DOCSLIB.ORG

'Ocupa' Wall Street 8 Todo a Punto Para La Inauguración

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'Ocupa' Wall Street 8 Todo a Punto Para La Inauguración La estatua de la Libertad cumple 125 años 3 7000 millones 7 La cultura 'ocupa' Wall Street 8 Todo a punto para la inauguración del Teatro Bolshói tras seis años de obras 10 'Un zombie se comió mi cupcake' o cómo preparar dulces terroríficos 13 La población mundial crece a un ritmo que se frena 15 El volcán submarino de El Hierro ha formado un cono de 12 hectómetros cúbicos 17 Células madre, en la línea de montaje 19 Mozart y Björk, a dúo en Reikiavik 21 La genialidad no se hereda 23 El talento como carga 25 Primer banco de tumores de adultos 26 Increíbles cassettes africanas 27 Proyectada la película rescatada de Hitchcock 28 La incompleta casa soñada 30 El Prado desvela su colección de miniaturas 32 Laura Gallego viaja al medievo 33 ¿Es Viola di Grado la nueva Amélie Nothomb? 35 'La Venus' de Botticelli, en versión táctil 38 Padece estados depresivos entre 10 y 12 por ciento de la población mundial 39 Verificación 41 Crean algoritmos para simular la exploración espacial 42 "Nunca nos libramos del pasado" 44 Al volante, el sueño afecta como el alcohol 46 Peligrosa somnolencia 48 "Hoy es rentable jugar al escándalo" 49 Reuma, un nombre que esconde más de 200 enfermedades 51 Descubrimiento de América pudo ser el primer movimiento de la globalización 52 Hallan el fósil de ballena más antiguo del mundo 54 Exhibirán el documento papal de 1493 que dividió el Nuevo Mundo 56 Una visita de los dioses que reinaban antes de Colón 58 El último significado de ser libres 60 Edgardo Castro: “Foucault ya es un clásico del siglo XX” 63 Una revolución en la edición académica 66 De cómo empezamos a ocupar plazas y calles 68 Escritores que se negaron a usar signos de puntuación 72 El secreto de Jauretche 74 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila El género que escribió el presente 76 Amor y disciplina son las claves para escribir, según el brasileño más vendido. 80 Dos novelas violentas 82 La contaminación poética 85 "Trajano sabría cómo solucionar la crisis actual" 88 Del inglés al español 90 Urania Cabral y Óscar Wao 94 Una linterna del siglo XXI 95 Un neoyorquino de Camagüey 97 Criminales sin palabras 100 La máquina de hacer pájaros 103 Todos son cuentos 107 "La trampa de liquidez" 108 Crean mapa de peligro del volcán de Colima 110 El filósofo del poder 113 Sokurov o la potencia del detalle 117 "La frialdad no me interesa" 120 Argelia, años cincuenta 123 La parábola de Michel Foucault 124 La novela catártica de Gonzalo Garcés 128 La Tate Modern abre una sala de exposiciones en el ciberespacio 129 100 secretos del Vaticano 131 El Miró más completo 133 Mark Twain nos presenta a 'El forastero misterioso' 135 La generación que aterró a Hollywood 136 Cierran una biblioteca londinense que fundó Mark Twain 138 Una terrible belleza 139 Algo loco y persistente 142 Doffo, entre el cielo y la tierra 144 Génesis de la era de la comunicación 146 El descuento final 148 Detectives, asesinos y la lógica 150 Boletín Científico y Cultural de la Infoteca No. 308 Noviembre 2011 2 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila La estatua de la Libertad cumple 125 años Las celebraciones durarán 12 horas, e incluirán una ceremonia de nacionalización de ciudadanos extranjeros BARBARA CELIS | Nueva York 28/10/2011 1976: la estatua de la Libertad vista a través de una ventana de un hospital en Ellis Island.- AP Hoy es el cumpleaños de una dama icónica, que viste con ropas de otros tiempos, empuña una antorcha en una mano y sujeta en la otra una tabula ansata con la inscripción 4 de julio de 1776, fecha de la independencia de Estados Unidos. Esta dama, que encarna a la diosa romana Libertas, y a cuyos pies yace una cadena rota, preside la bahía de Nueva York desde hace exactamente 125 años. Por eso la ciudad para la que sirve de luz y vigía simbólica le ha organizado un cumpleaños por todo lo alto, como se merece una mujer de su categoría que defiende el derecho universal a la libertad. Las celebraciones durarán 12 horas, e incluirán una ceremonia de nacionalización de ciudadanos extranjeros a primera hora de la mañana a los pies de la estatua (en un país con millones de inmigrantes ilegales pocas cosas representan tan bien la libertad como conseguir la nacionalidad estadounidense). Además se celebrarán varios eventos musicales y poéticos de confraternización con Francia, el país del que partió la idea de construir este monumento de estilo neoclásico con el que celebrar la amistad nacida entre ambos países durante la lucha por la independencia estadounidense (Francia ayudó a los rebeldes) y que con el tiempo se ha convertido en el símbolo inequívoco de la libertad y la democracia del país. Boletín Científico y Cultural de la Infoteca No. 308 Noviembre 2011 3 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila 1984: al acercarse la celebración de su centenario, en 1986, la estatua sufrió unas obras de restauraciones que duraron dos años. Las obras costaron unos 62 millones de dólares.- UNITED PRESS Pero la estatua de la Libertad sufrió mucho hasta conseguir instalarse en Liberty Island, su actual residencia, a 15 minutos en barco desde el sur de Manhattan. La idea de construir un monumento en honor a la independencia y al apoyo que le dieron los franceses parece que partió de un comentario hecho por Edouard René de Laboulaye, un profesor francés de política y leyes que en 1865 dijo: "Si se construyera un monumento en Estados Unidos en memoria de su independencia, creo que lo natural sería que se construyera uniendo los esfuerzos de los dos países". El comentario lo realizó durante una cena a la que también asistió el escultor Frédéric Bartholdi. Este se tomó la idea muy en serio y a principios de 1871 viajó a Estados Unidos para buscar aliados para el proyecto, que se puso en marcha con el objetivo de tener la estatua terminada para el centenario de la independencia estadounidense, en 1876. Los franceses construirían y financiarían la estatua y los estadounidenses su pedestal. Sin embargo hubo múltiples problemas para recaudar fondos a ambos lados del Atlántico y el proyecto se fue alargando mientras pedazos de la estatua se mostraban aquí y allá. La antorcha estuvo instalada durante unos años en Madison Park, en Nueva York, mientras que la cabeza formó parte de la exposición universal de París de 1878. Boletín Científico y Cultural de la Infoteca No. 308 Noviembre 2011 4 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila 1994: la estatua de la Libertad concebida por Salvador Dalí (1904-1989) que se exhibió en el atrio de la estación de Perpiñán (sudeste de Francia), un lugar que el español consideraba como "el centro del mundo".- EFE Alexandre Gustave-Eiffel, quien diseñó la Torre Eiffel, ayudó a Bartholdi a concebir su esqueleto de forma que pudiera ser desmontable y a la vez sólido. Mientras, en Estados Unidos, el pedestal seguía estancado sin llegar a materializarse. Solo la intervención de Joseph Pulitzer, editor de periódicos y millonario, cambió el rumbo de la situación. Apoyándose en su recién adquirido diario New York World, en 1884 lanzó una campaña criticando a los ricos por no apoyar la causa del proyecto y a la clase media por esperar que solo los ricos la sustentaran. Su impacto fue inmediato: en menos de un año se consiguió el dinero que faltaba y en 1886 el pedestal estaba listo para recibir a su dama. Partida en 350 piezas para facilitar su transporte, la estatua se ensambló en el puerto de Nueva York y el 28 de octubre de 1886 los neoyorquinos le dieron la bienvenida oficial en una pomposa ceremonia, una década más tarde de lo previsto. Boletín Científico y Cultural de la Infoteca No. 308 Noviembre 2011 5 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila 2008: un fotograma de la película 'Monstruoso' ('Cloverfield'). Al comienzo de la película la estatua de la Libertad sufre la mutilación de su cabeza.- Esta noche, 125 años después, los fuegos artificiales en honor a su cumpleaños iluminarán el rostro de esta dama que desde mañana cerrará sus entrañas por un año por trabajos de mantenimiento. Durante décadas se pudo visitar su pedestal y acceder a su corona, desde la que hay una magnífica vista de Manhattan, pero tras el 11S se cerró el acceso y solo volvió a abrirse en 2009. Ahora quienes quieran visitarla por dentro tendrán que esperar, aunque la isla seguirá abierta. http://www.elpais.com/articulo/cultura/estatua/Libertad/cumple/125/anos/elpepucul/20111028elpepucul _2/Tes Boletín Científico y Cultural de la Infoteca No. 308 Noviembre 2011 6 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila 7000 millones Por Nora Bär | LA NACION Twitter: @norabar El próximo lunes, si las cuentas de las Naciones Unidas están en lo cierto (la Oficina de Censos de los Estados Unidos sitúa ese momento en febrero del año que viene), la humanidad atravesará la barrera de los siete mil millones de individuos. Nadie sabe dónde nacerá el bebe que marque ese hito, aunque según publica CBS News, Plan International (una ONG que se ocupa de la protección de los niños) sugiere que podría ser en uno de los estados más populosos de la India, Uttar Pradesh, donde cada mujer da a luz en promedio a 3,8 chicos. Como escribe Jeff Tolleson en Nature , la cifra de siete mil millones es verdaderamente impresionante en sí misma, pero más si se tiene en cuenta lo que representa: que la población mundial se duplicó en sólo 44 años, desde 1967.
Load more

Recommended publications
  • 243, Here It Is :: the End Hi, Again
    THE POETRY PROJECT NEWSLETTER EDITOR: Ted Dodson REVIEWS EDITOR: Sara Jane Stoner MASTHEAD DESIGN: John Passafume POETRY PROJECT, Ltd. STAFF DIRECTOR: Stacy Szymaszek MANAGING DIRECTOR: Nicole Wallace PROGRAM MANAGER: Simone White COMMUNICATIONS AND MEMBERSHIP COORDINATOR: Laura Henriksen MONDAY NIGHT COORDINATOR: Judah Rubin WEDNESDAY NIGHT COORDINATOR: Simone White FRIDAY NIGHT COORDINATOR: Ariel Goldberg TALK SERIES COORDINATOR: Andrew Durbin BOOKKEEPER: Carlos Estrada VIDEOGRAPHER: Andrea Cruz ARCHIVIST: Will Edmiston INTERNS/VOLUNTEERS: Mel Elberg, Sam Robison, Natalia Vargas-Caba, Michael Valinsky, Pali Sharwani, Viktorsha Uliyanova, Erkinaz Shuminov, Micaela Foley, Shanxing Wang, Cornell Pineada, Carolyn Newmark, Deanna Massell, Phoebe Lifton, Ashleigh Martin, Alissa Gold, Vanessa Funfsinn, and Batya Rosenblum. BOARD OF DIRECTORS: John S. Hall (President), Katy Lederer (Vice-President), Carol Overby (Treasurer), Jo Ann Wasserman (Secretary), Kristine Hsu, Camille Rankine, Claudia La Rocco, Jonathan Morrill, Todd Colby, Erica Hunt, Elinor Nauen, David Wilk, Laura Nicoll, Adam Fitzgerald FRIENDS COMMITTEE: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Ted Greenwald, Steve Hamilton, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Gillian McCain, Eileen Myles, Patricia Spears Jones, Michel de Konkoly Thege, Greg Masters, Ron Padgett, Bob Holman, Paul Slovak, John Yau, Anne Waldman and Hal Willner FUNDERS: Axe-Houghton Foundation; Committee on Poetry; Dr. Gerald J. & Dorothy R. Friedman Foundation, Inc.;
    [Show full text]
  • This Is Not a Dissertation: (Neo)Neo-Bohemian Connections Walter Gainor Moore Purdue University
    Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations 1-1-2015 This Is Not A Dissertation: (Neo)Neo-Bohemian Connections Walter Gainor Moore Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Recommended Citation Moore, Walter Gainor, "This Is Not A Dissertation: (Neo)Neo-Bohemian Connections" (2015). Open Access Dissertations. 1421. https://docs.lib.purdue.edu/open_access_dissertations/1421 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Graduate School Form 30 Updated 1/15/2015 PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance This is to certify that the thesis/dissertation prepared By Walter Gainor Moore Entitled THIS IS NOT A DISSERTATION. (NEO)NEO-BOHEMIAN CONNECTIONS For the degree of Doctor of Philosophy Is approved by the final examining committee: Lance A. Duerfahrd Chair Daniel Morris P. Ryan Schneider Rachel L. Einwohner To the best of my knowledge and as understood by the student in the Thesis/Dissertation Agreement, Publication Delay, and Certification Disclaimer (Graduate School Form 32), this thesis/dissertation adheres to the provisions of Purdue University’s “Policy of Integrity in Research” and the use of copyright material. Approved by Major Professor(s): Lance A. Duerfahrd Approved by: Aryvon Fouche 9/19/2015 Head of the Departmental Graduate Program Date THIS IS NOT A DISSERTATION. (NEO)NEO-BOHEMIAN CONNECTIONS A Dissertation Submitted to the Faculty of Purdue University by Walter Moore In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2015 Purdue University West Lafayette, Indiana ii ACKNOWLEDGEMENTS I would like to thank Lance, my advisor for this dissertation, for challenging me to do better; to work better—to be a stronger student.
    [Show full text]
  • American Book Awards 2004
    BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre.
    [Show full text]
  • Norman Rockwell Museum Featured Illustrators, 1993–2008
    Norman Rockwell Museum Featured Illustrators, 1993–2008 Contemporary Artists Jessica Abel John Burgoyne Leon Alaric Shafer Elizabeth Buttler Fahimeh Amiri Chris Calle Robert Alexander Anderson Paul Calle Roy Anderson Eric Carle Margot Apple Alice Carter Marshall Arisman Roz Chast Natalie Asencios Jean Claverie Istvan Banyai Sue Coe James Barkley Raúl Colon Mary Brigid Barrett Ken Condon Gary Baseman Laurie Cormier Leonard Baskin Christin Couture Melinda Beck Kinuko Y. Craft Harry Beckhoff R. Crumb Nnekka Bennett Howard Cruse Jan and Stan Berenstain (deceased) Robert M. Cunningham Michael Berenstain Jerry Dadds John Berkey (deceased) Ken Dallison Jean-Louis Besson Paul Davis Diane Bigda John Dawson Guy Billout Michael Deas Cathie Bleck Etienne Delessert R.O. Blechman Jacques de Loustal Harry Bliss Vincent DiFate Barry Blitt Cora Lynn Deibler Keith Birdsong Diane and Leo Dillon Thomas Blackshear Steve Ditko Higgins Bond Libby Dorsett Thiel William H. Bond Eric Drooker Juliette Borda Walter DuBois Richards Braldt Bralds Michael Dudash Robin Brickman Elaine Duillo Steve Brodner Jane Dyer Steve Buchanan Will Eisner Yvonne Buchanan Dean Ellis Mark English Richard Leech Teresa Fasolino George Lemoine Monique Felix Gary Lippincott Ian Falconer Dennis Lyall Brian Fies Fred Lynch Theodore Fijal David Macaulay Floc’h Matt Madden Bart Forbes Gloria Malcolm Arnold Bernie Fuchs Mariscal Nicholas Gaetano Bob Marstall John Gilmore Marvin Mattelson Julio Granda Lorenzo Mattotti Robert Guisti Sally Mavor Carter Goodrich Bruce McCall Mary GrandPré Robert T. McCall Jim Griffiths Wilson McClean Milt Gross Richard McGuire James Gurney Robert McGinnis Charles Harper James McMullan Marc Hempel Kim Mellema Niko Henrichon David Meltzer Mark Hess Ever Meulen Al Hirschfeld (deceased) Ron Miller John Howe Dean Mitchell Roberto Innocenti Daniel Moore Susan Jeffers Françoise Mouly Frances Jetter Gregory Manchess Stephen T.
    [Show full text]
  • Booklyn Archives, Eric Drooker Medium: - Dimensions
    ERIC DROOKER FLOOD ARCHIVE ERIC DROOKER Publisher: Booklyn Archives, Eric Drooker Medium: - Dimensions: Origin Description: ERIC DROOKER curriculae vitae Born in 1958 in New York City, and raised on the Lower East Side. Graduate of Brooklyn Friends High School. BFA, Cooper Union, 1983. Eric Drooker supports himself as a freelance artist and illustrator. His work often appears in national newspapers and magazines, including the op- ed page of The New York Times, and The Village Voice. He has furnished seven covers for The New Yorker since 1995, as well as numerous covers for The Nation and The Progressive. He presently lives in Berkeley, California, where he moved in 1998. Publications: World War III Anthology, co-edited by Eric Drooker with Peter Kuper and Seth Tobocman, 1984-1989. Founded in 1980, WWIII continues publishing their comix-narrative digest, with issue #29 now available. Work by Eric Drooker is available in two anthologies: WWIII Anthology: 1980-1989, Fantagraphics, 1990, Seattle; and WWIII: Confrontational Comix, Four Walls Eight Windows, 1995, New York. Flood! A Novel in Pictures, Four Walls Eight Windows, 1992, New York. Winner of the 1992 American Book Award; a winner of New York Times Editor’s Choice/Notable Book of 1992; L.. A.. TImes Finalist, Best Books of 1992. To date, four printings have issued in the edition, most recently re- printed by Quality Paperback Book Club. A new, second edition is in preparation at this time, to issue in Spring, 2002. Illuminated Poems, texts by Allen Ginsberg, Four Walls Eight Windows, 1996, New York. Both cloth and paper editions still in print.
    [Show full text]
  • Graphic Novels in Academic Libraries: from Maus to Manga and Beyond
    This article is a post-print copy. The final published article can be accessed at: O’English, L. Matthews, G., & Blakesley, E. (2006). Graphic novels in academic libraries: From Maus to manga and beyond. Journal of Academic Librarianship, 32(2). https://doi.org/10.1016/j.acalib.2005.12.002. Graphic Novels in Academic Libraries: From Maus to Manga and Beyond Lorena O’English Social Sciences Reference/Instruction Librarian Washington State University Libraries PO Box 645610 Pullman WA 99164-5610 [email protected] J. Gregory Matthews Cataloging Librarian Washington State University Libraries PO Box 645610 Pullman WA 99164-5610 [email protected] Elizabeth Blakesley Lindsay Assistant Dean, Public Services and Outreach Former Head, Library Instruction Washington State University Libraries PO Box 645610 Pullman WA 99164-5610 [email protected] 1 Graphic Novels in Academic Libraries: From Maus to Manga and Beyond Abstract This article addresses graphic novels and their growing popularity in academic libraries. Graphic novels are increasingly used as instructional resources, and they play an important role in supporting the recreational reading mission of academic libraries. The article will also tackle issues related to the cataloging and classification of graphic novels and discuss ways to use them for marketing and promotion of library services. A Brief Introduction to Graphic Novels Graphic novels grew out of the comic book movement in the 1960s and came into existence at the hands of writers who were looking to use the comic book format to address
    [Show full text]
  • Rare Books and First Editions R R Manuscripts and Letters R Literary
    Rare Books and First Editions R JamEs s. Jaffe R manuscripts and Letters R Rare Books Literary art and Photography R Rare Books & First Editions manuscripts & Letters Literary art & Photography James S. Jaffe Rare Books New York Item 1: Culin, stewart. Primitive Negro Art, 1923 [aFRICaN aRT] CULIN, stewart. Primitive Negro Art, Chiefly 1 from the Belgian Congo. 8vo, 42 pages, illustrated with 8 plates, origi- nal black, green & yellow printed wrappers. Brooklyn: Brooklyn mu- all items are offered subject to prior sale. seum, 1923. First edition of the first major exhibition of african art all books and manuscripts have been carefully described; however, any in america. In 1903, stewart Culin (1858–1929) became the found- item is understood to be sent on approval and may be returned within sev- ing curator of the Department of Ethnology at the museum of the en days of receipt for any reason provided prior notification has been given. Brooklyn Institute of arts and sciences, now the Brooklyn museum. Libraries will be billed to suit their budgets. He was among the first museum curators to display ethnological col- lections as art objects, not as ethnographic specimens, and among the We accept Visa, masterCard and american Express. first to recognize museum installation as an art form in its own right. New York residents must pay appropriate sales tax. Culin’s exhibition of Primitive Negro Art, based in large part on his own We will be happy to provide prospective customers with digital images of collection which became in turn the basis for the Brooklyn museum’s items in this catalogue.
    [Show full text]
  • Where Independent Publishers Live Spring / Summer 2020
    Where Independent Publishers Live Spring / Summer 2020 Cover image: silent stories 08 from COEXIST by Franziska Stünkel, courtesy Kehrer Verlag. All rights reserved. Congratulations to all our bestsellers! Go the Fuck to Sleep Fuck, Now There Are Two Adam Mansbach of You Illustrated by Ricardo Cortés Go the Fuck to Sleep #3 Akashic Books Adam Mansbach Paper over Board Illustrated by Owen Brozman US $15.95 | CAN $20.99 Akashic Books 9781617750250 W* Paper over Board US $15.95 | CAN $20.99 9781617757600 W* The Rosie Result A Velocity of Being Graeme Simsion Letters to A Young Reader Text Publishing Company Edited by Maria Popova and Trade Paper Claudia Bedrick US $16.99 | CAN $22.99 Enchanted Lion Books 9781925773828 USC Trade Cloth Trade Cloth US $34.95 | CAN $38.99 US $26.99 | CAN $35.99 9781592702282 W* 9781925773811 USC Pleasure Activism Emergent Strategy The Politics of Feeling Good Shaping Change, Changing Edited by adrienne maree Worlds brown adrienne maree brown AK Press AK Press Trade Paper Trade Paper US $20.00 | CAN $25.99 US $16.00 | CAN $21.99 9781849353267 USC 9781849352604 USC Bestsellers Congratulations to all our bestsellers! Night Sky with Exit The Tradition Wounds Jericho Brown Ocean Vuong Copper Canyon Press Copper Canyon Press Trade Paper Trade Paper US $17.00 | CAN $21.99 US $16.00 | CAN $20.99 9781556594861 USC 9781556594953 USC Paper over Board US $23.00 | CAN $29.99 9781556595851 USC Tell Me How It Ends My Grandmother’s Hands An Essay in 40 Questions Racialized Trauma and the Valeria Luiselli Pathway to Mending
    [Show full text]
  • Alternative Comics: an Emerging Literature
    ALTERNATIVE COMICS Gilbert Hernandez, “Venus Tells It Like It Is!” Luba in America 167 (excerpt). © 2001 Gilbert Hernandez. Used with permission. ALTERNATIVE COMICS AN EMERGING LITERATURE Charles Hatfield UNIVERSITY PRESS OF MISSISSIPPI • JACKSON www.upress.state.ms.us The University Press of Mississippi is a member of the Association of American University Presses. Copyright © 2005 by University Press of Mississippi All rights reserved Manufactured in the United States of America First edition 2005 ϱ Library of Congress Cataloging-in-Publication Data Hatfield, Charles, 1965– Alternative comics : an emerging literature / Charles Hatfield. — 1st ed. p. cm. Includes bibliographical references and index. ISBN 1-57806-718-9 (cloth : alk. paper) — ISBN 1-57806-719-7 (pbk. : alk. paper) 1. Underground comic books, strips, etc.—United States—History and criticism. I. Title. PN6725.H39 2005 741.5'0973—dc22 2004025709 British Library Cataloging-in-Publication Data available CONTENTS Acknowledgments vii Introduction ix Alternative Comics as an Emerging Literature 1 Comix, Comic Shops, and the Rise of 3 Alternative Comics, Post 1968 2 An Art of Tensions 32 The Otherness of Comics Reading 3 A Broader Canvas: Gilbert Hernandez’s Heartbreak Soup 68 4 “I made that whole thing up!” 108 The Problem of Authenticity in Autobiographical Comics 5 Irony and Self-Reflexivity in Autobiographical Comics 128 Two Case Studies 6 Whither the Graphic Novel? 152 Notes 164 Works Cited 169 Index 177 This page intentionally left blank ACKNOWLEDGMENTS Who can do this sort of thing alone? Not I. Thanks are due to many. For permission to include passages from my article, “Heartbreak Soup: The Interdependence of Theme and Form” (Inks 4:2, May 1997), the Ohio State University Press.
    [Show full text]
  • Street Spirit
    Street Spirit Volume 16, No. 07 July 2010 $1.00 A publication of the American Friends Service Committee JUSTICE NEWS & HOMELESS BLUES IN THE B AY A REA Artists Respond to Homelessness from the Depression to the Present ARTISTS AND SOCIAL JUSTICE This special art issue of Street Spirit displays an anthology of artworks on the issues of homelessness, poverty and social justice. This issue compiles the best articles on art and justice to appear in Street Spirit from 2006 to 2010. “The Hand That Takes” Artwork by Eric Drooker by Carol Harvey It’s so real. All this is so true.” I invited four formerly or presently erry “Tresa” Chandler stood in “GI Homecoming” Sandow Birk, Oil on Canvas the vaulted art gallery. Her tiny unhoused San Franciscans to The California 4-foot-11-inch figure was Historical Society at 678 Mission Street in dwarfed by the colorful painting San Francisco. They viewed a collection of T paintings, prints, photographs, and mixed of a Latino child walking to school past a rotten tomato splashed against graffiti on media pieces by more than 40 artists in an a wall, ordering “Homeless Go Home.” exhibition entitled “Hobos to Street People: The child is protected by four adults as Artists’ Responses to Homelessness from he walks to a school for homeless chil- the New Deal to the Present.” dren. Artist Nili Yosha crafted the work The show was on display from February after Norman Rockwell’s illustration of 19 to August 15, 2009. It was organized by guards escorting a small black girl into a curator Art Hazelwood, a San Francisco newly integrated Little Rock school in the artist whose artworks on homelessness and civil rights era.
    [Show full text]
  • Drawn to New York an Illustrated Chronicle of Three Decades in New York City
    Drawn to New York An Illustrated Chronicle of Three Decades in New York City Peter Kuper with an Introduction by Eric Drooker A declaration of love to Peter Kuper’s adoptive city, where he has lived since 1977, this diary is a vibrant survey of New York City’s history. Kuper’s illus- trations depict a climb to the top of the Brooklyn Bridge, the homeless living in Times Square, roller skaters in Central Park, the impact of September 11, the luxury of Wall Street, street musicians, and other scenes unique to the city. With comics, illustrations, and sketches, this work of art portrays every- thing from the low life to the high energy that has long made people from around the world flock to the Big Apple. Drawn to New York is a reflection of one artist’s thirty-four years on twelve miles of island with eight million people in a city whose story is ever being written. ABOUT PETER KUPER SUBJECT CATEGORY Peter Kuper’s illustrations and comics have appeared in Time, New York ART-ILLUSTRATION, HISTORY- Times, and MAD where he has written and illustrated “Spy vs. Spy” every NEW YORK CITY/ REGIONAL- issue since 1997. He is the co-founder of World War 3 Illustrated and has NEW YORK CITY remained on its editorial board for over 30 years. He has produced over 20 books including The System, Sticks and Stones, and PRICE Stop Forgetting to Remember. Peter has also adapted Upton Sinclair’s The $29.95 Jungle and many of Franz Kafka’s works into comics.
    [Show full text]
  • Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel
    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 5-28-2009 Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel Dallas Dycus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Dycus, Dallas, "Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel." Dissertation, Georgia State University, 2009. https://scholarworks.gsu.edu/english_diss/47 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CHRIS WARE‘S JIMMY CORRIGAN: HONING THE HYBRIDITY OF THE GRAPHIC NOVEL by DALLAS J. DYCUS, JR. Under the Direction of Michael Galchinsky ABSTRACT The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society‘s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre.
    [Show full text]