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Queer Here: Poetry to Comic Emma Lennen Katie Jan
Queer Here: Poetry to Comic Emma Lennen Katie Jan Pull Quote: “For the new audience of queer teenagers, the difference between the public and the superhero resonates with them because they feel different from the rest of society.” Consider this: a superhero webcomic. Now consider this: a queer superhero webcomic. If you are anything like me, you were infinitely more elated at the second choice, despite how much you enjoy the first. I love reading queer webcomics because by being online, they bypass publishers who may shoot them down for their queerness. As a result, they manage to elude the systematic repression of the LGBTQA+ community. In the 1950s, when repression of the community was even more prevalent, Frank O’Hara wrote the poem “Homosexuality” to express his journey of acceptance as well as to give advice to future gay people. The changes I made in my translation of the poem “Homosexuality” into a modern webcomic demonstrate the different time periods’ expectations of queer content, while still telling the same story with the same purpose, just in a different genre. Despite the difference between the genres, the first two lines and the copious amount of imagery present in the poem allowed for some near-direct translation. The poem begins with “So we are taking off our masks, are we, and keeping / our mouths shut? As if we’d been pierced by a glance!” (O’Hara 1-2). While usually masks symbolize hiding your true self and therefore have a negative connotation, the poem instead considers it one’s pride. Similarly, for many superheroes, the mask does not represent shame, it represents power and responsibility. -
Reading Between the Panels: a Metadata Schema for Webcomics Erin Donohue Melanie Feinberg INF 384C: Organizing Infor
Reading Between the Panels: A Metadata Schema for Webcomics Erin Donohue Melanie Feinberg INF 384C: Organizing Information Spring 2014 Webcomics: A Descriptive Schema Purpose and Audience: This schema is designed to facilitate access to the oftentimes chaotic world of webcomics in a systematic and organized way. I have been reading webcomics for over a decade, and the only way I could find new comics was through word of mouth or by following links on the sites of comics I already read. While there have been a few attempts at creating a centralized listing of webcomics, these collections consist only of comic titles and artist names, devoid of information about the comics’ actual content. There is no way for users to figure out if they might like a comic or not, except by visiting the site of every comic and exploring its archive of posts. I wanted a more systematic, robust way to find comics I might enjoy, so I created a schema that could be used in a catalog of webcomics. This schema presents, at a glance, the most relevant information that webcomic fans might want to know when searching for new comics. In addition to basic information like the comic’s title and artist, this schema includes information about the comic’s content and style—to give readers an idea of what to expect from a comic without having to browse individual comic websites. The attributes are specifically designed to make browsing lots of comics quick and easy. This schema could eventually be utilized in a centralized comics database and could be used to generate recommendations using mood, art style, common themes, and other attributes. -
Afsnet.Org 2014 American Folklore Society Officers
American Folklore Society Keeping Folklorists Connected Folklore at the Crossroads 2014 Annual Meeting Program and Abstracts 2014 Annual Meeting Committee Executive Board Brent Björkman (Kentucky Folklife Program, Western The annual meeting would be impossible without these Kentucky University) volunteers: they put together sessions, arrange lectures, Maria Carmen Gambliel (Idaho Commission on the special events, and tours, and carefully weigh all proposals Arts, retired) to build a strong program. Maggie Holtzberg (Massachusetts Cultural Council) Margaret Kruesi (American Folklife Center) Local Planning Committee Coordinator David Todd Lawrence (University of St. Thomas) Laura Marcus Green (independent) Solimar Otero (Louisiana State University) Pravina Shukla (Indiana University) Local Planning Committee Diane Tye (Memorial University of Newfoundland) Marsha Bol (Museum of International Folk Art) Carolyn E. Ware (Louisiana State University) Antonio Chavarria (Museum of Indian Arts and Culture) Juwen Zhang (Willamette University) Nicolasa Chavez (Museum of International Folk Art) Felicia Katz-Harris (Museum of International Folk Art) Melanie LaBorwit (New Mexico Department of American Folklore Society Staff Cultural Affairs) Kathleen Manley (University of Northern Colorado, emerita) Executive Director Claude Stephenson (New Mexico State Folklorist, emeritus) Timothy Lloyd Suzanne Seriff (Museum of International Folk Art) [email protected] Steve Green (Western Folklife Center) 614/292-3375 Review Committee Coordinators Associate Director David A. Allred (Snow College) Lorraine Walsh Cashman Aunya P. R. Byrd (Lone Star College System) [email protected] Nancy C. McEntire (Indiana State University) 614/292-2199 Elaine Thatcher (Heritage Arts Services) Administrative and Editorial Associate Review Committee Readers Rob Vanscoyoc Carolyn Sue Allemand (University of Mary Hardin-Baylor) [email protected] Nelda R. -
Amar Chitra Katha and the Construction of Indian Identities
Karline McLain, Asian Studies The University of Texas at Austin AIIS Dissertation Proposal 2000 Whose Immortal Picture Stories?: Amar Chitra Katha and the Construction of Indian Identities Karline McLain Abstract: Amar Chitra Katha (“Immortal Picture Stories”), the leading Indian comic book series, enjoys a ubiquitous presence among the urban middle-class in India and the South Asian diaspora. These comic books provide a unique opportunity for the study of the definition and negotiation of a modern middle-class Indian identity, as the multiplicity of intended and received messages of the comics can be examined by studying both their creation and consumption in conjunction with a careful reading of the content. My project will challenge traditional approaches to public culture which typically focus on either creation or consumption, one at the expense of the other, by viewing both as active and contested processes which together act with text and image to continually recreate and transform identities. Furthermore, my project will engage identity formation – particularly the formation of religious identities – on both the national and transnational levels and examine the tensions between them. Background: Amar Chitra Katha has dominated the flourishing comic book market since its inception in 1967, selling over 436 titles and more than 78 million issues. Anant Pai, founder of the comics, conceived of them as a means of teaching “Indian themes and values” to western- educated Indian children who knew western history at the purported expense of Indian history and mythology. Hence the comics, which are first produced in English and then translated into Hindi and other languages according to demand, can be loosely grouped into two categories: mythologicals and historicals. -
The Role of Poetry Readings in Dispelling the Notion That Urdu Is a Muslim Language
International Journal of Humanities and Social Science Vol. 4, No. 10; August 2014 The Role of Poetry Readings in Dispelling the Notion that Urdu is a Muslim Language Hiba Mirza G-1, Maharani Bagh New Delhi – 110 065 India Abstract Looking at the grim scenario of the future of Urdu in India, and its overwhelming identification with a particular community (i.e., Muslims) have indeed contributed in creating a narrow image of sectarian interests. However, the concern of the intellectuals about its declining trend, seems to be melting, if we take the case of Mushaira (poetic symposium). Through interviews with both the organisers and the attendees of Delhi Mushairas I collected a serious of impressions that speak to the role of a Mushaira in advancing a cosmopolitan, rather than a communal image of Urdu. Uniting people through poetry, mushairas temporarily dissolve differences of caste, creed and religion. Keywords: Urdu, Narrow image, declining, communal, cosmopolitan Urdu hai mera naam, main Khusro ki paheli Main Meer ki humraaz hun, Ghalib ki saheli My name is Urdu and I am Khusro’s riddle I am Meer’s confidante and Ghalib’s friend Kyun mujhko banate ho ta’assub ka nishana, Maine to kabhi khudko musalma’an nahin maana Why have you made me a target of bigotry? I have never thought myself a Muslim Dekha tha kabhi maine bhi khushiyon ka zamaana Apne hi watan mein hun magar aaj akeli I too have seen an era of happiness But today I am an orphan in my own country - Iqbal Ashar - (Translation by Rana Safvi) 1.0 Introduction India is a pluralistic society. -
Negotiating Identities: a Representation of Contemporary India in the Novels of Sarnath Banerjee
============================================================== Language in India www.languageinindia.com ISSN 1930-2940 18:3 March 2018 Dr. T. Deivasigamani, Editor: Indian Writing in English: A Subaltern Perspective Annamalai University, Tamilnadu, India ============================================================== Negotiating Identities: A Representation of Contemporary India in the Novels of Sarnath Banerjee G. Jerusha Angelene Christabel, Research Scholar ==================================================================== Sarnath Banerjee Courtesy: http://project88.in/press/tag/sarnath-banerjee/page/5/#sthash.lU2O5IxI.dpbs Abstract This paper focus on fragmented narration in Sarnath Banerjee’s prominent work Corridor, a graphic novel. The novel sketches fragmentation with characterization. Sarnath's novel focused mainly on history, regional, alienation, search of individualism – identity, quest of knowledge. The paper pictures vivid images through graphics and reflects identity negotiation in Sarnath Banerjee’s Corridor. Keywords: Sarnath Banerjee, identity, search for knowledge, individual’s multifaceted identity, graphic Novel, fragmentation, narration. ================================================================================= Language in India www.languageinindia.com ISSN 1930-2940 18:3 March 2018 Dr. T. Deivasigamani, Editor: Indian Writing in English: A Subaltern Perspective G. Jerusha Angelene Christabel, Research Schola Negotiating Identities: A Representation of Contemporary India in the Novels of Sarnath Banerjee -
The History of Web Comics Pdf Free Download
THE HISTORY OF WEB COMICS PDF, EPUB, EBOOK T. Campbell | 192 pages | 06 Jun 2006 | Antarctic Press Inc | 9780976804390 | English | San Antonio, Texas, United States The History of Web Comics PDF Book When Alexa goes to put out the fire, her clothes get burnt away, and she threatens Sam and Fuzzy with the fire extinguisher. Columbus: Ohio State U P. Stanton , Eneg and Willie in his book 'The Adventures of Sweet Gwendoline' have brought this genre to artistic heights. I would drive back and forth between Massachusetts and Connecticut in my little Acura, with roof racks so I could put boxes of shirts on top of the car. I'll split these up where I think best using a variety of industry information. Kaestle et. The Creators Issue. To learn more or opt-out, read our Cookie Policy. Authors are more accessible to their readers than before, and often provide access to works in progress or to process videos based on requests about how they create their comics. Thanks to everyone who's followed our work over the years and lent a hand in one way or another. It was very meta. First appeared in July as shown. As digital technology continues to evolve, it is difficult to predict in what direction webcomics will develop. The History of EC Comics. Based on this analysis, I argue that webcomics present a valuable archive of digital media from the early s that shows how relationships in the attention economy of the digital realm differ from those in the economy of material goods. -
Rocio Vega AI Dreams Is a Webcomic That Was Inspired by My Dreams. It Is
Rocio Vega AI Dreams is a webcomic that was inspired by my dreams. It is a vertical scroller comic for many people to enjoy on their phones. I was introduced to a product called webtoon which is a Korean based company that is now very popular in the USA. I became interested in these webcomics because it was a different way to interact with the viewer. This is especially true to the way I wanted my illustrations to have a more fluid like movement through the pages. This is representing more on how dreams move from one to the other. The reason I chose to make a comic for my dreams, was to create a story that my dreams can live in. This was my decision because I wanted people to enjoy a journey through my dream that's easier to follow along. The flow between dreams would be connected, instead of having it separate stories in a book. The story of AI Dreams is about an AI called Avi. This webcomic is based in the future where tech has been revolutionized. The new dream program made in that time is called AI Dreams which is an easy name to remember. This is a story about an AI forced through obstacles that were set in motion by a dark force at work. An adventure into the self discovery to what Avi is, through her dreams and emotions. The way I made this webcomic was more painterly with detail lines. Many of these comics are made to be fasted paced when making them. -
Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling
International Journal of Communication 13(2019), Feature 2216–2230 1932–8036/2019FEA0002 Korean Webtoonist Yoon Tae Ho: History, Webtoon Industry, and Transmedia Storytelling DAL YONG JIN1 Simon Fraser University, Canada At the Asian Transmedia Storytelling in the Age of Digital Media Conference held in Vancouver, Canada, June 8–9, 2018, webtoonist Yoon Tae Ho as a keynote speaker shared several interesting and important inside stories people would not otherwise hear easily. He also provided his experience with, ideas about, and vision for transmedia storytelling during in-depth interviews with me, the organizer of the conference. I divide this article into two major sections—Yoon’s keynote speech in the first part and the interview in the second part—to give readers engaging and interesting perspectives on webtoons and transmedia storytelling. I organized his talk into several major subcategories based on key dimensions. I expect that this kind of unusual documentation of this famous webtoonist will shed light on our discussions about Korean webtoons and their transmedia storytelling prospects. Keywords: webtoon, manhwa, Yoon Tae Ho, transmedia, history Introduction Korean webtoons have come to make up one of the most significant youth cultures as well as snack cultures: Audiences consume popular culture like webtoons and Web dramas within 10 minutes on their notebook computers or smartphones (Jin, 2019; Miller, 2007). The Korean webtoon industry has grown rapidly, and many talented webtoonists, including Ju Ho-min, Kang Full, and Yoon Tae Ho, are now among the most famous and successful webtoonists since the mid-2000s. Their webtoons—in particular, Yoon Tae Ho’s, including Moss (Ikki, 2008–2009), Misaeng (2012–2013), and Inside Men (2010–in progress)—have gained huge popularity, and all were successfully transformed into films, television dramas, and digital games. -
Addison Morton Walker “Old
ADDISON MORTON WALKER “OLD CARTOONIST NEVER DIE,THEY JUST ERASE AWAY” THIS WAS ONE OF MORT WALKER’S FAVORITE SAYINGS,AND UNTIL HIS FINAL DAYS MORT LIVED BY THE WORD OF HIS MOTTO,ENGAGING MILLIONS THROUGH HIS BELOVED COMICS.AT THE AGE OF 94 MORT DIED PEACEFULLY AT HOME DUE TO COMPLICATIONS FROM THE FLU ON JANUARY 27TH 2018. DUBBED “THE DEAN OF AMERICAN CARTOONING” MORT WAS ONE OF THE MOST PROLIFIC CARTOONISTS IN COMIC ART HISTORY,WITH THE CREATION OF AS MANY AS NINE DIFFERENT SYNDICATED STRIPS TO HIS CREDIT DURING HIS LIFETIME,INCLUDING BEETLE BAILEY,THE MOST WIDELY SYNDICATED STRIP IN THE WORLD.THE FACT THAT BEETLE BAILEY IS STILL IN SYNDICATION TODAY MORE THAN 68 YEARS AFTER IT’S DEBUT,ESTABLISHES MR.WALKER AS THE LONGEST TENURED CARTOONIST ON HIS ORIGINAL CREATION IN THE HISTORY OF COMICS-A RECORD THAT MAY NEVER BE SURPASSED. ADDISON MORTON WALKER WAS BORN IN EL DORADO,KANSAS SEPTEMBER 3RD 1923 AND HAD CARTOONING ASPIRATIONS AT A VERY YOUNG AGE.”IF THERE WAS SUCH A THING AS BEING BORN INTO A PROFESSION ,IT HAPPENED TO ME.” MORT STATED IN THE INTRODUCTION TO HIS AUTOBIOGRAPHY. “FROM MY FIRST BREATH,ALL I EVER WANTED TO BE WAS A CARTOONIST.”HE DREW CARTOONS FOR HIS SCHOOL NEWSPAPER WHEN HE WAS 10,AND SOLD HIS FIRST CARTOON AT THE AGE OF 11 AND HIS FIRST COMIC STRIP,THE LIMEJUICERS,RAN IN THE KANSAS CITY JOURNAL WHEN HE WAS 13. HE SUBMITTED HIS FIRST COMIC STRIP TO A NATIONAL SYNDICATE AT THE AGE OF 15 AND SOLD MAGAZINE CARTOONS ALL OVER THE COUNTRY.BY THE TIME MORT GRADUATED FROM HIGH SCHOOL,HIS WORK WAS POLISHED AND PROFESSIONAL.MORT’S -
Magical Cartoonist by Cynthia Sherwood
Name: ______________________________________ Magical Cartoonist By Cynthia Sherwood ithout the creativity of one man, Dumbo, and there would be no “happiest place Bambi. on earth,” also known as Disney- W It was in the land. Walt Disney was a creative genius who 1940s that Walt looked out on a huge orange grove and Disney first had his imagined building a “magic kingdom.” brainstorm about a fun Disney was born in 1901 in Chicago, park for families. His idea grew bigger and Illinois. As a child, he enjoyed drawing and bigger, and he realized he needed a lot even sold his pictures to neighbors. When of space for his park. He wanted it to have he was sixteen, he joined the Red Cross and everything—a mountain, rockets, spinning drove an ambulance in France during World teacups, and a fairy castle! War One. After the war ended, Disney start- ed making short cartoons in Kansas City, but Years after Walt Disney first had the soon ran out of money. He decided to find idea, Disneyland opened in 1955 in a former his fortune in Hollywood. He came to Califor- orange grove in Anaheim, California. Ad- nia with a suitcase and $20 in his pocket. mission cost a dollar. By its tenth anniversary, 50-million visitors had come to the Magic It took a while, but Disney began to Kingdom. enjoy success with his cartoons. He created Mickey Mouse, the most famous cartoon Disney died in 1966, a few years before character ever. Then in 1937, Snow White the opening of his next dream project, Dis- and the Seven Dwarfs premiered. -
Zakir Naik: What Did I Do to Earn the Tags of ‘Dr Terror’, ‘Hate Monger’? Islamic Scholar Dr
www.Asia Times.US NRI Global Edition Email: [email protected] September 2016 Vol 7, Issue 9 Zakir Naik: What did I do to earn the tags of ‘Dr Terror’, ‘Hate Monger’? Islamic scholar Dr. Zakir Naik wrote an open letter to Indians called ‘Five Questions and an Appeal’ where he lamented about being targeted and labeled a ‘terror preacher’ in India. In the letter, Naik said, “Of 150 countries where I’m respected and my talks are welcomed, I’m being called a terrorist influencer in my own country. What an irony. Why now, when I’ve been doing the same thing for over 25 years?”. Naik, 51, is an Islamic preacher, who founded the Islamic Research Foundation in 1991 when he started Dawah or religious preaching. His lectures mostly revolve around how Islam is superior to all other faiths. While he claims to be an advocate of interfaith dialogue, his preaching’s’ reinforce all the stereotypes which exist against Muslims. Following reports that one of the militants of Dhaka terror attack was inspired by Naik’s misinterpretations of Islam, there are growing demand for strict action against him. In the letter, Naik asks why he has become the enemy number one for the State and Central government. “It has been over two months since the ghastly terror attack in Dhaka, and over one month since I’ve been asking myself what exactly have I done to become the enemy number one of the media as well as the State and Central Gov- ernment,” wrote Naik. × and justice. He also questioned the repeated investigations on him by government agencies.