6 Comics CFP 10-8-12.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Garfield Bizarro Shoe Non Sequitur Stone Soup Wizard
CHRIS BROWNE JAN ELIOT STONE SOUP HAGAR THE HORRIBLE JIM DAVIS JIM BORGMAN & JERRY SCOTT ZITS GARFIELD MORT, GREG & BRIAN WALKER MARK TATULLI LIO BEETLE BAILEY MASTROIANNI & HART RAY BILLINGSLEY B.C. CURTIS DAN PIRARO WILEY BIZARRO NON SEQUITUR RICHARD THOMPSON BRANT PARKER & JOHNNY HART CUL DE SAC WIZARD OF ID CHRIS CASSATT & GARY BROOKINS FRANCESCO MARCIULIANO & CRAIG MACINTOSH SHOE SALLY FORTH JACK ELROD SCRABBLE GRAMS Make a 2- to 7- letter word from the letters in each RACK 1 row. Add points of each word, using scoring directions at right. Finally, MARK TRAIL RACK 2 7-letter words get 50-point bonus. 2nd Letter “Blanks” used as Double any letter have CATHY GUISEWITE RACK 3 no point value. All the words Triple are in the Official Word Score SCRABBLE Play- RACK 4 ers Dictionary, 3rd Edition. PAR SCORE 145-155 FOUR RACK TOTAL BEST SCORE 244 TIME LIMIT: 20 MIN CATHY Wednesday’s Scrabble grams Par score: 195-205 pts. Total: 255 pts. Rack 1: FACTUAL, Rack 3: VANTAGE, 62 points 72 points Rack 2: GRAMMAR, Rack 4: LATERAL, DARRIN BELL 64 points 57 points ©2010 Hasbro. Distributed by Tribune Media Services, Inc. All rights reserved 1/14 CRYPTOQUIP ©2010 by King Features Syndicate, Inc. Wednesday’s Cryptoquip: IF FIXING THINGS UP MAKES YOU EXTREMELY NERVOUS, YOU LIKELY ARE HAVING REPARATION ANXIETY. XKMSIY ZXNR QV IY IXXMBTIOTMY CANDORVILLE MD XBTNYOTXOX LCM IFN XOZRVTYS SCOTT STANTIS TBNQNFSX: “SM LTOC OCN DKMN.” The Cryptoquip is a substitution cipher in which one letter stands for an- other. If you think that X equals O, it will equal O throughout the puzzle. -
David Hare, Surrealism, and the Comics Mona Hadler Brooklyn College and the Graduate Center, CUNY
93 David Hare, Surrealism, and the Comics Mona Hadler Brooklyn College and The Graduate Center, CUNY The history of the comic book in the United States has been closely allied with mass culture debates ranging from Clement Greenberg’s 1939 essay “Avant-Garde and Kitsch” to Fredric Wertham’s attack on the comic book industry in his now infamous 1954 book, Seduction of the Innocent. An alternative history can be constructed, however, by linking the comics to the expatriate Surrealist community in New York in the thirties and early forties with its focus on fantasy, dark humor, the poetics and ethics of evil, transgressive and carnivalesque body images, and restless desire. Surrealist artists are well known for their fascination with black humor, pulp fi ction, and crime novels—in particular the popular series Fantômas. Indeed, the image of the scoundrel in elegant attire holding a bloody dagger, featured in the writings of the Surrealist Robert Desnos (Color Plate 10), epitomized this darkling humor (Desnos 377-79).1 Pictures of Fantômas and articles on the pulp market peppered the pages of Surrealist magazines in Europe and America, from Documents in France (1929-1930) to VVV and View in New York in the early forties. By moving the discussion of the comics away from a Greenbergian or Frankfurt school discourse on mass culture to the debates surrounding Surrealism, other issues come to the fore. The comics become a site for the exploration of mystery, the imagination, criminality, and freedom. The comic book industry originated in the United States in the late thirties and early forties on the heels of a booming pulp fi ction market. -
Step Back in Time with Blake Hodge
Step Back In Time With Blake Hodge Approximately one ring the squinty-eyed year ago on December 3, sailor. In 1960 Popeye 2005 Blake Hodge, the The Sailor was the fi rst 12-year-old son of Matt show to feature Popeye and Carol Ann Hodge cartoons made just for started his journey back television. in time. Waiting for the POPEYE’S SONG Eagleville Christmas I’m Popeye the Sailor parade to make its ap- Man, I’m Popeye the pearance in downtown Sailor Man, I’m strong Eagleville, he along with to the fi nich, cause I eats Sonny Lonas was brows- me spinach, I’m Popeye ing in Ralston’s Antique the Sailor Man. Store. Blake happened I’m one tough gazookus, Blake’s favorite place to shop is Ralston’s Antiques in Eagleville. upon a Popeye water L-R: Sonny Lonas, Blake, Charles Ralston glass. Remembering the Which hates all paloo- re-runs of the Popeye kas, Wot ain’t on the up cartoons he had recently watched, decided he would really like to have the glass, so and square, I biffs’em he received it as a gift from Sonny. That one glass defi nitely started his journey to and buffs’em, An’ always the past. He has spent several hours in antique stores and fl ea markets searching for outroughs’em, An’ none Popeye memorabilia and learning the history of this funny looking sailor. of ‘em gets nowhere. Blake discovered that on January 17, 1929, was the fateful day, which would If anyone dasses to risk change the comic strip and cartoon worlds forever. -
2013 Syndicate Directory
2013 Syndicate Directory NEW FEATURES CUSTOM SERVICES EDITORIAL COMICS POLITICAL CARTOONS What’s New in 2013 by Norman Feuti Meet Gil. He’s a bit of an underdog. He’s a little on the chubby side. He doesn’t have the newest toys or live in a fancy house. His parents are split up – his single mother supports them with her factory job income and his father isn’t around as often as a father ought to be. Gil is a realistic and funny look at life through the eyes of a young boy growing up under circumstances that are familiar to millions of American families. And cartoonist Norm Feuti expertly crafts Gil’s world in a way that gives us all a good chuckle. D&S From the masterminds behind Mobilewalla, the search, discovery and analytics engine for mobile apps, comes a syndicated weekly column offering readers both ratings and descriptions of highly ranked, similarly themed apps. Each week, news subscribers receive a column titled “Fastest Moving Apps of the Week,” which is the weekly hot list of the apps experiencing the most dramatic increases in popularity. Two additional “Weekly Category” features, pegged to relevant news, events, holidays and calendars, are also available. 3TW Drs. Oz and Roizen give readers quick access to practical advice on how to prevent and combat conditions that affect overall wellness and quality of life. Their robust editorial pack- age, which includes Daily Tips, a Weekly Feature and a Q & A column, covers a wide variety of topics, such as diet, exercise, weight loss, sleep and much more. -
223 Congress Street James F. O'brien's
223 Congress Street James F. O’Brien’s Shoe Store & Apartment Building, 1896 -1909 Contributing Architectural Description The four-story, two-by-five bay building at 223 Congress Street is constructed of Flemish bond brick and features a flat roof and Italianate details. Facing southeast, 223 Congress Street has a storefront on the first floor (to the west) accessible by a recessed entrance, with the entrance for the rest of the structure being located at the building’s eastern corner. This blue- and gray-painted entrance has a paneled door with central elongated oval stained glass window, wooden door surround, and carved white solid wood fanlight above. Brick pilasters capped with wooden entablatures flank this entrance, topped with a decorative blue- and gray-painted wooden beltcourse that runs the width of the building. A three-story bay window painted in the same blue and gray tones at the first story runs vertically up the west side of the building, with a central six over six window, and four over four windows on either side. To the east of this bay window is a single, narrow, six over six window on each level—this window has a segmented brick arch over the window on the second and third story, while the fourth story window has a decorative arch brickwork. Each story is distinguished by a wide beltcourse with alternating recessed bricks,that spans the width of the building—these recessed bricks give an overall pierced appearance. The roof is flat, with a wide overhanging white- and blue- painted wooden cornice that extends across the front façade of the building, with decorative brackets. -
The Branagh Film
SYDNEY STUDIES IN ENGLISH DEPARTMENT OF ENGLISH UNIVERSITY OF SYDNEY Volume 36, 2010 PENNY GAY: ‗A Romantic Musical Comedy‘ for the Fin-de-Siecle: Branagh‘s Love’s Labour’s Lost 1 BEN JUERS: Slapstick and Self-Reflexivity in George Herriman‘s Krazy Kat 22 JULIAN MURPHET: Realism in The Wire 52 LUKE HARLEY: An Apollonian Scream: Nathaniel Mackey‘s Rewriting of the Coltrane Poem in ‗Ohnedaruth‘s Day Begun‘ 77 REBECCA JOHINKE: Uncanny Carnage in Peter Weir‘s The Cars That Ate Paris 108 77 PETER KIRKPATRICK: Life and Love and ‗Lasca‘ 127 MARK BYRON: Digital Scholarly Editions of Modernist Texts: Navigating the Text in Samuel Beckett‘s Watt Manuscripts 150 DAVID KELLY: Narrative and Narration in John Ford‘s The Searchers 170 Editor: David Kelly Sydney Studies in English is published annually, concentrating on criticism and scholarship in English literature, drama and cinema. It aims to provide a forum for critical, scholarly and applied theoretical analysis of text, and seeks to balance the complexities of the discipline with the need to remain accessible to the wide audience of teachers and students of English both inside and outside the university. Submissions of articles should be made online at http://escholarship.library.usyd.edu.au/journals/index.php/SSE/about/sub missions#onlineSubmissions Each article will be read by at least two referees. Sydney Studies in English is published in association with the Department of English, University of Sydney, NSW 2006, Australia. Visit the Department‘s homepage at: http://sydney.edu.au/arts/english/ ISSN: 0156-5419 (print) ISSN: 1835-8071 (online) Sydney Studies in English 36 Special Edition: The Texts of Contemporary English Studies This volume of Sydney Studies in English is concerned with the changing nature of the text for the study of English. -
One Fine Sunday in the Funny Pages” Exhibit
John Read is the creator and curator of the “One Fine Sunday in the Funny Pages” exhibit. A freelance cartoonist, John also teaches cartooning to children and is the publisher and editor of Stay Tooned! Magazine, considered the trade journal of the craft. The Comic Mode The comic strip provides a colorful and humorous respite from the serious and often tragic news that precedes it. There are many reasons for reading the “funny pages”; from the basic need to be entertained, to the desire to escape for a moment into what seems a playful combination of a joke and a sequence of images that illustrate the nonsense and play that generates it. Yet, what really constitutes the “comic” in a comic strip? Are they simply funny, as in Blondie, Garfield or Hagar the Horrible? Or do we sense underlying tones of irony, satire, political and social commentary as evidenced in Doonesbury, Non Sequitur, and Between Friends? How are we to understand the double entendre, the sting of wit or the twist of the absurd that infuses so many contemporary comic strips? It would seem that as in dreams, there are many levels to the comic mode. On the first take, the superficial or manifest appeal generates a smile or laughter. But as with many dreams and good jokes, there is the second take, a latent need to establish or defy meaning as embedded within the structure of the images themselves. The paradox or playfulness of the comic strip partially lies in discovering the truth in the nonsensical aspects of day-to-day living. -
The Eleanor Roosevelt Program
THE ELEANOR ROOSEVELT PROGRAM November 3, 1950 Description: In the interview segment, ER interviews comic book illustrator Al Capp. Participants: ER, Elliott Roosevelt, Al Capp [ER:] Humor in our lives is an essential, as we all know. And this afternoon, my guest is one who has brought it to millions of people young and old. In my living room with me is Mr. Al Capp. [Al Capp:] Hello, Mrs. Roosevelt. [ER:] Very nice to have you, Mr. Capp. I’m afraid I’ll have to own up right at the start that I hardly ever read the funny papers, and I’ve only read comic books when I’ve had to read them to a child that was ill, or there was some particular reason why I had to do it, so I’m completely unfamiliar with them. Except to the extent that sometimes I feel that I should blame you and other originators of comics for the behavior of my grandchildren! I was brought up, I’m afraid, in the old fashioned type of library the kind of library where you had the classics and modern novels, and I happened to have a grandfather who was interested in all kinds of ecclesiastical questions, so Gustave Dore Bible was one of my first fascinating things to look at and read. But um I don’t really know whether today, um these comics have taken the place of classics or of uh general reading. I’d just like you to educate me. [Al Capp:] Alright, I’ll tell you about them, I’ll tell you about comics. -
Boot and Shoe Industry in Massachusetts Before 1875
THE ORGANIZATION OF THE BOOT AND SHOE INDUSTRY IN MASSACHUSETTS BEFORE 1875 BLANCHE EVANS HAZARD PROFESSOR OF HOME ECONOMICS IN CORNELL UNIVERSITY CAMBRIDGE HARVARD UNIVERSITY PRESS LONDON: HUMYHREY MILFORD Oxrm Umansrn P.k~s 1921 TO THE MEMORY COPYRIC~,I 92 I OF MY HARVARD UNIVERSITY PRESS FATHER AND MOTHER PREFACE THEdevelopment of the boot and shoe industry of Massachu- setts proves to be an interesting and productive field for economic investigation, not merely because its history goes back to colonial days as one of the leading industries of the states, but more especially because the evolution of industrial organization finds here an unusually complete illustration. The change from older stages to the modem Factory Stage has been comparatively recent, and survivals of earlier forms have existed within the memory of the old men of today. Sources, direct or indirect, oral and recorded, can be woven together to establish, to limit, and to illustrate each one of these stages and the transitions of their various phases. The materials used as the basis of the conclusions given here have been gathered at first hand within the last ten years,%y the writer, in the best known shoe centres of Massachusetts, i.e., Brockton, the Brookfields, the Weymouths, the Braintrees, the Randolphs, and Lynn. The collection and use of such written and oral testimony has been attended with difficulty. No New England shoemaker of a former generation has dreamed that posterity would seek for a record of his daily work.2 Only inad- From 1~7-1917. f Exceptions to this did not occur until about 1880, when David Johnson of Lynn, and Lucy Larcom of Beverly, began to write in prose and poetry about the shoemaker's homely daily life. -
2019 Directory
2019 DIRECTORY AMY FROMMER’S GOODMAN TRAVEL INVESTMENT & RETIREMENT PLANNING TO YOUR GOOD PROBLEM HEALTH SOLVED HINTS FROM HELOISE KFS COMICS The Amazing Spider-Man The Brilliant Mind of Edison Lee by Stan Lee and Larry Lieber. by John Hambrock. Meet Edison Since bitten by a radioactive Lee, a 10-year-old boy genius who spider, Peter Parker’s adventures always has something to say about as Spider-Man have climbed in American politics and culture. D&S popularity and excitement. Also available in Spanish. D&S Bringing Up Father by Frank Johnson. Maggie and Arctic Circle Jiggs were the first comic stars to by Alex Hallatt. Oscar, Ed and achieve worldwide fame. Reprints Gordo are three migrant penguins only. Also available in Spanish. D&S The Amazing Spider-Man Beetle Bailey who leave Antarctica for a new life in the North Pole in this green- Buckles themed strip. D&S by David Gilbert. He’s not a dog, he’s family! Clever canine that Baby Blues he is, Buckles has happily barked by Rick Kirkman and Jerry Scott. his way into owners Paul’s and The hysterically hectic days of a Jill’s hearts—and the hearts of young family of five are filled with readers—as he discovers unique dirty diapers and wild antics. Also adventures from his backyard to available in Spanish. D&S the outer reaches of the great unknown beyond the fence. D&S Barney Google and Carpe Diem Arctic Circle Between Friends Snuffy Smith Niklas Eriksson“seizes the day” with by John Rose. Snuffy Smith is a irreverent humor. -
'Liliom' to Start at Klein Friday • Story on P a G » S ..-I F :£ C R § J J F R
'Liliom' to Start at Klein Friday • Story on P a g » S ..-i f :£ C R § j j f r IlmliMaoSAu UlAALLa u n i v e r M v y , o t ■na^tpoiT vuuipvi vvccny Voi. 23 BRIDGEPORT, CONN., FEBRUARY 28. 1951. No. 15 Council Juggles Budget As Enrollment Decreases By GENE VALENTE, JR. In order to meet the financial crisis caused by the decrease in enrolment at UB, the third Student Council meeting of this semester has been forced to reallocate student funds for the remainder of the year. The original budget was based on an estimated $11,850 from thé tuition of 1800 students However, since student enrolment has drop A TENSE MOMENT in a scene from the Office of ped to 1450, lack of funds has forced a cut in the budget of $1,100. Campos Productions play “Liliom” is created by Ed This sum is determined on the ward Heske, Liliom, when he threatens to strike his basis of the day enrollment: $6.20 wife, Joyce Mathewson. The play will be presented at for each paying student and 25 SCAC To Investigate cents from each- Student Activi the Klein Friday and Saturday night. ties book. The following figures are the Improving School Spirit official figures of the Student By MARILYN SORRENTINO Council Budget Com m ittee Con Fate of Prince Valiant cerning ' the Student Activities. Improving school spirit will be at the last meeting were the fol B udget: the major objective to be acted lowing: Camera Club, Economics RECEIPTS FROM ADMINISTRATION: Club, Wistaria Hall, French Club, Pint semester (r.800 students) . -
Novel Idea for Social Justice: Comics, Critical Theory, and a Contextual Graphic Narratology
A (Graphic) Novel Idea for Social Justice: Comics, Critical Theory, and A Contextual Graphic Narratology Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karly Marie Grice, M.A. Graduate Program in Education: Teaching & Learning The Ohio State University 2017 Dissertation Committee: Patricia Enciso, Advisor Michelle Ann Abate, Co-advisor Melinda Rhoades, Committee Member Caroline Clark, Committee Member 1 Copyrighted by Karly Marie Grice 2017 Abstract In my dissertation, I develop a combination of structural and critical theories for the medium-specific analysis of comics for children and young adults. I begin by laying a historical foundation of the medium of comics and a visual culture analytic framework to delineate my specific methodology of research, a contextualized graphic narratology. As of the writing of this dissertation, this work is the only extended, single-authored exploration into the construction and implications of comics for children and young adults. Within the following chapters, I combine the medium specific tools of a formalist comics study with the field-based knowledge of the function of children’s and young adult narratives. I use these combined analytic tools to not only further the growth of a new comics scholarship but also to investigate how comics for children and young adults are using the implied reader to push the boundaries of the definition of “child.” Looking at two comics series for young readers, Lumberjanes and the March trilogy, I explore how what I call tools of disruption are woven into the visual constructions in order to play with reader’s experiences and expectations, provoke them into questioning the texts they are reading and the world around them, and push them to lay the foundation for imagined alternatives.