INFORMATIONEN ZUM COMICFESTIVAL MÜNCHEN In
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INFORMATIONEN ZUM COMICFESTIVAL MÜNCHEN In
INFORMATIONEN ZUM COMICFESTIVAL MÜNCHEN In München haben Comic-Veranstaltungen Tradition. Das Kulturreferat der Landeshauptstadt München unterstützt die Comic-Kultur. Mit der schönen Alten Kongresshalle gegenüber der Theresienwiese wurde die ideale Örtlichkeit gefunden um die Vielfältigkeit der Comics zu präsentieren. Zu Gast sind in diesem Jahr wieder prominente Zeichner wie Terry Moore (Strangers in Paradise), Nicolas Tabary (Isnogud), Hermann (Comanche, Jeremiah), Rubén Pellejero (Corto Maltese, Dieter Lumpen), Enrico Marini (Die Adler Roms), Peter Kuper (Spion & Spion), Ralf König (Der bewegte Mann. Pornstory), Olivier Schwartz (Spirou, Inspektor Bayard), Klaus Voormann (Cover zum Beatles-Album Revolver), Tom Bunk (MAD, Dose COMICFESTIVAL MÜNCHEN 25.5 - 28.5.2017 Heiner Lünstedt [email protected] Seite: 1 Comics), Isabel Kreitz (Haarmann, Rohrkrepierer), Uli Oesterle (Hector Umbra, Kopfsachen), Matteo Lolli (Deadpool), Underground-Legende Denis Kitchen, Peter Snejbjerg (Ork-Saga, Hellblazer), Nicolas Keramidas (Disney: Mickey´s Craziest Adventures, Donjon Monster), FIL (Didi & Stulle, Pullern im Stehen), Ben Stenbeck (Hellboy, Frankenstein Underground), Bastien Vivès (Der Geschmack von Chlor), Alexandre Clérisse (Ein diabolischer Sommer), Pica (Die Pauker, Bastos und Zakusky). Oliver Gerke (YPS), Hervé Tanquerelle (Professor Bell), I. Astalos (MAD), Sean Chuang (Meine 80er Jahre – Eine Jugend in Taiwan), Tom Tirabosco (Wunderland), Rudi Hurzlmeier (Titanic), Javier de Isusi (Ich habe Wale gesehen), Rudi Hurzlmeier (Titanic), Garen Ewing (Die Regenbogenorchidee), Pica (Die Pauker, Bastos und Zakusky), Matteo Lolli (Deadpool, Spider-Man), Oliver Naatz (MAD), Mirka Andolfo (DC Bombshells, Ms. Marvel, ControNatura), Martin Frei (MAD, Star Trek, Lanternjack, Schimanski, Sigurd), Dieter Stein (MAD), Zerocalcare (Kobane Calling) Schlogger (Spass Wars) und viele weitere Künstler. Wir freuen uns auch sehr, dass der Verein der dänischen Comic-Künstler mit gleich zehn der besten Zeichner des Landes anreist. -
ASAA Abstract Booklet
ASAA 2020 Abstract Book 23rd Biennial Conference of the Asian Studies Association of Australia (ASAA) The University of Melbourne Contents Pages ● Address from the Conference Convenor 3 ● 2020 ASAA Organising Committee 4 ● Disciplinary Champions 4-6 ● Conference Organisers 6 ● Conference Sponsors and Supporters 7 ● Conference Program 8-18 ● Sub-Regional Keynote Abstracts 19-21 ● Roundtable Abstracts 22-25 ● Speaker Abstracts ○ Tuesday 7th July ▪ Panel Session 1.1 26-60 ▪ Panel Session 1.2 61-94 ▪ Panel Session 1.3 95-129 ○ Wednesday 8th July ▪ Panel Session 2.1 130-165 ▪ Panel Session 2.2 166-198 ▪ Panel Session 2.3 199-230 ○ Thursday 9th July ▪ Panel Session 3.1 231-264 ▪ Panel Session 3.2 265-296 ▪ Panel Session 3.3 297-322 ● Author Index 323-332 Page 2 23rd Biennial Conference of the Asian Studies Association of Australia Abstract Book Address from the Conference Convenor Dear Colleagues, At the time that we made the necessary decision to cancel the ASAA 2020 conference our digital program was already available online. Following requests from several younger conference participants who were looking forward to presenting at their first international conference and networking with established colleagues in their field, we have prepared this book of abstracts together with the program. We hope that you, our intended ASAA 2020 delegates, will use this document as a way to discover the breadth of research being undertaken and reach out to other scholars. Several of you have kindly recognised how much work went into preparing the program for our 600 participants. We think this is a nice way to at least share the program in an accessible format and to allow you all to see the exciting breadth of research on Asia going on in Australia and in the region. -
Historie Japonského Komiksu a Jeho Vliv Na Moderní Kulturu Jiří Frolík
Bakalářská práce Historie japonského komiksu a jeho vliv na moderní kulturu Jiří Frolík Plzeň 2019 Západočeská univerzita v Plzni Fakulta filozofická Katedra historických věd Studijní program Historické vědy Studijní obor Obecné dějiny Bakalářská práce Historie japonského komiksu a jeho vliv na moderní kulturu Jiří Frolík Vedoucí práce: PhDr. Roman Kodet, Ph.D. Katedra historických věd Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2019 Tímto bych rád poděkoval vedoucímu své bakalářské práce PhDr. Romanu Kodetovi, Ph.D. za jeho trpělivost, rady a vedení. Prohlašuji, že jsem práci zpracoval samostatně a použil jen uvedených pramenů a literatury. Plzeň, duben 2019 ……………………… Obsah: 1. Úvod .................................................... …………………………1 2. Předchůdci moderní mangy…………………………………….3 3. Jazzový věk a počátky dětského komiksu…..………………….9 4. Válečné jizvy a léčba inkoustem ......... ………………………..12 5. Rituály dospělosti ................................ ………………………..22 6. Osamu Tezuka………………………………………………...25 7. Závěr .................................................... ………………………..32 8. Bibliografie..…………………………………………………..35 9. Resumé………………………………………………………..37 Úvod Japonský komiksový průmysl patří k jednomu z největších na celém světě. Často je ale běžnou veřejností přehlížen ve srovnání například s komiksem ze Spojených států. To samé se dá říct i o lidech, co výtvory japonské popkultury vyhledávají. Tito jedinci nejčastěji bývají fanoušci anime, což jsou jenom pouhé adaptace. Paradoxně tak bývá situace často stejná jako v případě -
Tilburg University Path Salience in Motion Events from Verbal And
Tilburg University Path salience in motion events from verbal and visual languages Cohn, Neil; Wong, Vivian; Pederson, Kaitlin; Taylor, Ryan Published in: Proceedings of the 39th Annual Conference of the Cognitive Science Society Publication date: 2017 Document Version Publisher's PDF, also known as Version of record Link to publication in Tilburg University Research Portal Citation for published version (APA): Cohn, N., Wong, V., Pederson, K., & Taylor, R. (2017). Path salience in motion events from verbal and visual languages. In Proceedings of the 39th Annual Conference of the Cognitive Science Society (pp. 1794-1799). The Cognitive Science Society. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. sep. 2021 Path salience in motion events from verbal and visual languages Neil Cohn ([email protected]), Vivian Wong, Kaitlin Pederson & Ryan Taylor Tilburg center for Cognition and Communication (TiCC) P.O. -
Prof. Dr. ANA MERINO
Ana Merino 1 Prof. Dr. ANA MERINO Department of Spanish and Portuguese 123F Phillips Hall The University of Iowa [email protected] Iowa City, Iowa 52242 Phone: 319-335-2232 Higher Education 2001 PhD, Doctor of Philosophy, Latin American and Spanish Literature, Tesis: “Las dimensiones narrativas del cómic del mundo hispánico en los límites de la modernidad”. Director: John Beverley (Certificates: 1999 Latin American Studies and 2002 Cultural Studies), University of Pittsburgh. 1997 Master of Arts, Dept of Spanish and Portuguese, Ohio State University. 1995 BA, Modern and Contemporary History, University Autónoma Madrid, Spain. 1993/94 Study Abroad, Rijksuniversitiet, Groningen (The Netherlands). Professional and Academic Positions 2019 (Spring) Guest Professor, University of Zurich, Switzerland. 2016- Professor of Spanish. The University of Iowa. 2011- Dec 2018 Director, MFA Spanish Creative Writing, The University of Iowa. 2012 (Fall) Guest Professor, University of St Gallen, Switzerland. 2009-2016 Associate Professor of Spanish. The University of Iowa 2004 -2009 Assistant Professor of Spanish, Dept of Spanish and Portuguese, Dartmouth College. 2001-2003 Assistant Professor of Spanish. Dept of Foreign Languages and Literatures, Appalachian State University. Fellowships and Awards 2018 Accésit (2nd Place) Award of Feminist Divulgation “Carmen de Burgos”, University of Málaga, Spain. 2016 Collegiate Scholar, University of Iowa. 2016 Career Development Award, University of Iowa 2011 Fellowship at Hawthornden Retreat for Writers, Midlothian, Scotland, UK. 2011 Arts and Humanities Initiative (AHI), University of Iowa. With Prof. Corey Creekmur and Prof. Rachel Williams for Symposium on Comics. 2011 International Programs Major Projects Award, University of Iowa. With Prof. Corey Creekmur and Prof. Rachel Williams for the proposal: "International Approaches to Comics." 2011 Obermann Center Humanities Symposium, University of Iowa. -
1 in the 1980S a Bunch of Underground Cartoonists Parodied A
In the 1980s a bunch of underground cartoonists parodied a popular doll. The result was GARBAGE PAIL KIDS TRADING CARDS. This product tapped into the international kid zeitgeist. It spoke against the corporate culture that was being fed to a rebellious generation. To quote featured, Pulitzer-Prize winning co-creator Art Spiegelman, “We WERE BRINGING THE COUNTER CULTURE TO A NEW GENERATION OF KIDS, ONLY IT WAS THE CANDY COUNTER. “ There’s a rich cartoon, parody history hidden in these small time capsules known as trading cards. This docu- mentary celebrates the 30th anniversary of the Topps Company Garbage PAIL KIDS. It’s jam-packed with interviews with the original creators, artists and actors of the movie with the same name. Grown-up kids share nostalgic memories of what it was like to be a part of a world-wide sensation. We mark this simple bubble gum collectible as a true art form of the 20th century. In the 1980s a bunch of underground cartoonists parodied a popular doll. The result was GARBAGE PAIL KIDS TRADING CARDS. This product tapped into the international kid zeitgeist. It spoke against the corporate culture that was being fed to a rebellious generation. To quote featured, Pulitzer-Prize winning co-creator Art Spiegelman, “We WERE BRINGING THE COUNTER CULTURE TO A NEW GENERATION OF KIDS, ONLY IT WAS THE CANDY COUNTER. “ ART SPIEGELMAN - Pulitzer-Prize winning graphic novel artist/writer of MAUS / Co-creator GPK JOHN POUND - Original GPK artist / Painted Original Series 1 and 2 / Fantasy painter JAMES WARHOLA - Original GPK artist / Nephew of pop-art icon Andy Warhol ADAM F. -
Irgendwie Geht's Immer Weiter
Irgendwie geht’s immer weiter Comic | Portrait: ›MAD‹-Zeichner Tomas Bunk Beim Comicfestival München ist Tomas Bunk vor wenigen Tagen mit einem Preis für sein Lebenswerk ausgezeichnet worden. Der Name dürfte nicht mehr jedem etwas sagen. Bunk ist jedoch ein Künstler, der nach holprigem Start in Deutschland eine beachtliche Karriere hingelegt hat (in USA gilt er heute als einer der letzten großen ›MAD‹-Zeichner). Wie das kam, ist derzeit in einer Ausstellung zu erfahren, die ANDREAS ALT sich angesehen hat. Der ›FAZ‹ kommt das Verdienst zu, die deutschen Comicfans wieder auf Tomas Bunk aufmerksam gemacht zu haben. Als es im Feuilleton noch einen täglichen Comicstrip gab, zeichnete er dort in Vertretung von Volker Reiche in zwei Abschnitten seine Lebensgeschichte: ›Ein Berliner in New York‹ (2008) und ›Comixzeichner in Berlin‹ (2014). Älteren fiel beim Lesen ein, dass sie in den frühen 1980er, eventuell schon in den 70er Jahren Arbeiten von Bunk, etwa in U-Comix oder beim Semmel Verlach, gesehen hatten. Wer ihn nicht bewusst im Auge behielt, dem war er allerdings schon lange aus dem Blickfeld entschwunden. Wie man nun nachlesen konnte, begann Bunk, eigentlich bildender Künstler nach zwölf Semestern Kunststudium, mit Veröffentlichungen in dem Satiremagazin ›Pardon‹ und kam dann mit dem Comic- Underground (Volker Reiche, Bernd Pfarr, Michael Gutmann) in Kontakt. Traumwandlerisch hangelte er sich von Projekt zu Projekt: Pardon eingestellt, Hinz & Kunz Comix eingestellt, Zomix eingestellt, Anthologie beim Semmel Verlach, Anthologie beim Rotbuch Verlag… Bunk versank nicht in der wenig entwickelten deutschen Comicszene, sondern werkelte – so stellt er es jedenfalls selbst dar – unbeirrt immer weiter. Ein »totaler Naivling« in New York 1983 ermöglichte Gerhard Seyfried Bunk einen Flug nach San Francisco, wo er ›Freak Brothers‹-Schöpfer Gilbert Shelton traf (wie einige Jahre vorher Seyfried selbst, der kurz nach der Ankunft in dessen Atelier auf dem Sofa wegpennte). -
An Nncore Conference PRACTICAL INFO
comics and memory an nncore conference PRACTICAL INFO Conference venue Het Pand Onderbergen 1 9000 Gent Roundtable venue Vooruit Sint-Pietersnieuwstraat 23 9000 Gent Wifi Login: guestComics Password: ZB4zRTsA Website comicsandmemory.wordpress.com argument “Memory is tabooed as unpredictable, unreliable, irrational”, deplored Adorno more than half a century ago (122). Although nowadays the study of memory has established itself, memory remains an untamable beast, broad and interdisciplinary in its scope. This conference seeks to understand memory, and more specifically the relationship between comics and memory along three lines of inquiry. Personal memory Research on comics and personal memory has traditionally focused on the genre of autobiography, in no small part because of the connection which exists between autobiography, the graphic novel and issues of media and genre legitimacy. In addition to the relationship between the semiotic hybridity of comics and the representation of reality, the confessional, the quotidian and the genealogical aspects of autobiographical graphic narratives have received sustained attention at conferences, in books and in scholarly articles (e.g. Chaney 2011, Chute 2010, Hirsch 1992). Honoring the existing tradition of work on the relationship between comics and memory from the point of view of autobiography, this conference seeks to take a new perspective on the topic of personal memory and comics. It does so by foregrounding questions pertaining to personal memory and creativity. It draws attention to the relationship between personal memory and the imagination by thematizing the concept of the internal world and to the relationship between personal memory and humor through the foregrounding of the notion of idiosyncrasy, which may be linked to the narrative e!ect of ‘weirdness’. -
An Nncore Conference PRACTICAL INFO
comics and memory an nncore conference PRACTICAL INFO Conference venue Het Pand Onderbergen 1 9000 Gent Roundtable venue Vooruit Sint-Pietersnieuwstraat 23 9000 Gent Wifi Login: guestComics Password: ZB4zRTsA Website comicsandmemory.wordpress.com argument “Memory is tabooed as unpredictable, unreliable, irrational”, deplored Adorno more than half a century ago (122). Although nowadays the study of memory has established itself, memory remains an untamable beast, broad and interdisciplinary in its scope. This conference seeks to understand memory, and more specifically the relationship between comics and memory along three lines of inquiry. Personal memory Research on comics and personal memory has traditionally focused on the genre of autobiography, in no small part because of the connection which exists between autobiography, the graphic novel and issues of media and genre legitimacy. In addition to the relationship between the semiotic hybridity of comics and the representation of reality, the confessional, the quotidian and the genealogical aspects of autobiographical graphic narratives have received sustained attention at conferences, in books and in scholarly articles (e.g. Chaney 2011, Chute 2010, Hirsch 1992). Honoring the existing tradition of work on the relationship between comics and memory from the point of view of autobiography, this conference seeks to take a new perspective on the topic of personal memory and comics. It does so by foregrounding questions pertaining to personal memory and creativity. It draws attention to the relationship between personal memory and the imagination by thematizing the concept of the internal world and to the relationship between personal memory and humor through the foregrounding of the notion of idiosyncrasy, which may be linked to the narrative e!ect of ‘weirdness’.