Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 125-127). Also available on the Internet.

Superhero comic books are not art, and middle-aged, non-white women are not superheroes. I seek to disprove both of these assumptions, and I use the "Alias" comic books from 2001-2004 for my argument.

The discourse regarding contemporary comic book studies has become increasingly concerned with the apocalyptic potential of the power of comic book superbeings. While many consider Superman to be a morally upright and hopeful figure worth emulating, the idea of a creature as powerful and uncannily similar to human beings as Superman is produces a type of paranoia, distrust, and unease. This type of disruptivity is a result of the combination of two foundational aspects of the character's being namely, its power, and its uncanny Otherness. Recent trends in the discourse concerning the cinematic depictions of the unavoidably destructive aspects of Superman's power indicate that the disruptive aspects of the character's being cannot be ameliorated by conventional appeals to dialectical arrangements of moral categories including good and evil. This also applies to nostalgic interpretations of the character that seek to dissolve the inextricable connection between the utopian and dystopian potential inherent in its power and Otherness in an idealized history. Situating itself between the aesthetic and historical comic book theory of Thomas Inge, Peter Coogan, Danny Fingeroth, Christopher Knowles, Clive Bloom, and Greg McCue and the philosophies/xenologies and critical approaches of Robert Freitas Jr., Michel Foucault, and Fredric Jameson, this project uses the concepts of the character's power, body, and Otherness to examine the existential and socio-political consequences of Superman's disruptivity on a diegetic earth.

While it has been argued in the past that organisational (re-)production of (foreign) media texts leads to a loss of creative value and that the translation robs the originals of their artistic status, this thesis argues that media are socially constructed entities that carry a multitude of voices encoded in their content and format. It thus does not focus on translation of a media text, in which a translator, re-writer and editors are involved, in terms of a textual comparison but as a practice carried out as integral part of the process of production. So are a multitude of other internal (marketing, public relations and sales) and external (laws, audiences, business environment) factors and voices. The thesis thus employes notions of polysemy to reflect on the different aspects encoded within the medium due the different approaches and interest the various areas of localisation are bound by. It thus breaks down the workflow into three different localisation stages: divided stages, during which specialists focus on singular aspects of production; the recreation of context, both in terms of the physical medium itself and the placement of it in a larger meta text; and finally the active framing and placing of the product in the local marketplace. At the end this internal focus is juxtaposed with those of external stakeholders. This approach will be framed by using organisational localisation of manga in Germany and the USA as an examplar. Following a print medium through production allows the steps to become visible since every step is accompanied by a tangible object reflecting said stage.

PARÁ, Lilian Moreira. Intertextualidade e intertextualização em gêneros em quadrinhos. 2015. 150f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Letras – Mestrado Profissional em Letras (PROFLETRAS), Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-02-02T12:20:36Z No. of bitstreams: 1 2015_dis_lmpara.pdf: 11403241 bytes, checksum: f188191957a6951f6f0d839a8a93027b (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2016-02-03T12:22:57Z (GMT) No. of bitstreams: 1 2015_dis_lmpara.pdf: 11403241 bytes, checksum: f188191957a6951f6f0d839a8a93027b (MD5) / Made available in DSpace on 2016-02-03T12:22:57Z (GMT). No. of bitstreams: 1 2015_dis_lmpara.pdf: 11403241 bytes, checksum: f188191957a6951f6f0d839a8a93027b (MD5) Previous issue date: 2015 / This work aims to identify and analyze the intertextual phenomena present in comic genres, such as editorial cartoons, cartoons and comic strips; analyze the semiolinguistic markers of “intertextualization”, verify if those markers would be useful for recognizing the intertextuality and propose an approach to the intertextual dialogues for Elementary School. Such didactic-pedagogical proposal could help the teachers understand the intertextual relationships, the processes that rule them and the markers that can be found in comic genres, which are often present in textbooks. This research assumes that the exploration of intertextual aspects in class provides the students with the means to understand more widely the linguistics mechanisms that bond the dialogue among a variety of texts and a better development of critical reflection from possible inferences. The proposal is based on the studies of Genette ([1982] 2010), Piègay-Gros (1996) and Koch, Bentes and Cavalcante (2007), when it comes to the notion of intertextuality, and in the book of Miranda (2010), concerning the concept of intertextualization – a term coined by the author to describe the process of text production in which textualization traces associated to different genres are put in relationship of co-presence. As to the elaboration of the didactic-pedagogical proposal, this work relied on the thesis of Farias (2014), which showed how the allusion and the citation operate as construction processes in parodies and paraphrasing in visual-verbal texts. The corpus consists of editorial cartoons, cartoons and comic strips published in textbooks, newspapers, news homepages, blogs, social networks, comic books and books specialized in comic genres. Our analyses had special focus on the semiolinguistic markers, verifying which of them are more typical in the intertextuality of co-presence and derivation and if they are able to account for the texts present in comic genres. We have found out that the intertextuality is part of the genres we studied and that the semiolinguistic markers described by Miranda (2010) not always account for the recognition of the intertextualization in the examined genres and cannot be applied to all kinds of intertextuality. / Este trabalho tem como objetivos identificar e analisar os fenômenos intertextuais presentes nos gêneros em quadrinhos, como a charge, o cartum e a tirinha; analisar as marcas semiolinguísticas da intertextualização; verificar se essas marcas seriam úteis para o reconhecimento da intertextualidade e propor uma abordagem dos diálogos intertextuais para o ensino fundamental. Tal proposta didático-pedagógica poderia auxiliar os docentes no entendimento das relações intertextuais, dos processos que as engendram e das marcas que as assinalam nos gêneros em quadrinhos, muito recorrentes nos livros didáticos. Esta pesquisa pressupõe que a exploração dos aspectos intertextuais em sala de aula propicia ao aluno meios para uma compreensão mais ampla dos mecanismos linguísticos que estabelecem o diálogo entre textos diversos e um melhor desenvolvimento da reflexão crítica a partir das inferências possíveis. Esta proposta se funda nos estudos de Genette ([1982] 2010), Piègay-Gros (1996) e Koch, Bentes e Cavalcante (2007), no que respeita à noção de intertextualidade, e no livro de Miranda (2010), no que tange à noção de intertextualização – um termo cunhado pela autora para designar o processo de produção textual em que se põem em relação de copresença traços de textualização associados a gêneros diferentes. Este trabalho recorreu ainda à tese de Faria (2014), que demonstrou como a alusão e a citação operam como processos de construção de paródias e paráfrases em textos verbo-visuais. O corpus é formado por charges, cartuns e tirinhas publicados em livros didáticos, jornais virtuais, blogs, redes sociais, gibis e livros especializados em gêneros em quadrinhos. Nossa análise incidiu principalmente sobre os marcadores semiolinguísticos, verificando quais deles são mais típicos das intertextualidades de copresença e de derivação e se dão conta dos textos presentes nos gêneros em quadrinhos. Constatamos que a intertextualidade é constitutiva dos gêneros aqui estudados e que as marcas semiolinguísticas descritas por Miranda (2010) nem sempre se prestam ao reconhecimento da intertextualização nos gêneros em exame, nem podem aplicar-se a todos os tipos de intertextualidade.

This dissertation consists of two parts, the theoretical one and the practical one. In the theoretical part, I pay attention first to the terminology of comic, the questions of what the comic actually is and what are the rules which form the genre. Next, I look into the usage of comic in the art lessons and what approach should the teacher take when teaching how to make a comic book or comic strip. In the next part, I consider, what knowledge should a cartoonist have when drawing a comic strip. I also explain methods which I have used when inking my comic book. In every chapter, I mention significant persons who influenced the world of comic either from the theoretical or the practical point of view. The practical part consists of collection of sketches, anatomical studies and comic strips, which have been inked by India ink and colorized in computer.

This paper discusses how the author created a comic as a way to explore their personal suffering and the suffering of those around them throughout schooling. It defines the inspirations, both personal and technical for how the comic was produced and how it will expand to a graphic novel after college.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-10-12Bitstream added on 2014-06-13T20:28:52Z : No. of bitstreams: 1 souza_cfv_me_ia.pdf: 2124027 bytes, checksum: 0deb320e2c943f96dfcdc1ac421e18e0 (MD5) / A palhaçaria clássica, linguagem cômica tradicional e popular, foi concebida junto ao espetáculo circense. Consolida-se no século XX e é caracterizada por um conjunto de situações, gestos e ações codificados, transmitidos oralmente através de gerações. Sua dramaturgia é construída na relação direta e improvisada com a platéia, a partir de um roteiro, e tem na utilização do corpo cômico em jogo seu principal recurso expressivo. O presente trabalho tem como objetivo geral investigar a composição do palhaço de circo no tocante à utilização do corpo e sua relação com a platéia. Esse objetivo mais amplo se direciona à contribuição desse processo na formação do ator em geral. Para melhor compreender a construção deste corpo cômico, assim como a especificidade de seu processo de aprendizado, ligado à tradição oral, escolhemos para nossa pesquisa empírica o trabalho do palhaço Gachola e sua Cia, assim como o de seus parceiros Camilo Torres, Puchy e Pepin - palhaços de tradição circense que atuam na cidade de São Paulo. Foi importante também a experiência com dois grupos de atores: um grupo que, de 2001 a 2004, interessados na linguagem do palhaço, realizou uma investigação prática acerca da construção do clown no LUME, e o grupo O Circo e o Riso, da UNESP, que pesquisa a construção do palhaço a partir de técnicas tradicionais. Recorremos também a autores estudiosos do circo ou dos palhaços: Mario Bolognesi, Andreia Pantano, Erminia Silva, Tristan Rémy, John Towsen, Roger Avanzi e Veronica Tamaoki. Para a análise da articulação e dos objetivos do jogo cômico estabelecido entre palhaço e público, foram imprescindíveis, aliadas às análises de Bolognesi e Pantano, a teoria de Johan Huizinga a respeito do jogo, como exposta no livro Homo Ludens: o jogo como elemento da cultura, e a teoria de Mikhail Bakhtin a respeito do cômico e do riso na cultura popular. / The classic clownery, traditional and popular comic language, was conceived together with the circus show. It consolidates in the twentieth century and is characterized by a set of situations, gestures and encoded actions, transmitted orally through generations. Its dramaturgy is built in the direct and improvised relationship with the audience, based on a script, and uses the comic body in game as its main and expressive resource. The general objective of the present study is to investigate the composition of the circus clown concerning the use of the body and its relationship with the audience. A broader objective is directed to the contribution of this process in the formation of the actor in general. To better understand the construction of this comical body, as well as the specificities of its learning process, linked to oral tradition, we choose for our empirical research the work of the clown Gachola and his Company, as well as his partners Camilo Torres, Pepin and Puchy - clowns coming from the circus tradition who work in the city of São Paulo. It was also important the experience with two groups of actors: a group that, from 2001 to 2004, interested in the language of the clown, undertook a practical investigation on the construction of the clown at LUME, and the group “O Circo e o Riso “, from UNESP, which researches the construction of the clown from traditional techniques. We also resorted to scholars of circus clowns: Mario Bolognesi, Andrea Pantano, Erminia Silva, Tristan Rémy, John Towsen, Roger Avanzi and Veronica Tamaoki. For the analysis of the articulation and the objectives of the comic game established between public and clown, Johan Huizinga´s theory about the game as exposed in the book “Homo Ludens: A Study of the Play-element in Culture” was essential, together with the analysis of Bolognesi and Pantano and Mikhail Bakhtin's theory about the comic and laughter in popular culture.

La tecnología está en constante innovación y definitivamente en esta era cada vez se ha vuelto una parte esencial de nuestra vida. Todas las industrias se han visto involucrada por los diversos avances tecnológicos; y uno de ellos es la industria del cine. Una industria creada a partir de los pequeños avances tecnológicos en su época, como el cinematógrafo hasta los últimos avances de nuestros días como lo son las imágenes generadas por computadora. Dentro de la industria del cine tenemos a una muy importante, Hollywood, que hoy en día es muy exitosa y nos ofrece una gran variedad de películas de gran éxito, entre las cuales destaca las de superhéroes. En específico, Marvel comics que con sus personajes ha logrado posicionarse en esta industria, teniendo más de 30 películas. Llevando el mundo de las páginas de historieta hacia la gran pantalla. Ello debido a sus fantásticos personajes con características humanas y también a la tecnología que ayuda a recrear estos mundos que Stan Lee y Jack Kirby crearon hace décadas. Dos industrias nacidas y desarrolladas en una época pasada vuelven a resurgir a través de estos avances tecnológicos para seguir entreteniendo y enseñando a los más jóvenes. En un sociedad plagada de acontecimientos peligrosos donde se necesita un héroe en quien confiar, una esperanza a la sociedad a su día a día. Vuelven los superhéroes del pasado con un nuevo rostro gracias a la nueva era tecnología que nos permite creer en que lo imposible es posible. / It is widely believed that nowadays technology has become a escencial part of our lives. One of the biggest impact of it's development had affected cinematography industry which has been increasing due to the new ways of technology. One of these industries is Hollywood, which as we all know offers a huge variety of successful movies and the most notorious is Marvel that has revolutionise all the comic worlds. Marvel has more than 30 movies most of them had used CGI and advance technology that helped to appreciate sophisticated graphics. The reason of this huge success is on the superheroes character's that has a lot of human characteristics and it seems to be more like us. In addition to this, the comics where this movies are based on are fantastic and creates to the spectator the feeling of been in somewhere else for a couple of hours. Finally, Marvel as an important industry has been dealing with all the technology development that is a big part of all their achievement. / Trabajo de investigación

Batman has become a fixture in the popular consciousness of America. Since his first publication in Detective Comics #27 in 1939, he has never ceased publication, appearing in multiple titles every month as well as successfully transitioning into other media such as film and television. A focused analysis of the character will reveal that Batman has achieved and maintained this cultural resonance for almost seventy years by virtue of attaining the status of a postmodern American mythology. In both theme and function, Batman has several direct connections to ancient mythology and has adapted that form into a distinctly American archetype. And as a popular cultural symbol, he has shown remarkable malleability to reflect the attitudes of his contemporary culture. An examination of Batman's enduring and changing characteristics will reveal insights into American values, culture and history during the twentieth and into the twenty-first centuries.