Ebook Free La Perdida (Pantheon Graphic Novels)
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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. -
7A Temporada 4.- El Rayo Mortal / Mr. Wonderful Daniel Clowes Gener 2014
7a Temporada 4.- El Rayo Mortal / Mr. Wonderful Daniel Clowes Gener 2014 Índex: Club de Lectura: L’autor: Daniel Clowes ......................................................................................................................................... 1 La seva obra .............................................................................................................................................................. 1 El Rayo Mortal / Daniel Clowes Random House Mondadori, 2013 El Rayo Mortal / Ressenya / Gerardo Vilches.......................................................................................... 2 El Rayo Mortal / Article / Juanjo Villalba................................................................................................... 3 Mr. Wonderful / Daniel Clowes Random House Mondadori, 2012 Mr. Wonderful / Ressenya / Gerardo Vilches........................................................................................... 5 Mr. Wonderful / Article / Antonio Fraguas ................................................................................................ 6 “Wilson es una respuesta triste a Mr. Wonderful ” / Entrevista / Noel Murray ........................................ 8 “El Rayo Mortal no trata de mostrar un mundo, sino insinuarlo” / Entrevista / Albert Fernández .. 9 Altres Recomanacions ....................................................................................................................................................... 10 Novetats de la tardor / Secció Còmics d’Adults / Bib. -
Writing About Comics
NACAE National Association of Comics Art Educators English 100-v: Writing about Comics From the wild assertions of Unbreakable and the sudden popularity of films adapted from comics (not just Spider-Man or Daredevil, but Ghost World and From Hell), to the abrupt appearance of Dan Clowes and Art Spiegelman all over The New Yorker, interesting claims are now being made about the value of comics and comic books. Are they the visible articulation of some unconscious knowledge or desire -- No, probably not. Are they the new literature of the twenty-first century -- Possibly, possibly... This course offers a reading survey of the best comics of the past twenty years (sometimes called “graphic novels”), and supplies the skills for reading comics critically in terms not only of what they say (which is easy) but of how they say it (which takes some thinking). More importantly than the fact that comics will be touching off all of our conversations, however, this is a course in writing critically: in building an argument, in gathering and organizing literary evidence, and in capturing and retaining the reader's interest (and your own). Don't assume this will be easy, just because we're reading comics. We'll be working hard this semester, doing a lot of reading and plenty of writing. The good news is that it should all be interesting. The texts are all really good books, though you may find you don't like them all equally well. The essays, too, will be guided by your own interest in the texts, and by the end of the course you'll be exploring the unmapped territory of literary comics on your own, following your own nose. -
Course Descriptions Spring 2013 (20131)
DEPARTMENT OF ENGLISH COURSE DESCRIPTIONS SPRING 2013 (20131) Welcome to the Department of English. For spring semester 2013 we offer a rich selection of introductory and upper-division courses in English and American 105 (Creative Writing for Non-Majors) 32820R 2-4:20 W Bendall literature and culture, as well as Creative Writing workshops. Please feel free to talk to Lawrence Green (director of undergraduate studies), Rebecca Woods In this introductory course we will practice writing and examine trends in three (departmental staff adviser), or other English faculty to help you select the menu genres: non-fiction, poetry, and fiction. Students will complete written work in all of courses that is right for you. of these genres. The work will be discussed in a workshop environment in which lively and constructive participation is expected. We will also read and discuss a All Department of English courses are “R” courses, except for the following variety of work by writers from the required texts. Revisions, reading assignments, “D” courses: ENGL 303, 304, 305, 407, 408, 490, & 496. A Department stamp written critiques, and a final portfolio are required. is not required for “R” course registration prior to the beginning of the semester, but is required for “D” course registration. On the first day of classes all courses will be closed—admission is granted only by the instructor’s signature and the 105 (Creative Writing for Non-Majors) 32821R 2-4:20 TH Solomon Department stamp (available in Taper 404). You must then register in person at the Registration office. Introductory workshop in writing poetry, short fiction and nonfiction for love of the written and spoken word. -
Graphic Narrative: Comics in Contemporary Art
An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL Basic Requirements: Appropriate language skills required by the University. This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. Prerequisites: FA489: ‘By consent’ selection of students. FA490: Upon successful completion of FA489. Co-requisites: FA489: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. FA490: Successful completion of FA 489. No requisites: FA 49I, FA49J, FA49V. Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art. -
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 -
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. -
Idea Debt and Conquering Procrastination with Jessica Abel
Idea Debt and Conquering Procrastination with Jessica Abel Cory: Awesome, alright. Jessica Abel is here today. For those of you who are watching or perhaps listening to the audio of this later, if you don’t know Jessica Abel I’m super excited for you because you’re about to discover somebody who, I think, is one of the most interesting people in the Venn diagram of people who are on the internet a lot and people who make art. There’s that Venn diagram of those people and I think Jessica Abel is just super awesome, super interesting. If I’m reading Jessica’s formal bio, she is the chair of the Illustration Program at the Pennsylvania Academy of Fine Arts. Both within and without PAFA, the P-A-F-A, Jessica helps creative people with big ideas get procrastination… to get PAST procrastination and anxiety, not get procrastination and anxiety, and get on with the making stuff. Getting past stuck-ness and get making stuff. But that doesn’t just begin to describe all of the neat stuff that Jessica and I are going to talk about today, the things that she’s done. She has a graphic novel called La Perdida which won the 2002 Best New Series Harvey award, she’s done several other graphic novels including Trish Trash Roller Girl of Mars, as well as two collections of stories from her omnibus comic book Artbabe. She and her husband cartoonist Matt Madden were series editors for the Best American Comics from 2007-2013, they’ve authored two textbooks about making comics, Drawing Words and Writing Pictures, and the book Mastering Comics. -
La Narrativa Gráfica De La Memoria: Nakazawa, Spiegelman Y Sacco
Universidad Autónoma Metropolitana Unidad Azcapotzalco División de Ciencias Sociales y Humanidades Posgrado en Historiografía LA NARRATIVA GRÁFICA DE LA MEMORIA: NAKAZAWA, SPIEGELMAN Y SACCO TESIS que para obtener el grado de DOCTOR EN HISTORIOGRAFÍA presenta RAFAEL SÁNCHEZ VILLEGAS Director de tesis DR. ÁLVARO VÁZQUEZ MANTECÓN Sinodales DR. CHRISTIAN CURT SPERLING DR. SAÚL JERÓNIMO ROMERO DR. ALBERTO DEL CASTILLO TRONCOSO Esta investigación recibió financiamiento del Consejo Nacional de Ciencia y Tecnología (CONACYT) México, D. F. Enero, 2016 1 2 Agradecimientos A quienes me ayudaron a dar forma a este estudio durante los últimos cuatro años, desde el proceso de selección para ingresar al posgrado, pasando por los encuentros de estudiantes y los cursos. Gracias por su tiempo, por su disponibilidad para leerme y por sus amables comentarios: Álvaro Vázquez Mantecón, Christian Sperling, Alberto del Castillo Troncoso, Saúl Jerónimo Romero, Denise Hellion, Juan Alfonso Milán, Sol Morales Zea, Abe Román, Mario César Islas Flores, Myrna Rivas, Adrien Charlois, Miguel Hernández Fuentes, Silvia Pappe Willenegger, Leonardo Martínez Carrizales, Víctor Díaz Arciniega y Brenda Ledesma. Rafael Sánchez Villegas México, D. F.; enero, 2016 3 Índice INTRODUCCIÓN (6) El pasado en viñetas (8) Descripción (17) Un problema historiográfico (22) Capítulo 1. NARRATOGRÁFICA: DEFINICIONES Y ESTRATEGIAS DE ANÁLISIS (28) Definiciones (29) La materialidad del cómic (33) Estrategias de análisis (41) Análisis de “¿Qué pide el Señor de ti?”, capítulo cuarto de From Hell (54) Capítulo 2. MEMORIA Y AUTOBIOGRAFÍA: EL YO EN LA CULTURA HISTÓRICA DE LA SEGUNDA MITAD DEL SIGLO XX (65) La historia y la memoria (66) Relato de sí mismo: la autobiografía (74) El tiempo del testigo y la desencialización del sujeto (79) El cine y la imagen del Yo (87) Marilù y Marceline: confesión y testimonio (99) 1984 y Perramus: la impronta del horror (107) Capítulo 3. -
The 2006 Cybils Winners and Shortlists
The 2006 Cybils Awards Presented by the Children’s and Young Adult Bloggers’ Literary Awards Committee – www.Cybils.com Co-Creators: Anne Boles Levy and Kelly Herold Fantasy and Science Fiction Last Dragon, The Short List Titles by Silvana de Mari Winner: Ptolemy’s Gate Hyperion: Miramax The Last Dragon is a clever, playful, and by Jonathan Stroud funny story with a lot of kid appeal. A very Hyperion: Miramax young elf, trying to stay alive in a world Magician John Mandrake (a.k.a. Nathaniel), darkened by rain and oppression, finds life rebel commoner Kitty, and wise-cracking, full of surprises as he tries to follow the sarcastic djinni Bartimaeus are drawn together destiny laid out for him in an ancient in spite of their differences to battle a prophecy. powerful evil. The three learn more about each other and try to come to terms with their Pucker past, in this stunning series conclusion that by Melanie Gideon also stands well alone. Penguin: Razorbill Pucker by Melanie Gideon is the story of Silver City seventeen-year-old Thomas Quicksilver who by Cliff McNish was disfigured in a fire when he was a child Carolrhoda Books back before he and his mother were exiled to The second in an astonishingly original Earth from Isaura, a “pocket of a world,” a trilogy, Cliff McNish’s Silver City continues parallel reality. His voice is both modestly the story of six extraordinary and special wiseass and yet mature and sophisticated. children and how they are preparing to defend Thomas sounds like a teenager, but one who the world against an alien being, known only is self-aware instead of self-obsessed. -
Graphic Novel Title List MASTER.Xlsx
Graphic(Novels Title Author Artist Call(No. Year 300 Miller,)Frank Miller,)Frank OVERSIZE)PN6727.M55)T57)1999 1999 52)Vols.)1A4 Various Various PN6728.F53)J63)2007 2007 9/11)report:)a)graphic)adaptation Jacobson,)Colon HV6432.)7.)J33)2006 2006 A)Comics)Studies)Reader Heer,)jeet)&)Worcester,)Kent PN6710).C667)2009 2009 A)family)Secret Heuvel,)Eric CURR)LIB)839.3)H595fs 2009 A)Mad)look)at)old)movies DeBartolo,)Dick PN6727.D422)M68)1973 1973 A)writer's)guide)to)the)business)of)comics Haines,)Lurene PN6714).H348)1995 1995 A.D.):)New)Orleans)after)the)deluge Neufeld.)Josh F379.N553)A26)2010 2010 Abandon)the)old)in)Tokyo Tatsumi,)Yoshihiro PN6790.)J34)T27713)2006 2006 Absolute)sandman.)Volume)one Gaiman,)Neil Keith,)Sam)[et)al.] PR6057.)A319)A27)v.1)2006 2006 Absolutely)no)U.S.)personnel)permitted)beyond)this)point DS557.A61)L4)1972 1972 Achewood Onstad,)Chris Onstad,)Chris PN6728.)A25)O57)2004 2004 Acme)Novelty)date)book:)sketches)and)diary)pages)in)facsimile,)1995A2002 Ware,)F.C. PN6727.W285)A53)v.)2)2008 2008 Acme)Novelty)Library Ware,)Chris Ware,)Chris OVERSIZE.)PN6727.)W285)A6)2005 2005 Adventure)Classics Pomplum,)Tom Various PN6120.95.A38)A283)2005 2005 Adventures)in)Cartooning Sturm,)James CURRLIB.)741.5)S936ac Adventures)of)Super)Diaper)Baby:)the)first)graphic)novel Beard,)George Hutchins,)Harold CURRLIB.)813)P639as 2002 Age)of)Apocalypse):)factor)X Various Various PN6728.X536)A343)1995 1995 Age)of)Apocalypse):)weapon)X Hama,)Larry Kubert,)Adam PN6728.X536)A348)1995 1995 Akira)Book)One/)Katsuhiro)Otomo PN6790.J34)A45713)v.1)2009 2009 -
Engl 2341 002
English 2341.002 – Introduction to Fiction Graphic Fiction: A History of Comics, Sequential Art, and Graphic Novels Fall 2018 Dr. Roy Bearden-White / Department of English TTh 11:00 a.m. to 12:15 p.m., Levelland Campus, CM 117 Note: The material in this course at times features images and language that were expressly designed to be controversial; please be aware of this before you enroll. Required Texts and Resources: Abel, Jessica. La Perdida. New York: Pantheon Graphics, 2006. Ward, Lynd. Gods’ Man. (1929). Mineola, NY: Dover Publications, 2004. Other Provided Texts: Because many of the texts used in this course are no longer in print and are also highly prized by collectors, electronic copies will be made available electronically. These texts will be posted on Blackboard and the use of a computer that is able to access the internet is a requirement for this course. Access to a computer with printer and Internet access is required. Required means of communication: All electronic correspondence for this class will be sent to your southplainscollege.edu address, so it is your responsibility to monitor the account on a regular basis. Suggested Texts and Supplies: A standard collegiate dictionary, such as Merriam Webster Collegiate Dictionary A flash drive or internet cloud storage. Course Description: This course will examine the history of sequential art from the uncertain beginnings of the nineteenth century with newspaper comic strips through the Golden Age of the comic book in the 1940s until the current popularity of graphic novels. Along the way, we will try to determine what separates the different forms of graphical narratives from the older tradition of single-panel cartoons.