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Elementos Paratextuales En La Novela Gráfica De Moore-Gibbons
Castagnet, Martín Felipe All Along the Watchmen: Elementos paratextuales en la novela gráfica de Moore-Gibbons Tesis presentada para la obtención del grado de Licenciado en Letras Directora: Featherston, Cristina Andrea CITA SUGERIDA: Castagnet, M. F. (2012). All Along the Watchmen: Elementos paratextuales en la novela gráfica de Moore-Gibbons [en línea]. Tesis de grado. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. En Memoria Académica. Disponible en: http://www.memoria.fahce.unlp.edu.ar/tesis/te.1051/te.1051.pdf Documento disponible para su consulta y descarga en Memoria Académica, repositorio institucional de la Facultad de Humanidades y Ciencias de la Educación (FaHCE) de la Universidad Nacional de La Plata. Gestionado por Bibhuma, biblioteca de la FaHCE. Para más información consulte los sitios: http://www.memoria.fahce.unlp.edu.ar http://www.bibhuma.fahce.unlp.edu.ar Esta obra está bajo licencia 2.5 de Creative Commons Argentina. Atribución-No comercial-Sin obras derivadas 2.5 Tesina de Licenciatura en Letras Facultad de Humanidades y Ciencias de la Educación UNLP All Along the Watchmen: elementos paratextuales en la novela gráfica de Moore-Gibbons Martín Felipe Castagnet Legajo n° 81686/5 Directora: Dra. Cristina Featherston Co-Director: Lic. Gabriel Matelo Marzo de 2012 Índice 0. Introducción ................................................................................................................... 4 1. Género y Formato.......................................................................................................... -
Comics and Graphic Novels Cambridge History of The
Comics and Graphic Novels Cambridge History of the Book in Britain, Volume 7: the Twentieth Century and Beyond Mark Nixon Comics – the telling of stories by means of a sequence of pictures and, usually, words – were born in Britain in the late nineteenth century, with Ally Sloper’s Half-Holiday (Gilbert Dalziel, 1884) and subsequent imitators. These publications were a few pages long, unbound, and cheap – and intended for working-class adult readers. During the twentieth century, bound books of picture stories developed in Europe and North America, and by the end of the century had become a significant factor in British publishing and popular culture. However, British comics scholarship has been slow to develop, at least relative to continental European and North American comics scholarship, although specialist magazines such as The Comics Journal, Comics International and Book & Magazine Collector have featured articles on British comics, their publishers and creators. Towards the end of the twentieth century, the work of Martin Barker and Roger Sabin began to shed new light on certain aspects of the history of British comics, a baton now being taken up by a few scholars of British popular culture1, alongside a growing popular literature on British comics2. 1 For a recent overview, see Chapman, James British comics: a cultural history (London, 2011). 2 Perhaps the best example of this is Gravett, Paul and Stanbury, Peter Great British comics (London, 2006). By the beginning of the twentieth century, Harmsworth dominated the comics market they had entered in 1890 with Comic Cuts and Illustrated Chips. Their comics provided the template for the industry, of eight-page, tabloid-sized publications with a mixture of one-panel cartoons, picture strips and text stories, selling at 1/2d. -
Prolapse 11, Mostly About ‘Science Fiction’ (You Remember) Brought to You by Peter Weston, 53 Wyvern Road, Sutton Coldfield, B74 2PS (Tel; 0121 354 6059)
“Prolapse ... once again did its best to ruin a morning's work” - Chris Priest, LoC Vargo Statten Magazine has come in yet!" Follow George Locke’s hunt for science fiction in 1950s London - With the usual apologies to ‘Giles ’ INSIDE: ‘A Boy and his Bike’ by George Locke; ‘Forbidden Planet and other Creations’ by Stan Nicholls; ‘Think I’m Going Back’ by Greg Pickersgill; PLUS; Peter Roberts, Chuck Connor, Brian Varley, and more. This is Prolapse 11, mostly about ‘science fiction’ (you remember) brought to you by Peter Weston, 53 Wyvern Road, Sutton Coldfield, B74 2PS (Tel; 0121 354 6059). Once again we’re breathing new life into some very old bones and I’m hoping you’ll be motivated into sending a LoC and your reminiscences to me at pr.weston@,btintemet.com. This remains a ‘Paper First’ fanzine but I’m e-mailing an increasing number of pdfs these days and the issue goes onto the eFanzines website (with coloured pictures, yet) a month after paper copies have been posted out. Prolapse travels the time-stream to explore British SF fan-history. Chief Researcher; Greg Pickersgill. Assistant Deputy Researcher (1st class); Mark Plummer. “I opened the Prolapse envelope with quivering, salacious anticipation.” - Ian Watson, LoC While working on this issue (well, so I was watching Run, Fat Boy, Run, but I was thinking about doing some work, honest) Ian Sorensen called and was kind enough to advise me that at Corflu in Las Vegas it had just been announced that Prolapse had won the ‘FAAN’ Award for ‘Best Fanzine’. -
Documento Completo Descargar Archivo
Tesina de Licenciatura en Letras Facultad de Humanidades y Ciencias de la Educación UNLP All Along the Watchmen: elementos paratextuales en la novela gráfica de Moore-Gibbons Martín Felipe Castagnet Legajo n° 81686/5 Directora: Dra. Cristina Featherston Co-Director: Lic. Gabriel Matelo Marzo de 2012 Índice 0. Introducción ................................................................................................................... 4 1. Género y Formato........................................................................................................... 6 1.1 Introducción ............................................................................................................ 6 1.2 Formato ................................................................................................................... 6 1.2.1 Formato e historia editorial de Watchmen............................................................. 6 1.2.2 Novela Gráfica ...................................................................................................... 7 1.3 Géneros ................................................................................................................. 11 1.3.1 Superhéroes ......................................................................................................... 11 1.3.2 Ciencia Ficción ................................................................................................... 13 1.3.3 Contrafáctico ......................................................................................................