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EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE Y OND SEQUENTIALBOU POETRY BEYOND SEQ ARIES COMICS POETR EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Bennett First name: Tamryn Other name/s: Maree Abbreviation for degree as given in the University calendar: PhD School: English, Media and Performing Arts Faculty: Arts and Social Sciences Title: Comics Poetry: Beyond Sequential Boundaries Abstract 350 words maximum: (PLEASE TYPE) Since Will Eisner defined comics as ‘sequential art’, critics have continued to employ narrative definitions and linear approaches to the form. As a result, many non-sequential and experimental forms of comics, especially in the field of ‘comics poetry’, have been ignored. Consequently, a new model for comics analysis is needed to encompass and address narrative, non-narrative, multi-linear, abstract and experimental developments within the form. In response to narrative assumptions and the lack of non-linear modes of analysis, my practice-led research proposes ‘segmentivity’ as an alternative model for comics criticism. This concept of ‘segmentivity’ stems from Rachel Blau DuPlessis’ attempt to distinguish the components of poetry from ‘narrativity’ and ‘performativity’. By assessing how poetic segments are employed in a myriad of narrative and non-narrative comics case studies, this model of segmentivity enables comics analysis to advance beyond sequential lexicons and limitations, ensuring the relevance of comics theory to contemporary practice. The critical survey of comics within this study includes examples of ‘comics poetry’ by Dino Buzzati, Kenneth Koch, Alan Moore, Warren Craghead as well as primary interviews with comics poetry practitioners Matt Madden, Bianca Stone, Michael Farrell and Alexander Rothman. The works of these creators evidence the need for a non- sequential model of comics analysis that challenges the dominant understanding of comics as a purely narrative form. Both my critical and creative works focus on the relationship between comics and poetry. Considering comics scholarship is characterised by the closeness of creators and critics, I felt it essential that my creative work engage with the practice of making comics. Accordingly, my creative work develops the comics poetry series, ANEKI, which innovates approaches to comics outside of traditional media and linear panel grid structures. An account of this collaborative process is also framed within the discussion of comics poetry examples. Ultimately, this study broadens approaches to comics creation and criticism, advancing potential modes of analysis and the multimodal possibilities of the form. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS Comics Poetry Beyond Sequential Boundaries by Tamryn Bennett Part I - Dissertation Dissertation submitted in total fulfilment of the requirements for the award of Doctor of Philosophy, Creative Writing, University of New South Wales, March 2012. Since Will Eisner defined comics as ‘sequential art’, critics have continued to employ narrative definitions and linear approaches to the form. As a result, Abstract many non-sequential and experimental forms of comics, especially in the field of ‘comics poetry’, have been ignored. Consequently, a new model for comics analysis is needed to encompass and address narrative, non-narrative, multi-linear, abstract and experimental developments within the form. In response to narrative assumptions and the lack of non-linear modes of analysis, my practice-led research proposes ‘segmentivity’ as an alternative model for comics criticism. This concept of ‘segmentivity’ stems from Rachel Blau DuPlessis’ attempt to distinguish the components of poetry from ‘narrativity’ and ‘performativity’. By assessing how poetic segments are employed in a myriad of narrative and non-narrative comics case studies, this model of segmentivity enables comics analysis to advance beyond sequential lexicons and limitations, ensuring the relevance of comics theory to contemporary practice. The critical survey of comics within this study includes examples of ‘comics poetry’ by Dino Buzzati, Kenneth Koch, Alan Moore, Warren Craghead as well as primary interviews with comics poetry practitioners Matt Madden, Bianca Stone, Michael Farrell and Alexander Rothman. The works of these creators evidence the need for a non-sequential model of comics analysis that challenges the dominant understanding of comics as a purely narrative form. Both my critical and creative works focus on the relationship between comics and poetry. Considering comics scholarship is characterised by the closeness of creators and critics, I felt it essential that my creative work engage with the practice of making comics. Accordingly, my creative work develops the comics poetry series, ANEKI, which innovates approaches to comics outside of traditional media and linear panel grid structures. An account of this collaborative process is also framed within the discussion of comics poetry examples. Ultimately, this study broadens approaches to comics creation and criticism, advancing potential modes of analysis and the multimodal possibilities of the form. I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another Originality Statement person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expressionssion is acknowledged.acknowledged. Signedned ................................................................................... ....... ........ ..................... ............... Dated .............16.9.2012.................................. Copyright Statement Authenticity Statement I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as pat- I certify that the Library deposit digital copy is a direct equivalent of the final ent rights. I also retain the right to use in future works (such as articles or books) officially approved version of my thesis.s. Noo emendation of content has occurred all or part of this thesis or dissertation. I also authorise University Microfilms to and if there are any minor variations inn fformatting,ormatting, they are the result ooff ththee use the 350 word abstract of my thesis in Dissertation Abstract International (this conversion to digital format. is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not beenen grgrantedranted I hhaveave appapplied/willlied/will appapplyly fforor a Signedgned ............................................................................................................ ..... ...................... partial restriction of the digital copy of my thesis or dissertationdissertation.. Dated .............16.9.2012................................. Signedned ......................................................................................................................... ... ............. Dated .............16.9.2012................................. For Memo who showed me how to see Sincere thanks to all of the artists who brought ANEKI to life, Skye O’Shea, Jackie Cavallaro, Guillermo Batiz, Tamara Elkins and Anastasia McCloghry. Thank you Acknowledgements to each of the creators and critics who generously shared their work,

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