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How Do Comics Artists Use Speech Balloons? Frank Bramlett University of Nebraska at Omaha, [email protected]
University of Nebraska at Omaha DigitalCommons@UNO English Faculty Publications Department of English 1-23-2014 How do comics artists use speech balloons? Frank Bramlett University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/englishfacpub Part of the English Language and Literature Commons Recommended Citation Bramlett, Frank, "How do comics artists use speech balloons?" (2014). English Faculty Publications. 13. https://digitalcommons.unomaha.edu/englishfacpub/13 This Article is brought to you for free and open access by the Department of English at DigitalCommons@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. ABOUT CONTRIBUTORS BROWSE BY PENCILPANELPAGE POSTS FEED COMMENTS FEED search How do comics artists use speech balloons? Twitter Facebook by Frank Bramlett January 23, 2014 7:26 am Blog, PencilPanelPage, Top Featured 12 comments RECENT POSTS The Riddle of the Sphinx This post is the first in a series on how comics artists represent talk in comics. I’ll be writing Utilitarian Review 2/13/16 Comics by the Date: May 1952 to June about speech balloons and how the discipline of conversation analysis (CA) helps us 1952 understand how creative these artists can be when they try to show the intricacies of How to Be a Man everyday talk. When I Walk Consider the following two panels. These are from the webcomic Scenes from a Multiverse by Jon Rosenberg. (Click on each of the titles to see the full comic.) Donate to my Patreon! The Symbiote The Superbowl (sic) (February 1, 2013) (February 4, 2013) RECENT COMMENTS Chris Gavaler: Matthias, I’m curious how the 3×2 grid you include above might relate.. -
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. -
The Yellow Kid and the Birth of the American Comics
Syracuse University SURFACE The Courier Libraries Spring 1993 "Say! Dis Is Grate Stuff": The Yellow Kid and the Birth of the American Comics Richard D. Olson University of New Orleans Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Arts and Humanities Commons Recommended Citation Olson, Richard D., ""Say! Dis Is Grate Stuff": The Yellow Kid and the Birth of the American Comics" (1993). The Courier. 305. https://surface.syr.edu/libassoc/305 This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIB RA RY ASS 0 C I ATE S CO.URIER VOLUME XXVIII, NUMBER 1, SPRING 1993 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOL UME XXVIII NUMBER ONE SPRING 1993 An Interview with Barney Rosset, Former Chairman and President ofGrove Press By Mary Beth Hinton, Editor 3 Syracuse University Library Associates Courier "Say! Dis is Grate Stuff": The Yellow Kid and the Birth ofthe American Comics By Richard D. Olson, Research Professor ofPsychology, 19 University ofNew Orleans National Service: A Forty-Three-Year Crusade By DonaldJ. Eberly, Executive Director, 35 National Service Secretariat, Washington, D.C. Hey, Why Don't We Start an External High School Diploma Program? By Patricia King, External Diploma Program Assessor, 55 Onondaga-Cortland-Madison BOCES; and Mary Beth Hinton, Editor Syracuse University Library Associates Courier Portrait ofa City: Syracuse, the Old Home Town ByJohn A. Williams, Novelist andJournalist 65 Introduced by Robert Phillips, Professor ofEnglish and Director ofthe Creative Writing Program, University ofHouston News ofthe Syracuse University Library and the Library Associates 89 This issue is dedicated with gratitude and affection to Gwen G. -
October 2019
October 2019 HARVARD MEDICAL TIPS The gut-brain connection is no joke; it can link anxiety to stomach problems and vice versa. Have you ever had a "gut-wrenching" experience? Do certain situations make you "feel nauseous"? Have you ever felt "butterflies" in your stomach? We use these expressions for a reason. The gastrointestinal tract is UPCOMING EVENTS sensitive to emotion. Anger, anxiety, sadness, elation — all of these feelings (and others) can trigger symptoms in the gut. CELEBRATE THANKSGIVING WITH PIE AND FAMILY/FRIENDS GARNEAU KIDS COMING FOR HALLOWEEN ALL RESIDENT MEETING HARVEST VENDOR FAIR BUS $5 FREE ADMISSION The brain has a direct effect on the stomach and intestines. For example, the very thought of eating can release the stomach's juices before food gets there. This connection goes both ways. SHOP EASY FASHIONS A troubled intestine can send signals to the brain, just as a troubled brain can send signals to the gut. Therefore, a person's stomach or intestinal distress can be the cause or the product of ELECTIONS CANADA anxiety, stress, or depression. That's because the brain and the gastrointestinal (GI) system are intimately connected. ESL STUDENTS This is especially true in cases where a person experiences gastrointestinal upset with no obvious physical cause. For such ARMCHAIR TRAVEL functional GI disorders, it is difficult to try to heal a distressed gut without considering the role of stress and emotion. PRESENTATIONS ON HEALTH RELATED Given how closely the gut and brain interact, it might seem obvious that the pair often influence each other. Some people TOPICS (see calendar for feel nauseated before giving a presentation; others feel dates/posters for details) intestinal pain during times of stress. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
Comic Book Analyst for Children Having Literacy and Visual Barriers
Snap & Hear: Comic Book Analyst for Children Having Literacy and Visual Barriers R. B. Dias Yapa1, T. L. Kahaduwa Arachchi2, V. S. Suriyarachchi1, U. D. Abegunasekara1 and S. Thelijjagoda3 1Department of Software Engineering, Sri Lanka Institute of Information Technology, Malabe, Sri Lanka 2 Department of Information Technology, Sri Lanka Institute of Information Technology, Malabe, Sri Lanka 3Department of Information Systems Engineering, Sri Lanka Institute of Information Technology, Malabe, Sri Lanka [email protected] Keywords: Comics, Visual and Literacy Barriers, Recognition, Association, Image Processing, Machine Learning, Audio Story. Abstract: Comic books are very popular across the world due to the unique experience they provide for all of us in the society without any age limitation. Because of this attraction, which comic books have received, it has proved that comic literature will be able to survive in the twenty first century, even with the existence of multi- dimensional movie theatres as its competitors. While the biggest global filmmakers are busy with making movies from comic books, many researchers have been investigating their time on digitizing the comic stories as it is, expecting to create a new era in the comic world. But most of them have focused only on one or few components of the story. This paper is based on a research which aims to give the full experience of enjoying the comic books for everyone in the world despite of visual and literacy barriers people are having. Proposed solution comes as a web application that translates input image of a comic story into a text format and delivers it as an audio story to the user. -
Article (Published Version)
Article The interaction of cartoonist's gender and formal features of cartoons SAMSON, Andrea Christiane, HUBER, Oswald Abstract The present study investigates gender differences in the use of formal features of cartoons, like the amount of text, the number of panels, or the application of color. For the analysis, 300 cartoons (150 each by female and male cartoonists) were selected randomly from the works of 1519 cartoonists. Twenty-one formal features were analyzed. On average, female cartoonists use more text, include text more frequently, and also draw more panels. These differences were expected, because Differential Psychology has shown for a long time in a variety of cultures that, on average, women tend to perform better in tasks testing verbal intelligence whereas men perform significantly better in tasks that require spatial intelligence. We also found a difference in the type of joke: Women more frequently draw cartoons with incongruity-resolution humor, whereas men prefer to draw cartoons with nonsense humor. The results are discussed in relation to gender differences in humor processing and gender differences in general. Reference SAMSON, Andrea Christiane, HUBER, Oswald. The interaction of cartoonist's gender and formal features of cartoons. Humor, 2007, vol. 20, no. 1, p. 1-25 DOI : 10.1515/HUMOR.2007.001 Available at: http://archive-ouverte.unige.ch/unige:98093 Disclaimer: layout of this document may differ from the published version. 1 / 1 The interaction of cartoonist’s gender and formal features of cartoons* ANDREA C. SAMSON and OSWALD HUBER Abstract The present study investigates gender di¤erences in the use of formal features of cartoons, like the amount of text, the number of panels, or the applica- tion of color. -
University of Dundee Close to the Heart Sinclair, Megan
University of Dundee Close to the Heart Sinclair, Megan; Murray, Christopher; Jindal-Snape, Divya; Horner, Rebecca ; Briggs, Kathryn Elton; Welsh, Gary DOI: 10.20933/100001119 Publication date: 2018 Licence: CC BY-NC-ND Link to publication in Discovery Research Portal Citation for published version (APA): Sinclair, M., Murray, C. (Ed.), Jindal-Snape, D. (Ed.), Horner, R. (Ed.), Briggs, K. E., Welsh, G., Coughlan, A., Charlton, D., Strachan, A., Larkin, A., Vaughan, P. (Ed.), Laird, C., Nero, M., Wilson, L., & Balson , E. (2018). Close to the Heart. https://doi.org/10.20933/100001119 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 Close to the Heart Thank you Professor Chris Murray for your constant support and advice on the project, and for helping me to fund this very personal comic. I wouldn’t be here studying comics and doing what I love if it were not for you. -
GOLDENROD BEER Katzenjammer Kids “COMICAPS”
2 Winter 2004 Bottles and Extras GOLDENROD BEER Fig. 2 Katzenjammer Kids “COMICAPS” by Cecil Munsey Fig. 3 Copyright © 2003 Bottle caps are among America’s At the end of the day I showed the caps favorite collectibles. Ah yes, just go to to my wife. Of course, she asked how www.ebay.com on the Internet and much they had cost me. I was going to indicate you want to see bottle caps for lie about the price but decided quickly to Kids Comicaps are one of the rarest sets sale. Today, as an example, there are 852 tell her the truth. She winced, as I would [of bottle caps] in the world. They were lots (groupings), of bottle caps for sale. have had the circumstances been reversed, produced for Goldenrod’s Beer and Ale Since they are crown caps they are mostly but said nothing. She’s good that way. I products during the years 1935 and 1936. from soft drink and beer bottles. Go have learned to treat her indulgences at There are a total of 8 crowns in the set: figure… Neiman Marcus with the same courtesy. Hans, Fritz, Mamma, the Captain, As most bottle collectors do know, the I think that has taught each of us the self- Boggles, the Prince, the Inspector, and the first Crown Cap was invented by William control necessary to carry on a marriage Director” – (Figure 1). Painter of Baltimore, Maryland in 1892 between a collector and a shopper. But I and was a metal enclosure with a cork digress… The Comic Strip lining. -
Comic Strips in the Teaching of English As a Foreign Language
DOCUMENT RESUME ED 056 591 FL 002 694 AUTHOR Elkins, Robert J.; Bruggemann,christian TITLE Comic Strips in the Teaching of English as aForeign Language. PUB DATE Feb 71 NOTE 20p.; Paper presented to a conference onthe teaching of English, Kassel, West Germany,February 5-6, 1971 EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *American English; *Cartoons; *ClassroomMaterials; Cultural Context; *Cultural Education;*English (Second Language); Humor; InstructionalMaterials; Language Enrichment; r'.eadingMaterial Selection; Satire; Second Language Learning ABSTRACT American comic strips and cartoons canbe useful in English-as-a-second-language classes. Theyintroduce variety and provide an inside look into Americanlife and thought. Many current popular comic strips have cultural,social, and political significaace. and discuss the American wayof life, society, and the individual. The English-as-a-second-languageteacher must consider certain evaluative questions beforeusing a particular comic strip. Technical problems about vocabularyand use of colloquialisms must also be kept in mind. (VM) U.S. DEPARTMENT OF HEALTH, EDUCATION& WELFARE OFFICE OF EDUCATION r-4 THIS DOCUMENT HAS BEEN REPRODUCEDEXACTLY AS RECEIVED FROM THE POINTS OF VW OR OPMIONS Cr PERSON OR ORGANIZATION ORIGINAIINGIT. OFFICIAL OFFICE Of EDUCATION LrN STATED DO NOT NECESSARILY REPRESENT .0 mninoNOR POUCY. c:) COMIC STRIPS IN THE TEACHING C:3 LAJ OF ENGLISH AS A FOREIGN LANGUAGE Robert J. Elkins and Christian Erliggemann Language teachers as well asother teachers are constantly searching for new methods andtechniques to improve their teaching them in effectiveness. Often the materials which could assist their task are flaunted in theirfaces without teachers being aware comic strips of them. -
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. -
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.