O pioneirismo de memória de elefante como graphic novel autobiográfica brasileira

Dissertação apresentada no Programa de Pós-graduação em Comunicação - Mestrado da Universidade Municipal de São Caetano do Sul

Comics carnet : the graphic novelist as global nomad

An interdisciplinary approach is used to identify a new graphic novel genre, 'comics camet', and its key features. The study situates comics camet in a historical context and shows it to be the result of a cross-pollination between the American and French comics traditions. Comics camet incorporates features from other literary genres: journalism, autobiography, ethnography and travel writing. Its creators, primarily European rriales, document their experiences visiting countries that Europe has traditionally defined as belonging to the 'East'. A visual and narrative analysis, using theoretical perspectives derived from cultural and postcolonial studies, examines how comics camet represents the non-European other and identifies the genre's ideological assumptions. Four representative texts are examined: Joe Sacco's Palestine (2001), Craig Thompson's, Camet de Voyage (2004), Guy Delisle's Pyongyang (2005) and Mrujane Satrpi's Persespolis 2 (2004). The study concludes that the comics camet genre simultaneously reinforces and challenges stereotypical assumptions about non-European people and places.

Comics Explosion: Representations of Persecution in Graphic Narrative, 1995-2015

Thesis (Ph.D.)--University of Washington, 2016-06

Aurora : an illustrated novella

Aurora, an illustrated novella, is a retelling of the classic fairytale Sleeping Beauty, set on the Australian coast around the grounds of the family lighthouse. Instead of following in the footsteps of tradition, this tale focuses on the long time Aurora is cursed to sleep by the malevolent Minerva; we follow Aurora as she voyages into the unconscious. Hunted by Minerva through the shifting landscape of her dreams, Aurora is dogged by a nagging pull towards the light—there is something she has left behind. Eventually, realising she must face Minerva to break the curse, they stage a battle of the minds in which Aurora triumphs, having grasped the power of her thoughts, her words. Aurora, an Australian fairytale, is a story of self-empowerment, the ability to shape destiny and the power of the mind. The exegesis examines a two-pronged question: is the illustrated book for young adults—graphic novel—relevant to a contemporary readership, and, is the graphic novel, where text and image intersect, a suitably specular genre in which to explore the unconscious? It establishes the language of the unconscious and the meaning of the term ‘graphic novel’, before investigating the place of the illustrated book for an older readership in a contemporary market, particularly exploring visual literacy and the way text and image—a hybrid narrative—work together. It then studies the aptitude of graphic literature to representing the unconscious and looks at two pioneers of the form: Audrey Niffenegger, specifically her visual novel The Three Incestuous Sisters, and Shaun Tan, and his graphic novel The Arrival. Finally, it reflects upon the creative work, Aurora, in light of three concerns: how best to develop a narrative able to relay the dreaming story; how to bestow a certain ‘Australianess’ upon the text and images; and the dilemma of designing an illustrated book for an older readership.

'In the hands of the Receivers': The Politics of Literacy in The Savage by David Almond and Dave McKean

David Almond and Dave McKean's The Savage is a hybrid prose and graphic novel which tells the story of one young man’s maturation through literacy. The protagonist learns to deal with the death of his father and his own 'savage' self by writing a graphic novel. This article reads The Savage in the context of earlier, 'Northern' literacy narrative - particularly Tony Harrison's poem "Them & [uz]" and Barry Hines' Kes — through the discourse of neoliberalism and the notion of the reluctant boy reader. It is suggested that Almond and McKean are influenced by currently dominant ideologies of gender and literacy.

Feeling a little Blue? : Boofheads, bodies, and beaches

Pat Grant’s graphic novel Blue (2012) tells two stories about the impact of a newly migrant group on a small coastal Australian town. The wider story explores the wholesale effects of a previously unknown population joining an existing, culturally homogenous community. These broad social images are used to contextualise the more immediate story of three youths who are disenfranchised within the pre-existing community, but who can claim social enfranchisement by alienating the new members of the community. That the migrant population is depicted literally as aliens emphasises Blue’s participation in a wider conversation about citizenship and empathy. However, Blue does not necessarily seek to provoke a particular emotional response in its readers. Rather, in following three characters who lack what Nussbaum calls “narrative imagination” in their pursuit of good surfing or visceral entertainment—of beaches or bodies—Blue explores the means and consequences of refusing intersubjective affect. This is most powerfully rendered by the main characters’ ultimate avoidance of, and fictions about, a dead body they have wagged school to see. At the very moment of a person becoming a true object—a corpse—the meaning of objectifying people is revealed; the young protagonists seem to recognise this fact, and thus retreat from the affective scene which nonetheless informs Blue as a whole.

Entrevista a Alfonso Zapico

Entrevista realizada al historietista asturiano Alfonso Zapico

Fear and manipulation in George Orwells Nineteen Eighty-Four and Alan Moores V for Vendetta

O objetivo desta dissertação é analisar a questão da política do medo e das várias formas de manipulação da realidade encontradas nas narrativa de 1984 (1949), de George Orwell, assim como na narrativa gráfica de V de Vingança tanto na sua versão em quadrinhos, de Alan Moore (1982-88), quanto na sua adaptação cinematográfica, escrita pelos Wachowskis (2005). Em particular, tenta demonstrar similaridades nas técnicas usadas, assim como na análise dos personagens, procurando embasar certos questionamentos com a ajuda de filósofos políticos, estudos de psicologia, culturais, e distópicos. Ao final, este trabalho tenta identificar a importância da influência dos autores estudados, assim como outros autores distópicos, na criação e desenvolvimento de uma nova geração social de mentalidade inconformista

Robot

Klimowski’s graphic novel, Robot, was commissioned by the Adam Mickiewicz Institute in Warsaw to mark Poland’s Presidency of the European Union’s Cultural Programme in 2011. Self Made Hero and Timof Comiks published the book simultaneously in the UK and Poland. Klimowski adapted and translated Stanisław Lem’s short fiction ‘The sanatorium of Dr Vliperdius’ (1977), aiming to develop a new position for illustration and the graphic novel aside from mainstream graphic novels and literature, and a new approach to visual bookmaking. The project proved to be an artistic challenge: Lem often proclaimed his disapproval of adaptations of his work, dismissing even Andrei Tarkovsky’s film adaptation (1972) of his novel Solaris (1961). Produced in collaboration with Danusia Schejbal, Robot features a diptych form, counter-pointing (both formally and conceptually) two contrasting stories. The first is a colourful parable describing a totalitarian and autocratic regime that must be vanquished, the second a monochromatic dialectic on philosophy, humanism and mechanisation. Klimowski and Schejbal’s publication is intended to challenge stereotypes and established styles and formulas associated with the production of graphic novels. Much emphasis was laid upon the depiction of space and location, artificiality and realism. Silence and the suspension of linear time were also strong features of the artists’ investigations. These qualities were recognised and discussed by the media, in particular by a panel of critics on Polish Television’s Cultural Channel, in the most respected comics blog, Zeszyty Komiksowe (http://zeszytykomiksowe.org/recenzja_robot, 2012), and by Monika Malkowskain in the national newspaper Rzeczpospolita (2011). The artists gave a special talk at the Science Museum, London, during the Robot Festival ‘Robotville’ (December 2011). Lem, one of the world’s leading writers of science fiction, was featured throughout the year in the UK on stage, cinema and in literary events (Barbican Centre London, British Library, Science Museum London).

Nouveaux explorateurs : les bédéistes et leurs récits de voyage dans Shenzhen de Guy Delisle et Missionnaire de Joann Sfar

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Redéfinition du concept d'utopie et des termes qui lui sont étymologiquement apparentés

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Le poids de l’oiseau sur la vitre ; suivi de L’hétérogénéité graphique dans Blankets de Craig Thompson

Le mémoire original s'accompagnait en annexe du livre-objet Le poids de l'oiseau sur la vitre.

INFO2009 - Group 10 - An Interactive Quiz on Copyright

A mixture of formats is used as a teaching resorce: animated videos, questions, short graphic novel

Intertextuality, authenticity, and gonzo selves in Anya Ulinich’s 'Lena Finkle’s Magic Barrel'

This article traces the intertextual relationships between Anya Ulinich’s graphic novel Lena Finkle’s Magic Barrel, Bernard Malamud’s short story ‘The Magic Barrel’ and a number of works by Philip Roth. Through these relationships and her construction of a number of variations on what Miriam Libicki has called a ‘gonzo self’ Ulinich explores the tensions between life and art, fact and fiction, and autobiography and the novel, mediating the aesthetic imperatives of what Roth has called the ‘written world’ and the ethical obligations of the ‘unwritten world’ in order to arrive at an authentic sense of herself as an artist and writer.