The Narratology of Comic Art

Total Page:16

File Type:pdf, Size:1020Kb

The Narratology of Comic Art The Narratology of Comic Art By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tra­ dition. This involves not just the exploration of those properties in com­ ics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked as well. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narrato­ logy is brought to bear on comics, equally comics are brought to bear on narratology. Kai Mikkonen is Associate Professor of Comparative Literature at the University of Helsinki, Finland. Routledge Advances in Comics Studies Edited by Randy Duncan, Henderson State University Matthew J. Smith, Radford University 1 Reading Art Spiegelman Philip Smith 2 The Modern Superhero in Film and Television Popular Genre and American Culture Jeffrey A. Brown 3 The Narratology of Comic Art Kai Mikkonen The Narratology of Comic Art Kai Mikkonen First published 2017 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2017 Taylor & Francis The right of Kai Mikkonen to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data CIP data has been applied for. ISBN: 978­1­138­22155­0 (hbk) ISBN: 978­1­315­41013­5 (ebk) Typeset in Sabon by codeMantra Contents List of Figures vii Acknowledgements xi Introduction: Comics, Narrative, and Medium 1 P ART I Time in Comics 31 1 Time in Comics 33 P I ART I Graphic Showing and Style 71 2 Narration as Showing 73 3 Character as a Means of Narrative Continuity 90 4 Graphic Style, Subjectivity, and Narration 109 P ART III Narrative Transmission 127 5 Narrative Agency (in Jiro Taniguchi’s A Distant Neighborhood) 129 6 Focalisation in Comics 150 7 Characterisation in Comics 174 vi Contents P VART I Speech and Thought in Narrative Comics 201 8 Presenting Minds in Comics 203 9 Dialogue in Comics: Medium­Specific Features and Basic Narrative Functions 220 P ART V Narrative Form and Publication Format 243 10 Picture Story and Narrative Organisation in Early Nineteenth­Century British Caricature and Comic Strips 245 Afterword 277 Bibliography 279 Index 293 List of Figures I.1 “After that it was my turn” © Matti Hagelberg. 1 1.1 “April 20th, 2005.” Building Stories (2012) © Chris Ware. 35 1.2 Extrait de l’ouvrage. A Taste of Chlorine (2011). Bastien Vivès © Casterman. Avec l’aimable autorisation des auteurs et des Editions Casterman. 39 1.3 Matti Hagelberg. Kekkonen (2004) © Matti Hagelberg. 44 1.4 Fred. Philémon. La mémémoire (1977) © Philémon— tome 11, La mémémoire DARGAUD by Fred. All rights reserved www. dargaud.com. 52 1.5 Guy Delisle. Pyongyang: A Journey in North Korea © 2006 L’Association/Guy Delisle; courtesy of Drawn & Quarterly. 59 1.6 Extrait de l’ouvrage A Taste of Chlorine (2011). Bastien Vivès © Casterman. Avec l’aimable autorisation des auteurs et des Editions Casterman. 62 2.1 John Leech. “Substance and Shadow” (1843). 78 2.2 H.M. Bateman. “The One­Note Man” (1921). 79 2.3 H.M. Bateman. “The One­Note Man” (1921). 80 3.1 Brian K. Vaughan and Fiona Staples. Saga © 2014 Brian K. Vaughan & Fiona Staples. 93 3.2 Robert Kirkman, Charlie Adlard, and Cliff Rathburn. The Walking Dead 4 (2005) © Robert Kirkman. 95 3.3 John Tenniel. “How Mr. Peter Piper Enjoyed a Day’s ‘Pig­Sticking’” (Near Burhampoor, Bengal)’ (1853). 98 3.4 John Tenniel. “Mr. Spoonbill’s Experiences in the Art of Skating” (1855). 100 4.1 Tommi Musturi. Walking with Samuel (2009) © Tommi Musturi. 114 4.2 Winshluss. Pinocchio (2008) © Winshluss. 117 4.3 Winshluss. Pinocchio (2008) © Winshluss. 118 4.4 Manu Larcenet. Blast 4 © Blast—tome 4, Pourvu que les bouddhistes se trompent DARGAUD by Larcenet. All rights reserved www.dargaud.com. 121 viii List of Figures 4.5 Tommi Musturi. Walking with Samuel (2009) © Tommi Musturi. 123 5.1 Taniguchi, Jiro. A Distant Neighborhood. Vol. 1. (2009) © 1998 Jiro TANIGUCHI © Fanfare/Ponent Mon, 2016 for the English edition. www.ponentmon.com. 140 5.2 Taniguchi, Jiro. A Distant Neighborhood. Vol. 1. (2009) © 1998 Jiro TANIGUCHI © Fanfare/Ponent Mon, 2016 for the English edition. www.ponentmon.com. 141 5.3 Taniguchi, Jiro. A Distant Neighborhood. Vol. 1. (2009) © 1998 Jiro TANIGUCHI © Fanfare/Ponent Mon, 2016 for the English edition. www.ponentmon.com. 142 5.4 Taniguchi, Jiro. A Distant Neighborhood. Vol. 1. (2009) © 1998 Jiro TANIGUCHI © Fanfare/Ponent Mon, 2016 for the English edition. www.ponentmon.com. 145 6.1 Jarmo Mäkilä. Taxi van Goghin korvaan (2008) © Jarmo Mäkilä. 163 6.2 Emmanuel Guibert, Frédéric Lemercier, and Didier Lefèvre. The Photographer © 2009 by First Second. 163 6.3 From The Arrival by Shaun Tan. Scholastic, Inc./ Arthur A. Levine Books. Copyright © 2006 by Shaun Tan. Reproduced with permission. 169 7.1 Gary Panter. Jimbo’s Inferno © 2006 by Gary Panter. 181 7.2 Guido Martina and Angelo Bioletto. Mickey’s Inferno (1949) © Disney. 182 7.3 Guido Martina and Angelo Bioletto. Mickey’s Inferno (1949) © Disney. 187 7.4 Glyn Dillon. The Nao of Brown © 2012 Glyn Dillon. 191 8.1 Rodolphe Töpffer. Monsieur Vieux Bois (1827). 205 8.2 Charlier and Giraud. Blueberry: Le Spectre aux balles d’or © Blueberry—tome 12, Le spectre aux Balles d’or DARGAUD by Giraud and Charlier. All rights reserved www.dargaud.com. 207 8.3 Madame Bovary par Daniel Bardet et Michel Janvier © Éditions Adonis, 2008. 211 9.1 Abel Lanzac and Christophe Blain. Weapons of Mass Diplomacy © DARGAUD 2010, by Blain (Christophe), Abel Lanzac. 224 9.2 Aapo Rapi. Meti (2008) © Aapo Rapi. 228 9.3 Garth Ennis and Steve Dillon. PREACHER. Book One (1995) © Garth Ennis and Steve Dillon. All characters, the distinctive likenesses thereof, and all related elements are trademarks of Garth Ennis and Steve Dillon. 235 9.4 Jérôme Mulot and Florent Ruppert. Barrel of Monkeys © 2008, Ruppert, Mulot and L’Association, Rebus Books for the English translation. 237 List of Figures ix 10.1 George Cruikshank and J. Pxxxy’s “Back & Front View of the Ladies Fancy­Man, Paddy Carey O’Killus” (1822). Courtesy of The Lewis Walpole Library, Yale University. 254 10.2 Charles Jameson Grant. Every Body’s Album 15 September 1834. © The British Library Board, LOU. LON 1052. 259 10.3 William Heath. “Life of a Soldier”. Northern Looking Glass XII. 12 December 1825. © The British Library Board, P.P.6223.dba. 261 10.4 William Heath. William Heath. “Life of an Actress”. Northern Looking Glass X. 14 November 1825. © The British Library Board, P.P.6223.dba. 263 10.5 Robert Seymour. “Colonial Slavery”. The Looking Glass, No. 8, 1 August 1830. © The British Library Board, RB.31.c.31. 267 10.6 Robert Seymour. “St. Michael of London”. The Looking Glass, No. 8, 1 August 1830. © The British Library Board, RB.31.c.31. 270 This page intentionally left blank Acknowledgements The writing of this book would have been impossible without the University of Helsinki Visiting Fellowship at Clare Hall College, University of Cambridge, 2014–2015. I am deeply grateful to Maria N ikolajeva, Professor of Education and Director of Children’s Literature Centre of Homerton College, for helping to make that happen. My special thanks are also due to John Calton, Matti Hagelberg, Essi Varis, Philip Jenkins, and Mark Shackleton, and the anonymous readers of Routledge Advances in Comics Studies, for reading earlier drafts of this work. Thank you, Matti, for your artwork and the enjoyable experience of teaching a course together on comics storytelling at the University of Helsinki in 2013. Over the past decade, my work has profited greatly from the input from colleagues and friends involved in the Nordic Network for Comics Research (NNCORE) and the comics studies research committee of the International Comparative Literature Association (ICLA). I am very grateful for the sense of scholarly community and real friendship that I have enjoyed with the members of these two groups. Portions of earlier versions of some chapters have first appeared in the journals Partial Answers 6.2 (2008), American Studies/ Amerikastudien 56.4 (2011), International Journal of Comic Art 13.2 (2011), and Scandinavian Journal of Comic Art 1 (2012), and in the anthologies The Rise and the Reason of Comics and Graphic Literature (Eds. Joyce Goggin and Dan Hassler­Forest, 2010), From Comic Strips to Graphic Novels (Eds. Daniel Stein and Jan­Noël Thon, 2013, 2nd edition 2015), and Dialogue across Media (Eds. Jarmila Mildorf and Bronwen Thomas, 2017). I would like to express my gratitude to the publishers and the editors for their permission to reproduce this material here. In the same vein, I would like to extend great thanks to all the copyright holders who have generously given the permission to reproduce the images included here.
Recommended publications
  • The Language of Narrative Drawing: a Close Reading of Contemporary Graphic Novels
    The Language of Narrative Drawing: a close reading of contemporary graphic novels Abstract: The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing. It sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic „confection‟ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • Second Ozblu Blueberry Shipment from South Africa Seized in Europe
    A second shipment of OZblu blueberries from South Africa in as many weeks has been seized by Dutch customs, according to United Exports. United Exports, the Australia-headquartered company, said it had been "reliably informed that the Dutch Customs Authority has intercepted and seized another shipment of fresh blueberries from South African grower, Ross Berries." "The 40ft reefer container containing a 16,600-kilogram shipment of fruit was confiscated in terms of the European Union’s Intellectual Property, Counterfeit and Piracy Regulations." United Exports announced last week that a shipment of OZblu blueberries had been intercepted in the Netherlands after it was grown and exported without its authorization. At that time it did not provide the name of the South African company in question. It said that Ross Berries, a Rossouw Farming Group company, was attempting to export the fruit "in flagrant disregard and abuse of the proprietary rights of United Exports", which holds the Community Plant Variety Rights in the OZblu blueberry plants and their fruit in the European Union and across the World. "This is the second such transgression after a shipment was seized last week on 27th October 2020 on the same grounds," it said. "The European Union Customs Authority, has notified the authorities at all points of entry across the European Union to monitor the import of South African blueberries into the European Union to prevent the further infringement of United Exports’ intellectual property rights in relation to its OZblu blueberry plants and fruit. "Civil claims are also pending both locally and abroad. Following the seizure of the first shipment, the Dutch Customs Authority has again brought proceedings in the Netherlands against the South African fruit exporter, Freshworld (Pty) Ltd, the international shipper, and the Belgian customer to whom Ross Berries and Freshworld sold the fruit.
    [Show full text]
  • Uniform Dress and Appearance Regulations for the Royal Air Force Air Cadets (Ap1358c)
    UNIFORM DRESS AND APPEARANCE REGULATIONS FOR THE ROYAL AIR FORCE AIR CADETS (AP1358C) HQAC (ATF) – DEC 2018 by authority of HQ Air Command reviewed by HQAC INTENTIONALLY BLANK 2 Version 3.0 AMENDMENT LIST RECORD Amended – Red Text Pending – Blue Text AMENDMENT LIST AMENDED BY DATE AMENDED NO DATE ISSUED Version 1.01 14 Aug 12 WO Mitchell ATF HQAC 06 Aug 12 Version 1.02 22 Apr 13 WO Mitchell ATF HQAC 15 Mar 13 Version 1.03 11 Nov 13 WO Mitchell ATF HQAC 07 Nov 13 Version 1.04 05 Dec 13 FS Moss ATF HQAC 04 Dec 13 Version 1.05 19 Jun 14 FS Moss ATF HQAC 19 Jun 14 Version 1.06 03 Jul 14 FS Moss ATF HQAC 03 Jul 14 Version 1.07 19 Mar 15 WO Mannion ATF HQAC / WO(ATC) Mundy RWO L&SE 19 Mar 15 Version 2.00 05 Feb 17 WO Mannion ATF HQAC / WO(ATC) Mundy RWO L&SE 05 Feb 17 Version 3.00 04 Dec 18 WO Mannion ATF HQAC / WO Mundy RAFAC RWO L&SE 04 Dec 18 3 Version 3.0 NOTES FOR USERS 1. This manual supersedes ACP 20B Dress Regulations. All policy letters or internal briefing notices issued up to and including December 2018 have been incorporated or are obsoleted by this version. 2. Further changes to the Royal Air Force Air Cadets Dress Orders will be notified by amendments issued bi-annually or earlier if required. 3. The wearing of military uniform by unauthorised persons is an indictable offence under the Uniforms Act 1894.
    [Show full text]
  • Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
    PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work.
    [Show full text]
  • British Library Conference Centre
    The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at
    [Show full text]
  • Religious Symbols and Religious Garb in the Courtroom: Personal Values and Public Judgments
    Fordham Law Review Volume 66 Issue 4 Article 35 1998 Religious Symbols and Religious Garb in the Courtroom: Personal Values and Public Judgments Samuel J. Levine Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Law Commons Recommended Citation Samuel J. Levine, Religious Symbols and Religious Garb in the Courtroom: Personal Values and Public Judgments, 66 Fordham L. Rev. 1505 (1998). Available at: https://ir.lawnet.fordham.edu/flr/vol66/iss4/35 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Religious Symbols and Religious Garb in the Courtroom: Personal Values and Public Judgments Cover Page Footnote Assistant Legal Writing Professor & Lecturer in Jewish Law, St. John's University School of Law; B.A. 1990, Yeshiva University; J.D. 1994, Fordham University; Ordination 1996, Yeshiva University; LL.M. 1996, Columbia University. This article is available in Fordham Law Review: https://ir.lawnet.fordham.edu/flr/vol66/iss4/35 RELIGIOUS SYMBOLS AND RELIGIOUS GARB IN THE COURTROOM: PERSONAL VALUES AND PUBLIC JUDGMENTS Samuel J. Levine* INTRODUCTION A S a nation that values and guarantees religious freedom, the fUnited States is often faced with questions regarding the public display of religious symbols. Such questions have arisen in a number of Supreme Court cases, involving both Establishment Clause and Free Exercise Clause issues.
    [Show full text]
  • Vs. PETER PARK E
    0 0 4 1 1 $3.99 RATED LGY#805 US 4 7 5 9 6 0 6 0 8 9 3 6 9 T BONUS DIGITAL EDITION – DETAILS INSIDE! SPENCER •OTTLEYSPENCER •RATHBURN •MARTIN v s . P E T E R P A R K E R ? ! ? ! PETER PARKER was bitten by a radioactive spider and gained the proportional speed, strength and agility of a SPIDER, adhesive fingertips and toes, and the unique precognitive awareness of danger called “SPIDER-SENSE”! After the tragic death of his Uncle Ben, Peter understood that with great power there must also come great responsibility. He became the crimefighting super hero called… BACK TO BASICS Part Four Remember that radioactive spider we mentioned? At the top of this page? Well, the Isotope Genome Accelerator made it that way. And Peter just got caught in an experiment designed to reverse engineer its capabilities, and was split in two! One mild-mannered civilian, Peter, and one fast- talking super hero, Spider-Man! Initially, both were excited--Peter could have a normal life without endangering his loved ones, and Spider-Man could fight and tame the Tri-Sentinel (for example). But Dr. Connors--the experiment’s designer--and Peter have come come to realize the Isotope Genome Accelerator divides personality traits as well as physical attributes. Who is Peter Parker without his wit or love of science? And more importantly, who is Spider-Man without his sense of responsibility? NICK SPENCER | writer RYAN OTTLEY | penciler CLIFF RATHBURN | inker LAURA MARTIN | colorist SPIDER-MAN created by VC’S JOE CARAMAGNA | letterer PETER PANTAZIS and JASEN SMITH | color assistants STAN LEE RYAN OTTLEY and LAURA MARTIN | cover artists and CHRIS SPROUSE, KARL STORY and DAVE McCAIG | FANTASTIC FOUR variant cover artists STEVE DITKO special thanks to ANTONIO RUIZ ANTHONY GAMBINO | designer KATHLEEN WISNESKI | assistant editor NICK LOWE | editor C.B.
    [Show full text]
  • EDITORIAL: SCANDINAVIAN JOURNAL of COMIC ART VOL. 1: 2 (AUTUMN 2012) by the Editorial Team
    EDITORIAL: SCANDINAVIAN JOURNAL OF COMIC ART VOL. 1: 2 (AUTUMN 2012) by the Editorial Team SCANDINAVIAN JOURNAL OF COMIC ART (SJOCA) VOL. 1: 2 (AUTUMN 2012) Everything starts with a First step – but to keep going with a sustained eFFort is what really makes for change. This is the second issue of the Scandinavian Journal of Comic Art and its release makes us just as proud – if not even more so – as we were when the very First issue was published last spring. We are also immensely proud to be part oF the recently awaKened and steadily growing movement oF academic research on comics in the Nordic countries. Since our First issue was published, another three Nordic comics scholars have had their PhDs accepted and several more PhD students researching comics have entered the academic system. Comics studies is noticeably growing in the Nordic countries at the moment and SJoCA is happy to be a part of this exciting development. SJoCA was initiated to ensure that there is a serious, peer reviewed and most importantly continuous publishing venue for scholars from the Scandinavian countries and beyond who want to research and write about all the diFFerent aspects oF comics. In order to Keep this idea alive, SJoCA is in constant need of interesting, groundbreaKing and thought-provoking texts. So, do send us everything from abstracts to full fledged manuscripts, and taKe part in maKing the field of Nordic comics research grow. – 2 – SCANDINAVIAN JOURNAL OF COMIC ART (SJOCA) VOL. 1: 2 (AUTUMN 2012) “TO EMERGE FROM ITS TRANSITIONAL FUNK”: THE AMAZING ADVENTURES OF KAVALIER & CLAY’S INTERMEDIAL DIALOGUE WITH COMICS AND GRAPHIC NOVELS by Florian Groß ABSTRACT ThE artIclE tracEs thE currENt crItIcal dEbatE oN thE phENomENoN of thE graphIc Novel through an analysIs of MIchael ChaboN’s Novel The Amazing Adventures of Kavalier & Clay (2000).
    [Show full text]
  • Graphic Narrative in Contemporary Literature & Art: Evolution of Comic Book to Graphic Novel
    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: 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.
    [Show full text]
  • Igncc18 Programme
    www.internationalgraphicnovelandcomicsconference.com [email protected] #IGNCC18 @TheIGNCC RETRO! TIME, MEMORY, NOSTALGIA THE NINTH INTERNATIONAL GRAPHIC NOVEL AND COMICS CONFERENCE WEDNESDAY 27TH – FRIDAY 29TH JUNE 2018 BOURNEMOUTH UNIVERSITY, UK Retro – a looking to the past – is everywhere in contemporary culture. Cultural critics like Jameson argue that retro and nostalgia are symptoms of postmodernism – that we can pick and choose various items and cultural phenomena from different eras and place them together in a pastiche that means little and decontextualizes their historicity. However, as Bergson argues in Memory and Matter, the senses evoke memories, and popular culture artefacts like comics can bring the past to life in many ways. The smell and feel of old paper can trigger memories just as easily as revisiting an old haunt or hearing a piece of music from one’s youth. As fans and academics we often look to the past to tell us about the present. We may argue about the supposed ‘golden age’ of comics. Our collecting habits may even define our lifestyles and who we are. But nostalgia has its dark side and some regard this continuous looking to the past as a negative emotion in which we aim to restore a lost adolescence. In Mediated Nostalgia, Ryan Lizardi argues that the contemporary media fosters narcissistic nostalgia ‘to develop individualized pasts that are defined by idealized versions of beloved lost media texts’ (2). This argument suggests that fans are media dupes lost in a reverie of nostalgic melancholia; but is belied by the diverse responses of fandom to media texts. Moreover, ‘retro’ can be taken to imply an ironic appropriation.
    [Show full text]
  • Collect10rs Digest
    STO:RY PAPER COLLECT10RS DIGEST u.... /170 IIINS:: 1QQ-:;r; ""' 77 l..)Ulll- J..J'-'-" YUL I .J/ l'i 1U I '1 .JO Page 2 Good stocks of Nelson Lees, all series, including bound ones, quite a number of these (old series), selling cheap. Contents o . k . but amateurishl y bound~ Short runs . The nice half-years are in fine bindings . State wants . Bulk orders welcomed ~ Please suggest wants and approx . pr ice you wish to pa y . This applie s to all my stock . Pa y a visit to Aladdin's Cave ~ So much to see and you'll be most welcome . Please ring first~ Chuckles . Many half- year vols . of this beautif ul comic in colour . Others also such as Comic Cuts , Chips, Favorite, Merry & Bright, Funny Wonder, Jester, Comic Life , Butterfly & Firefly , Larks, Chicks Own, Tiny Tots, Tip Top , Micke y Mouse , etc . Thousands of single issues, pre and post war comics . You name it~ Boys' papers including the popular ones and some scarce title s too. WANTED: Monster Library , bound complete set (19) if possible. Early Magnets, pre 1931, good/ v. good only. All H . Baker Facsimiles and Book Club Specials in stock . Some s / hand . Please list wants of these lists free of new ones . Penny Dreadful s. Bound vols . Lots of everything , please keep in touch . No lists, sorry. NORMANSHAW 84 BELVEDERE ROAD LONDON, SE19 2HZ Nearest Station B .R. - Crystal Palace Phone 01 771 9857 STORY PAPER COLLECTOR COLLECTORS' DIGEST Founded in 1941 by Founded in 1946 by W. H. GANDER HERBERT LECKENBY Vol.
    [Show full text]