work cut out for him. Superman? The Last Son of Krypton was the brainchild of two Jewish men from Cleveland, Jerry Siegel and Joe Shuster. Batman? The handiwork of Bob Kane and Bill Finger. The Marvel comic book characters who have made their way to a multiplex near you—the Fantastic Four, the X-Men, the Hulk? The products of Stanley Lieber and Jacob Kurtzberg’s imaginations (better known as Stan Lee and Jack Kirby). More than two million Eastern European Jewish immigrants arrived in the United States between 1880 and 1920, just in time to participate in the great explosion of American popular arts: fi lm, radio, vaudeville, sports, and eventually television. One of the most page 1 powerful of these new cultural institutions was the periodical press, both in Yiddish and in English. Publishers like William Randolph Hearst and Joseph Pulitzer, determined to reach as many readers as possible, transformed the newspaper, introducing new features like advice columns, full-color photo sections, and, of course, the comic strip.