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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Algerian War of Independence in Algerian bande dessin�e Permalink https://escholarship.org/uc/item/2tk6g7bg Author Dean, Veronica Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Algerian War of Independence in Algerian bande dessinée A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Veronica Katherine Dean 2020 Copyright by Veronica Katherine Dean 2020 ABSTRACT OF THE DISSERTATION The Algerian War of Independence in Algerian bande dessinée by Veronica Katherine Dean Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2020 Professor Lia N. Brozgal, Chair “The Algerian War of Independence in Algerian bande dessinée” is animated by the question of how bande dessinée from Algeria represent the nation’s struggle for independence from France. Although the war is represented extensively in bande dessinée from France and Algeria, French texts are more well-known than their Algerian counterparts among scholars and bédéphiles alike. Catalysts behind this project are the disproportionate awareness and study of French bande dessinée on the war and the fact that critical studies of Algerian bande dessinée are rare and often superficial. This project nevertheless builds upon existing scholarship by problematizing its assumptions and conclusions, including the generalization that Algerian bande dessinée that depict the war are in essence propagandistic in nature. Employing tools of comics analysis and inflecting my research with journalistic work coming out of Algeria, this project attempts to rectify the treatment of Algerian bande dessinée in critical scholarship by illustrating ii the rich tradition of historical representation in the medium. -
|||GET||| Superheroes and American Self Image 1St Edition
SUPERHEROES AND AMERICAN SELF IMAGE 1ST EDITION DOWNLOAD FREE Michael Goodrum | 9781317048404 | | | | | Art Spiegelman: golden age superheroes were shaped by the rise of fascism International fascism again looms large how quickly we humans forget — study these golden age Superheroes and American Self Image 1st edition hard, boys and girls! Retrieved June 20, Justice Society of America vol. Wonder Comics 1. One of the ways they showed their disdain was through mass comic burnings, which Hajdu discusses Alysia Yeoha supporting character created by writer Gail Simone for the Batgirl ongoing series published by DC Comics, received substantial media attention in for being the first major transgender character written in a contemporary context in a mainstream American comic book. These sound effects, on page and screen alike, are unmistakable: splash art of brightly-colored, enormous block letters that practically shout to the audience for attention. World's Fair Comics 1. For example, Black Panther, first introduced inspent years as a recurring hero in Fantastic Four Goodrum ; Howe Achilles Warkiller. The dark Skull Man manga would later get a television adaptation and underwent drastic changes. The Senate committee had comic writers panicking. Howe, Marvel Comics Kurt BusiekMark Bagley. During this era DC introduced the Superheroes and American Self Image 1st edition of Batwoman inSupergirlMiss Arrowetteand Bat-Girl ; all female derivatives of established male superheroes. By format Comic books Comic strips Manga magazines Webcomics. The Greatest American Hero. Seme and uke. Len StrazewskiMike Parobeck. This era saw the debut of one of the earliest female superheroes, writer-artist Fletcher Hanks 's character Fantomahan ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House 's Jungle Comic 2 Feb. -
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). -
Front Coverandpage 2
ISSUE 410 – JUNE 2008 TheThe Jester Jester FLASH CARTOONIST’S ISSUE! GET READY TO WALK LONDON’S “STREET OF SHAME” OUR MAN IN MOSCOW CINEMA STORIES GALORE YOUR CHASTITY CARTOONS WILLIAMS TOM CLIVE COLLINS’ RECOMMENDED READING TheNewsletter Newsletter of of the the Cartoonists’ Cartoonists’ Club Club of Greatof Great Britain Britain THE JESTER ISSUE 410 – JUNE 2008 CCGB ONLINE: WWW.CCGB.ORG.UK The Jester The CCGB Committee The Chair Issue 410 - June 2008 Published 11 times a year by The Cartoonists! Club Dear Members, arm and wrist. Of course he (It was of Great Britain General Jumbo: Ed!) was the hero Hope the sun!s been reaching the Chairman: Terry Christien of the hour for catching burglars and right parts! bully boys by sending all these rug- 020-8892 3621 After a splendid Shrewsbury Car- ged little toys into action typically for [email protected] toon Festival last month, there was example, rolling ball bearings in Secretary: Jed Stone a regional gathering of members in front of a swag laden criminal on the 01173 169 277 Bristol earlier this month organised run "- "rich illustrative material! But it by Tim Harries. It certainly seemed [email protected] just shows you even though they to go down well judging from the can come up with the weird and the Treasurer: Anne Boyd photographs on the forum. wonderful, the comic cartoonists 01173 169 277 As I write, a bunch of us will be have been there before. Not so [email protected] meeting in Stoke on Trent to cele- crazy to involve the likes of Membership Secretary: brate the late Dave Follows!s us scallies to draw up the front lines! Jed Pascoe: 01767-682 882 retrospective exhibition of Three What about Thunderbirds type Decades of Cartooning. -
Bibliotherapy and Graphic Medicine
This is a preprint of a chapter accepted for publication by Facet Publishing. This extract has been taken from the author’s original manuscript and has not been edited. The definitive version of this piece may be found in Bibliotherapy, Facet, London, ISBN 9781783302410, which can be purchased from http://www.facetpublishing.co.uk/title.php?id=303410&category_code=37#.W0xzl4eoulI. The author agrees not to update the preprint or replace it with the published version of the chapter. Our titles have wide appeal across the UK and internationally and we are keen to see our authors content translated into foreign languages and welcome requests from publishers. World rights for translation are available for many of our titles. To date our books have been translated into over 25 languages. Bibliotherapy and graphic medicine Sarah McNicol, Manchester Metropolitan University 1. Introduction While most bibliotherapy activities focus on the use of written text, whether in the form of novels, poetry or self-help books, in recent years there has been a growing interest in the use of graphic novels and comics as a mode of bibliotherapy. The term ‘graphic narratives’ is used in this chapter to include both graphic novels and shorter comics in both print and digital formats. The chapter explores the ways in which graphic narratives of various types might be used as an effective form of bibliotherapy. It considers how the medium can be particularly effective in supporting important features of bibliotherapy such as providing reassurance; connection with others; alternative perspectives; and models of identity. It then draws on examples of bibliotherapy collections from different library settings to demonstrate some of the ways in which graphic narratives are currently used in bibliotherapy practice, or might have potential to be used in the future. -
Fair Game: Canadian Editorial Cartooning
FAIR GAME: CANADIAN EDITORIIAL CARTOONING Adrieme C,Lamb Graduate School of Journalism Submitted in partial fulfilment of the requirements for the degree of Master of Arts Faculty of Graduate Studies The University of Western Ontario London, Ontario April, 1998 Adrieme C. Lamb 1998 National tibmiy Bibliothèque nationale I*l ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OüawaON K1AW ûttawaON KIAON4 canada Canada Tne author has granted a non- L'auteur a accordé une licence non exclusive licence dowing the exclusive permettant à la National Libmy of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains owxiership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thése. thesis nor substaatial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis is about people and politics, art and history, visuai satire, and current affairs. It traces the development of Canada's editorid cartooning heritage over the last one hundred and fifty years and examines the conternporary Canadian editorial cartooning scene as well. This author's main objective is to tum the tables on the editoriai cartoonists in Canada by rnaking them fair game and the subject of study Eom both a historical and a contemporary perspective. -
Comics Comics “Can Anybody Hear Me?” Tiitu Takalo: Memento Mori Comics
Comics Comics “Can anybody hear me?” Tiitu Takalo: Memento Mori Comics Mari Luoma Romeo and the Monsters First book in a brand new graphic novel series for middle grade readers.. Welcome to the Manor of Monsters! When Romeo Addison turns 12, he will be sent to a private school in a large handsome mansion, as per his great-great-great-granduncle’s last will and testament. The first young man from the Addison family to graduate with honours from the school shall inherit all of the uncle’s sizeable property. But the manor is a strange place, where the teaching staff includes zombies, a ghost and a werewolf. Luckily, Romeo’s clever cousin Jillian also goes to the same school. Together, the cousins begin to unravel the wild secrets of the family estate… Mari Luoma is an illustrator Romeo and the Monsters is a spine-tingling, hair- and comic artist. She mainly raising blend of adventure and comedy. illustrates children’s books Ages: 9+ | Colors: 4/4 | Size: 148 x 210 mm | Pages: 74 | Original and advertising materials language: Finnish | Rights sold: Finnish for her work and designs funny characters for various media. Katie Cook – Elli Puukangas Comics Dark Song A Soul Riders graphic novel Meet the Soul Riders in a standalone adventure gloriously brought to life by the distinguished comics writer Katie Cook and the brilliant upcoming artist Elli Puukangas! 150 pages of epic moments, old legends and wonderful artwork! When the Soul Riders are sent out on a mission to meet with their druid friends, they come to realise all is not well in the area. -
Sergio Aragonés Marginalizes Francoism in the Exile Newspaper España Libre (NYC)
Camino Real 7: 10. (2015): 129-146 Sergio Aragonés Marginalizes Francoism in the Exile Newspaper España Libre (NYC) MONTSE FEU Abstract Sergio Aragonés is an award-winning and celebrated Mad Magazine cartoonist whose prolific career includes his bestselling comicsGroo the Wanderer and Boogeyman, among others. However, his anti-Francoist cartoons published in the exile newspaper España Libre (1939-1977, NYC) have not been studied. Using an interdisciplinary theoretical approach to humor, I examine the social function of selected cartoons by Aragonés. The drawings, published from 1962 to 1965, exposed the political persecution exerted by Francisco Franco to a global readership. His front- page cartoons also informed and emotionally sustained the dissenting working-class resistance under the regime and abroad. Keywords: Spaniards in the United States, Spanish Civil War, Exile Newspapers, cartoons, Labor Resistance Movements, Francisco Franco’s Dictatorship. Maria Montserrat Feu López (Montse Feu), Assistant Professor in Spanish at Sam Houston State University. She has published about the Sociedades Hispanas Confederadas and their newspaper España Libre (NYC 1939- 1977). Feu López, M. M. “Sergio Aragonés “Marginalizes” Francoism in The Exile Newspaper España Libre (New York City)”. Camino Real, 7:10. Alcalá de Henares: Instituto Franklin – UAH, 2015: 127-144. Print. Recibido: 1/12/2014; 2ª versión 26/1/2015. 129 Camino Real Resumen Sergio Aragonés es uno de los humoristas gráficos más conocidos de la revista norteamericana Mad. Su prolífica y premiada carrera incluye sus populares cómics Groo the Wanderer and Boogeyman, entre otros muchos. Sin embargo, sus caricaturas antifranquistas publicadas en el periódico de exilio España Libre (1939-1977, Nueva York) no se han estudiado. -
Earle Phd 2015.Pdf
This work is protected by copyright and other intellectual property rights and duplication or sale of all or part is not permitted, except that material may be duplicated by you for research, private study, criticism/review or educational purposes. Electronic or print copies are for your own personal, non- commercial use and shall not be passed to any other individual. No quotation may be published without proper acknowledgement. For any other use, or to quote extensively from the work, permission must be obtained from the copyright holder/s. Declaration Part 1. To be bound in the thesis SUBMISSION OF THESIS FOR A RESEARCH DEGREE Part I. DECLARATION by the candidate for a research degree. To be bound in the thesis Degree for which thesis being submitted PhD in American Studies Title of thesis ‘America through the looking-glass, lost’: conflict and traumatic representation in American comics since 1975 This thesis contains confidential information and is subject to the protocol set down for the submission and examination of such a thesis. YES/NO [please delete as appropriate; if YES the box in Part II should be completed] Date of submission 20/08/14 Original registration date 23/01/12 (Date of submission must comply with Regulation 2D) Name of candidate Harriet Elizabeth Helen Earle Research Institute Humanities Name of Lead Supervisor Dr James Peacock I certify that: (a) The thesis being submitted for examination is my own account of my own research (b) My research has been conducted ethically. Where relevant a letter from the approving -
The Interaction of Image and Text in Modern Comics
240 Lambeens And Pint Chapter 12 The Interaction of Image and Text In Modern Comics Tom Lambeens and Kris PintLambeens and Pint Introduction The combination of image and text is undoubtedly one of the most typical features of the comic strip genre. This combination in itself is, of course, far from new. Sequential images were already combined with textual elements in Egyptian hieroglyphs or medieval manuscripts and paintings.1 The comic strip as such evolved in the first half of the nineteenth century, with artists like Rodolphe Töpffer (influenced by William Hogarth), Wilhelm Busch and Pehr Nord quist, all of whom created stories that were easy to reproduce and com bined words and images, albeit still strictly separated from each other. Inspired by the American newspaper comics of the early twentieth century, like Frede rik Burr Opper’s Happy Hooligan (1900) and Alphonse and Gaston (1901), the European comic strip started to integrate speech balloons into the image itself, with Hergé’s Les Aventures de Tintin as its most prominent and bestknown ex ponent.2 Initially conceived for the youth supplement of a Belgian newspaper, Tintin proved so successful that his adventures were soon published in book form as well. The emergence of real comic books meant an important evolu tion of comics, a move away from the rather transitory medium of the newspa per. Yet for a long time, comic books were mostly seen as children’s entertain ment. In the seventies, this view began to change with the emergence of the socalled “graphic novel,” which featured more mature content and, at times, a more experimental style of drawing as well. -
Subjective Narration in Comics
Subjective Narration in Comics Joris Driest Utrecht University 0011630 Index Subjective Narration in Comics.................................................................................................1 Index......................................................................................................................................2 Introduction........................................................................................................................ 3 Narration............................................................................................................................ 3 Subjective Narration ......................................................................................................... 6 Comics............................................................................................................................... 8 Methodology.................................................................................................................... 12 Justification...................................................................................................................... 14 Framework....................................................................................................................... 15 Chapter 1: Word and image................................................................................................ 18 Introduction...................................................................................................................... 18 Thought clouds............................................................................................................... -
Women Deliver – Cartoon Book
C A R T O O N S F O R A N D A B O U T E V E R Y W O M A N s Liza Donnelly makes clear in her introduction to this volume, cartoons are often designed to make us smile, but they don’t always make us laugh. The cartoons in this volume deal with Aserious subject matters: gender equality, human rights, the education of women and girls, and the role of women around the globe. WOMEN DELIVER Women may be key to cultural stability and economic prosperity, but cultural traditions sometimes lag behind this realization. The cartoons here, which make up the exhibition organized by Women Deliver for their May 2013 global conference in Kuala Lumpur, help us to see cultural taboos and injustices from artists who are living and experiencing these traditions. The cartoonists come from Australia, Colombia, Ecuador, the Czech Republic, Denmark, Egypt, France, Germany, Holland, Iran, Japan, Palestine, Poland, Portugal, Sweden, Switzerland, Turkey, the United Kingdom, and the United States. Women Deliver, The World Receives offers cartoon art that “crosses language borders and shows us our shared humanity.” Liza Donnelly, who collected the cartoons published here is a contract cartoonist with the New Yorker and a weekly columnist/cartoonist for Forbes.com and Women’s Enews. She has traveled around the world as a cultural envoy for the US State Department, speaking about freedom of speech, cartoons and women’s rights. Women Deliver is a global advocacy organization launched in 2007 that brings together voices from around the world to call for improved health and wellbeing for girls and women.