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OrdErS PREVIEWS world.com duE th 18MAR 2013 MAR COMIC THE SHOP’S PREVIEWSPREVIEWS CATALOG CUSTOMER ORDER FORM Mar Cover ROF and COF.indd 1 2/7/2013 3:35:28 PM Available only STAR WARS: “BOBA FETT CHEST from your local HOLE” BLACK T-SHIRT comic shop! Preorder now! MACHINE MAN THE WALKING DEAD: ADVENTURE TIME: CHARCOAL T-SHIRT “KEEP CALM AND CALL “ZOMBIE TIME” Preorder now! MICHONNE” BLACK T-SHIRT BLACK HOODIE Preorder now! Preorder now! 3 March 13 COF Apparel Shirt Ad.indd 1 2/7/2013 10:05:45 AM X #1 kiNG CoNaN: Dark Horse ComiCs HoUr oF THe DraGoN #1 Dark Horse ComiCs GreeN Team #1 DC ComiCs THe moVemeNT #1 DoomsDaY.1 #1 DC ComiCs iDW PUBlisHiNG THe BoUNCe #1 imaGe ComiCs TeN GraND #1 UlTimaTe ComiCs imaGe ComiCs sPiDer-maN #23 marVel ComiCs Mar13 Gem Page ROF COF.indd 1 2/7/2013 2:21:38 PM Featured Items COMIC BOOKS & GRAPHIC NOVELS Mouse Guard: Legends of the Guard Volume 2 #1 l ARCHAIA ENTERTAINMENT Uber #1 l AVATAR PRESS Suicide Risk #1 l BOOM! STUDIOS Clive Barker’s New Genesis #1 l BOOM! STUDIOS Marble Season HC l DRAWN & QUARTERLY Black Bat #1 l D. E./DYNAMITE ENTERTAINMENT 1 1 Battlestar Galactica #1 l D. E./DYNAMITE ENTERTAINMENT Grimm #1 l D. E./DYNAMITE ENTERTAINMENT Wars In Toyland HC l ONI PRESS INC. The From Hell Companion SC l TOP SHELF PRODUCTIONS Valiant Masters: Shadowman Volume 1: The Spirits Within HC l VALIANT ENTERTAINMENT Rurouni Kenshin Restoration Volume 1 GN l VIZ MEDIA Soul Eater Soul Art l YEN PRESS BOOKS & MAGAZINES 2 Doctor Who: Who-Ology Official Miscellany HC l DOCTOR WHO / TORCHWOOD Doctor Who: The Official -
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). -
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. -
Graphic Novels: a New Literary Genre in the English-Speaking World
ISSN 0258-0802. LITERATŪRA 2009 51 (4) GRAPHIC NOVELS: A NEW LITERARY GENRE IN THE ENGLISH-SPEAKING WORLD Milda Danytė Vytauto Didžiojo universiteto Humanitarinio mokslų fakulteto Anglų filologijos katedros profesorė Although different forms of popular cul- comics in general in the last two decades. ture are now taken much more seriously In North America, it has only been since by specialists in literature, most current Art Spiegelman’s graphic novel Maus won research remains at the level of historical the most prestigious of American literary surveys or thematic studies. The lack of awards, the Pulitzer Prize for literature in useful critical methods becomes apparent 1992, that English-language criticism of when one attempts to analyse a recent phe- comics of all kinds has burgeoned. Spiegel- nomenon, the graphic novel. This term was man’s text is about the Jewish Holocaust; first used in 1978 by Will Eisner, to iden- it established the notion that comic-book tify his comic-book collection, A Contract forms could also deal with serious and with God (Arnold, 2003). Steve Roiteri even tragic themes. has defined the graphic novel as “a stan- The marketing of this new literary gen- dalone story in comics form, published as re in the English-speaking world has been a book” (Roiteri, 2003). This distinguishes helped by the success of the Japanese ver- the graphic novel from the comic book, sion of graphic novels, the manga, among which is actually a short magazine, usually Western consumers. As Sharon Kinsella about 32 pages in length, published as a what is a new form in North America, the serial with a soft cover and on cheap paper. -
Chester Brown Mary Wept Over the Feet of Jesus
DRAWN & QUARTERLY SPRING 2016 CHESTER BROWN MARY WEPT OVER THE FEET OF JESUS CHESTER BROWN MARY WEPT OVER THE FEET OF JESUS THE IDIOSYNCRATIC MASTER CHESTER BROWN CONTINUES HIS THOUGHTS ON SEX WORK The iconoclastic and bestselling cartoonist of Paying for It: A Comic- Strip Memoir About Being a John returns with a polemical interpreta- tion of the Bible that will be one of the most controversial and talked- about graphic novels of 2016. Mary Wept over the Feet of Jesus is the retelling in comics form of nine biblical stories that present Chester Brown’s fascinating and startling thesis about biblical representations of prostitution. Brown weaves a connecting line between Bathsheba, Ruth, Rahab, Tamar, Mary of Bethany, and the Virgin Mother and reassesses the Christian moral code by examining the cultural impli- cations of the Bible’s representations of sex work. Mary Wept over the Feet of Jesus is a fitting follow-up to Brown’s sui generis graphic memoir Paying for It, which was reviewed twice in the New York Times and hailed by sex workers for Brown’s advocacy for the decriminalization and normalization of prostitution. Brown approaches the Bible as he did the life of Louis Riel, making these stories compellingly readable and utterly pertinent to a modern audience. In classic Chester Brown fashion, he provides extensive handwritten endnotes that delve into the biblical lore that informs Mary Wept Over the Feet of Jesus. praise for chester brown “I regard Paying For It, as simply, or not so simply, the most recent in a series of totally -
Table of Contents
MASTER LIST OF CONTENTS Volume 1 Master List of Contents .............................................vii Clumsy..................................................................... 162 Publisher’s Note .........................................................xi Color Trilogy, The ................................................... 166 Introduction ............................................................... xv Complete Essex County, The ................................... 170 Contributors ............................................................xvii Complete Fritz the Cat, The .................................... 174 Contract with God, And Other A.D.: New Orleans After the Deluge........................... 1 Tenement Stories, A ...........................................179 Adventures of Luther Arkwright, The .......................... 5 Curious Case of Benjamin Button, The................... 183 Adventures of Tintin, The ............................................ 9 David Boring ........................................................... 187 Age of Bronze: The Story of the Trojan War ............. 15 Dead Memory .......................................................... 190 Age of Reptiles .......................................................... 20 Dear Julia ............................................................... 194 Airtight Garage of Jerry Cornelius .......................... 24 Deogratias: A Tale of Rwanda ................................ 198 Alan’s War: The Memories of G.I. Alan Cope........... 28 Diary of a Mosquito -
Not Funnies by Charles Mcgrath
NY Times | http://www.nytimes.com/2004/07/11/magazine/11GRAPHIC.html 11 July 2004 Not Funnies By Charles Mcgrath ou can’t pinpoint it exactly, but there was a moment when people more or less Ystopped reading poetry and turned instead to novels, which just a few genera- tions earlier had been considered entertainment suitable only for idle ladies of uncertain morals. The change had surely taken hold by the heyday of Dickens and Tennyson, which was the last time a poet and a novelist went head to head on the best-seller list. Someday the novel, too, will go into decline—if it hasn’t already—and will become, like poetry, a genre treasured and created by just a relative few. This won’t happen in our lifetime, but it’s not too soon to wonder what the next new thing, the new literary form, might be. It might be comic books. Seriously. Comic books are what novels used to be—an accessible, vernacular form with mass appeal—and if the highbrows are right, they’re a form perfectly suited to our dumbed-down culture and collective attention deficit. Comics are also enjoying a renaissance and a newfound respectability right now. In fact, the fastest-growing section of your local bookstore these days is apt to be the one devoted to comics and so-called graphic novels. It is the overcrowded space way in the back—next to sci-fi probably, or between New Age and hobbies—and unless your store is staffed by someone unusually devoted, this section is likely to be a mess. -
Drawn & Quarterly
DRAWN & QUARTERLY SPRING 2016 CHESTER BROWN MARY WEPT OVER THE FEET OF JESUS CHESTER BROWN MARY WEPT OVER THE FEET OF JESUS THE IDIOSYNCRATIC MASTER CHESTER BROWN CONTINUES HIS THOUGHTS ON SEX WORK The iconoclastic and bestselling cartoonist of Paying for It: A Comic- Strip Memoir About Being a John returns with a polemical interpreta- tion of the Bible that will be one of the most controversial and talked- about graphic novels of 2016. Mary Wept over the Feet of Jesus is the retelling in comics form of nine biblical stories that present Chester Brown’s fascinating and startling thesis about biblical representations of prostitution. Brown weaves a connecting line between Bathsheba, Ruth, Rahab, Tamar, Mary of Bethany, and the Virgin Mother and reassesses the Christian moral code by examining the cultural impli- cations of the Bible’s representations of sex work. Mary Wept over the Feet of Jesus is a fitting follow-up to Brown’s sui generis graphic memoir Paying for It, which was reviewed twice in the New York Times and hailed by sex workers for Brown’s advocacy for the decriminalization and normalization of prostitution. Brown approaches the Bible as he did the life of Louis Riel, making these stories compellingly readable and utterly pertinent to a modern audience. In classic Chester Brown fashion, he provides extensive handwritten endnotes that delve into the biblical lore that informs Mary Wept Over the Feet of Jesus. praise for chester brown “I regard Paying For It, as simply, or not so simply, the most recent in a series of totally -
Alternative Comics: an Emerging Literature
ALTERNATIVE COMICS Gilbert Hernandez, “Venus Tells It Like It Is!” Luba in America 167 (excerpt). © 2001 Gilbert Hernandez. Used with permission. ALTERNATIVE COMICS AN EMERGING LITERATURE Charles Hatfield UNIVERSITY PRESS OF MISSISSIPPI • JACKSON www.upress.state.ms.us The University Press of Mississippi is a member of the Association of American University Presses. Copyright © 2005 by University Press of Mississippi All rights reserved Manufactured in the United States of America First edition 2005 ϱ Library of Congress Cataloging-in-Publication Data Hatfield, Charles, 1965– Alternative comics : an emerging literature / Charles Hatfield. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 1-57806-718-9 (cloth : alk. paper) — ISBN 1-57806-719-7 (pbk. : alk. paper) 1. Underground comic books, strips, etc.—United States—History and criticism. I. Title. PN6725.H39 2005 741.5'0973—dc22 2004025709 British Library Cataloging-in-Publication Data available CONTENTS Acknowledgments vii Introduction ix Alternative Comics as an Emerging Literature 1 Comix, Comic Shops, and the Rise of 3 Alternative Comics, Post 1968 2 An Art of Tensions 32 The Otherness of Comics Reading 3 A Broader Canvas: Gilbert Hernandez’s Heartbreak Soup 68 4 “I made that whole thing up!” 108 The Problem of Authenticity in Autobiographical Comics 5 Irony and Self-Reflexivity in Autobiographical Comics 128 Two Case Studies 6 Whither the Graphic Novel? 152 Notes 164 Works Cited 169 Index 177 This page intentionally left blank ACKNOWLEDGMENTS Who can do this sort of thing alone? Not I. Thanks are due to many. For permission to include passages from my article, “Heartbreak Soup: The Interdependence of Theme and Form” (Inks 4:2, May 1997), the Ohio State University Press. -
Alternative Comics Doug Singsen*
Journal of Graphic Novels and Comics, 2014 http://dx.doi.org/10.1080/21504857.2013.871306 An alternative by any other name: genre-splicing and mainstream genres in alternative comics Doug Singsen* Art History Department, Metropolitan State University of Denver, Boulder, CO, USA (Received 9 August 2013; accepted 27 November 2013) Alternative comics are typically defined by the supposed absence of superheroes and other mainstream genres, yet these genres have appeared repeatedly in key examples of alternative comics, including works by Chris Ware, Daniel Clowes, Charles Burns, Art Spiegelman, and Jaime Hernandez. These cartoonists’ use of mainstream genres takes the form of what I call ‘genre-splicing,’ the combination of two or more genres in a way that fragments the fictional reality of the work or violates the norms of the genres employed. Genre-splicing provides a vehicle for many effects and aims, including thematic development, narrative pleasure, self-reflexivity, and disjunctive disruption. Alternative cartoonists’ use of genre-splicing not only punctures the myth that alter- native comics are defined by mainstream genres’ absence, it also challenges the description of alternative comics as adult, literary, and artistic, in contrast to the juvenile and commercial nature of most mainstream comics. Despite their contra- dictions, however, alternative and mainstream are nevertheless useful terms whose ambiguities and contradictions mirror those of the cultural practices they describe. Keywords: alternative comics; mainstream comics; graphic novels; genre-splicing; superheroes Chris Ware’s ‘Thrilling Adventure Stories’, first published in Art Spiegelman and Françoise Mouly’s experimental anthology Raw in 1991, provides a paradigmatic exam- ple of American alternative cartoonists’ use of mainstream genres through the technique of genre-splicing,1 the combination of two or more genres in a way that fragments or contradicts the fictional reality of the work or violates the norms of the genres employed. -
PREVIEWS Order
Order PREVIEWS Form V11#8 For New Publications Scheduled to Ship in October, 2001 ORDER DEADLINE: AUGUST 11, 2001 PLACE STORE STAMP HERE Name _______________________________ Address _____________________________ City _________________State ___________ Zip ___________ Phone# _______________ Signature (Required) __________________ Your signature indicates that you are authorized to order items that are designated as “Adult,” and you are at least 18 years old. PLEASE PRINT CLEARLY! QTY TITLE PRICE Please note that the toy items on this order form may not be available at every store. Shipping times and prices may vary. For items sold by assortment (marked with an "*"), retailers cannot guarantee receiving specific items. Ask your retailer for more information when you order. PAGE 21 PREVIEWS PUBLICATIONS SPOT ______AUG010001 BEST OF THE STAR SYSTEM #5 ................................................................................MSRP: $0.75 = $ ____________ ____________AUG010003 PRIMO FLYER VOL XI #10 ..................................................................................................SRP: PI = $ ____________ ____________AUG010004 PREVIEWS VOL XI #10 ............................................................................................MSRP: $3.25 = $ ____________ ____________AUG010005 PREVIEWS VOL XI CONSUMER ORDER FORM #10 ............................................................SRP: PI = $ ____________ ____________AUG010007 PREVIEWS ADULT VOL XI #10 ..........................................................................................SRP: -
Rachelle Cruz EXPERIENCING COMICS
EXPERIENCING COMICS An Introduction to Reading, Discussing, and Creating Comics Experiencing Comics is a visionary introduction to an emerging field— the study and creation of comics—that has been waiting for a treatment like this. Accessible, engaging, provocative, and inspiring, Experiencing Comics assembles some of the most potent and fascinating authorities in comicsdom, including creators, researchers, historians, and teach- ers. It presents a portrait of comics as the diverse, wide-ranging, and culture-shaping medium that it is today, the vibrant birthplace of block- buster imaginations and underground possibilities. Rachelle Cruz is just the right teacher to wisely select resonant voices from the cutting edge of comics study, and present them in an engaging way to students, whether fresh to comics or familiar with only some sliver of the craft. The text will sharpen critical lenses while opening eyes to comics’ variety. The questions will reinforce understanding and deepen analysis. The activities will unleash the creative language of comics for students themselves. I can’t wait to use this book in my classroom. —Paul Lai, Comics Educator and Host of Comics Syllabus, a Multiversity Podcast EXPERIENCING COMICS An Introduction to Reading, Discussing, and Creating Comics Written and edited by Rachelle Cruz Bassim Hamadeh, CEO and Publisher Mieka Portier, Acquisitions Editor Sean Adams, Project Editor Emely Villavicencio, Senior Graphic Designer Alisa Munoz, Licensing Coordinator Natalie Piccotti, Director of Marketing Kassie Graves, Vice President of Editorial Jamie Giganti, Director of Academic Publishing Copyright © 2019 by Cognella, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopy- ing, microfilming, and recording, or in any information retrieval system without the written permission of Cognella, Inc.