Thesis (MA (Visual Arts)) -- University of Stellenbosch, 1997 / 168 leaves printed single pages,preliminary pages and numberd pages 1-70.Includes bibliography and 115 illustrations.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: This study considers the history and problematics of the contemporary comic strip, particularly in regard to issues of controversy and iconoclasm. Special attention is paid to the local magazine, Bitterkomix as an example. In Chapter One, the comic medium is identified and discussed as a homogeneous art form. Its independence from both fine arts and literature is explained and the identifying, intrinsic characteristics of the medium are used as a basis for the analysis of form and meaning in selected contemporary comics. Chapter Two provides a brief history of iconoclasm, subversion and controversy surrounding selected comics from the 1950's up to the present. The emphasis is placed on pivotal developments in the medium, particularly in the United States. A link is suggested between the post-war affluence of the American society and the conservative values which underpin it. Because of the many similarities which exist between the value systems of white South Africa and those of the more conservative states of the U.S., a contextual parallel is mooted which identifies the development and impact of controversial comics abroad and the reception which Bitterkomix encountered in South Africa. Chapter Three outlines and analyses this connection, emphasising that Bitterkomix has to be seen in the wider historical context and not simply as an expression of a parochial, "alternative"culture among young Afrikaners. In the final two chapters, satire and the use of stereotypes in the comic form is considered. The study pays particular attention to the publications, Gif, Afrikaner Sekskomix and Loslyf(an Afrikaans skin magazine) in order to establish connections between deviant sexual behaviour in a repressive society. / AFRIKAANSE OPSOMMING:In hierdie werkstuk word die geskiedenis en problematiek van die hedendaagse strip, veral die kontroversieIe en ikonoklastiese aspekte daarvan, aangespreek. As 'n voorbeeld word die aandag veral toegespits op die plaaslike tydskrif, Bitterkomix. In Hoofstuk Een word die stripmedium geidentifiseer en as homogene kunsvorm bespreek. Die medium se onafhanklikheid van beide die Skone Kunste en die Letterkunde word verduidelik en die identifiserende, intrinsieke kenmerke word basies toegepas vir die ontleding van vorm en betekenis in gekose, hedendaagse strips. Hoofstuk Twee bestaan uit 'n kort oorsig van die geskiedenis van ikonoklasme, ondermyning en kontroverse rondom geselekteerde strips vanaf 1950 tot die hede. Die k1em word geplaas op deurslaggewende ontwikkelings in die medium, veral in die Verenigde State. 'n Skakel word voorgestel tussen die na-oorlogse welvaart van die Amerikaanse gemeenskap en die konserwatiewe waardes onderliggend daaraan. As gevolg van die baie ooreenkomste tussen die waarde-sisteme van wit Suid-Afrika en die van die meer konserwatiewe state van die V.S., word 'n kontekstuele parallel vasgestel wat die ontwikkeling en impak van kontroversieIe strips in die buiteland en die reaksie op Bitterkomix in Suid-Afrika, identifiseer. Hoofstuk Drie skets en ontleed hierdie verbintenis en beklemtoon dat Bitterkomix in 'n wyer historiese konteks beskou moet word en nie slegs as 'n uitdrukking van 'n parogiale, "altematiewe" kuItuur onder jong Afrikaners nie. In die laaste twee hoofstukke word satire en die gebruik van stereotipes in die stripvorm oorweeg. Aandag word veral gegee aan die publikasies Gif: Afrikoner Sekskomix, en Loslyf( 'n Afrikaanse sekstydskrif) om kwessies van abnormale seksuele gedrag in 'n repressiewe gemeenskap aan te raak.

This thesis focuses primarily on homophobia and how it plays a role in the construction of queer identities, specifically in graphic novels and comic books. The primary texts being analyzed are Alan Moore's Lost Girls, Frank Miller's Batman: The Dark Knight Returns, and Michael Chabon's prose novel The Amazing Adventures of Kavalier and Clay. Throughout these and many other comics, queer identities reflect homophobic stereotypes rather than resisting them. However, this thesis argues that, despite the homophobic tendencies of these texts, the very nature of comics (their visual aspects, panel structures, and blank gutters) allows for an alternative space for positive queer identities. / by Michael Buso. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

This thesis discusses the relationship between classic comic books and BDSM (bondage, discipline, sadism and masochism.) Will Eisner's The Spirit is used to discuss sexuality and power in comics, with special attention paid to Eisner's "The Kissing Caper." The Eisner chapter explores the relationship between sadomasochism, film noir, gender dynamics and comics. Using Judith Butler, Fredric Wertham and Theodor Reik, the gender politics of The Spirit are discussed. Women's changing roles in the post-World War II American workplace are linked to Eisner's BDSM themes in The Spirit from the character's origin story to the 1950s. In examining Alan Moore's Watchmen, the paper focuses on transactional power dynamics and how BDSM rituals are enacted in modern American comics. American power relationships in politics are used as a comparison and contrast to BDSM dynamics in Watchmen. Samuel R. Delany, William Moulton Marston and Pat Califia are used as theorists within the discussion of power exchanges in Dave Gibbons and Alan Moore's graphic novel. The consensual fantasy element to this power relationship is demonstrated as the underlying dynamic of the act, and not as actual punishment or nonconsensual sadism. / by Michael Furlong. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Yang, Jing. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 122-135). / Abstracts in English and Chinese. / Chapter Chapter 1: --- Introduction --- p.p.1 / Chapter Chapter 2: --- Literature Review --- p.p.14 / Bodies --- p.p.15 / Spaces --- p.p.19 / Bodies-Spaces --- p.p.23 / "Fantasy, Organization & Gender" --- p.p.28 / Chapter Chapter 3: --- Methodology --- p.p.36 / Data Collection --- p.p.36 / Date Analysis --- p.p.41 / Chapter Chapter 4: --- Fantastic Bodies-Spaces / The ACG Fantasy of Maid --- p.p.43 / Geographical Location & Imaginary Location --- p.p.46 / Inventing Names & Dressing Up --- p.p.50 / "Home, Sweet Home" --- p.p.57 / Fantastic Bodies-Spaces --- p.p.61 / Chapter Chapter 5: --- Organizational Bodies-Spaces / "Maid Date, A Profit-Organization" --- p.p.66 / White Maid Date & Black Maid Date --- p.p.67 / Redrawing the Boundaries Between Home and Work --- p.p.70 / Working as Professionals --- p.p.74 / Supervision --- p.p.79 / Organizational Bodies-Spaces --- p.p.82 / Chapter Chapter 6: --- Gendered Bodies-Spaces / Display of Femininity & Male Gaze --- p.p.87 / Butler's Day --- p.p.93 / Gendered Bodies-Spaces --- p.p. 100 / Chapter Chapter 7: --- Conclusion --- p.p.103 / Appendix --- p.p.117 / Reference --- p.p.122

published_or_final_version / abstract / toc / Comparative Literature / Master / Master of Philosophy

As primeiras publicações de quadrinhos de terror pela editora La Selva a partir de 1950, iniciaram uma tradição editorial que se prolongaria por cerca de 40 anos no mercado consumidor brasileiro. A popularidade do gênero de horror nos quadrinhos brasileiros permitiu a proliferação, a sobrevivência e o crescimento de muitos pequenos editores, principalmente da periferia paulistana. Dos métodos de importação e adaptação de material da editora La Selva à busca de emancipação e valorização do artista brasileiro pela editora Outubro, temos no quadrinho de terror uma importante fonte de material para uma reflexão sobre práticas de trabalho, organização e metodologia dos editores brasileiros das décadas de 50 e 60. Focalizando a exploração comercial do gênero de horror nestas duas décadas, pretendemos traçar uma abordagem sócio-histórica das relações de trabalho, produção e consumo, sem perder de vista as intermediações entre os diversos grupos sociais envolvidos nestes processos. Correlacionando as interferências entre códigos de técnica e de linguagem entre as diversas mídias, buscaremos comprovar a influência dos meios de comunicação e produção cultural na construção de novas habilidades profissionais, novos métodos e formatos de produtos. Investigando as heranças nos métodos, técnicas e linguagem do legado pulp das revistas de emoção sobre novos formatos como o gibi e a revista de fotonovela, veremos que a introdução destes novos formatos no mercado foi ocasionada pela necessidade de alteração nas escolhas de publicar, rumo à massificação. Neste período histórico de consolidação das indústrias culturais e de convergência das mídias no cenário cultural brasileiro, inter-relacionaremos a tradição editorial dos quadrinhos de terror iniciada pela La Selva e pela Outubro, a popularidade da novela de rádio e do filme cinematográfico. Nas produções de terror de José Mojica Marins e seu folclórico personagem Zé do Caixão veremos a síntese da mescla entre linguagem e técnica transportadas dos quadrinhos para o cinema, seja no transcurso narrativo e visual, como no reaproveitamento de profissionais ligados a tradição de horror nos quadrinhos. Na análise técnica, discursiva e sócio-histórica das obras selecionadas, pretendemos expor a visão destes grupos sobre o desenvolvimento tecnológico, assim como por outro lado, compreendê-lo como resultado da interatividade entre múltiplas áreas e atores sociais. / The first publications of horror comics edited by La Selva Publishing since 1950, started an publishing tradition that would last nearly 40 years in the Brazilian consume culture. The popularity of the horror genre in the Brazilian comics allowed the proliferation, survival and growth of many small publishers, mainly allocated on the suburbs of São Paulo. By the methods of importation and adaptation of editorial matter from La Selva Publishing , or because the search for emancipation and development of Brazilian artists by Outubro Publishing, the horror comics becomes an important material source to theoretical research about work practices, organization forms and methodology of Brazilian publishers from the 50’s and 60’s. Focusing the commercial exploitation of horror genre in these two decades, we will make a socio-historical approach of labor relashionship, production and consumption, in view of intermediation between different social groups involved in these processes. Correlating the interferences between language and technical codes among the media, we intend to demonstrate influences of media products and cultural industry to form new professional skills, methods and formats. Investigating the inheritance of methods, techniques and language of the legacy from the pulp fiction in pulp magazines, from which emerged new formats such as comic book and photo-romance magazines, we observe that the introduction of these new formats was caused by the need to change the choices of publishing towards massification. In this historical period of the consolidation of cultural industries and media convergence in the Brazilian cultural scene, we will compare the tradition of horror comics started by La Selva and Outubro, with the popularity of radio broadcast and motion picture film. In the filmography of José Mojica Marins and the popular character Zé do Caixão (Coffin Joe), we see a synthesis of the blend betwen technical language and the course of visual narrative, transported from comics to the movies, as the reuse of professionals related to the horror tradition in Brazilian comic. In the technical, discursive and socio-historical analysis about the selected works, we expose the vision of these social groups on technical development, and on the other hand, understand it as a result of interaction between multiple areas and social actors.

[ES] La presente investigación consiste en un acercamiento analítico a los campos del cómic y la pintura: sus elementos constitutivos esenciales, su historia, sus puntos de comunión tanto como sus diferencias e incompatibilidades, se constituyen en nuestro objeto de estudio. Nuestra hipótesis se basa en la premisa de que estos lenguajes son formas artísticas y lenguajes diferentes, con similitudes y diferencias que pueden ser profundas. Postulamos que la colaboración y convivencia de ambos lenguajes dentro de una obra plástica reviste un grado de complejidad y requiere considerar un abanico de aspectos que pudiesen resultar problemáticos, para lograr una obra que finalmente se alimente y enriquezca de ambos lenguajes, en una relación armónica. Nuestro objetivo es reconocer estos aspectos que pudiesen facilitar o dificultar la interacción entre ambos lenguajes, en búsqueda de posibles vías de comunicación y colaboración. Para ello realizaremos un análisis formal e histórico de ambas disciplinas, tanto de cada una por separado, como en aquellos aspectos en los cuales se relacionan. Identificaremos cada lenguaje con un territorio diferenciado, y estableceremos un conjunto de clasificaciones que nos permitirán reconocer diversos aspectos propios de cada uno de estos campos. Nos acercaremos a nuestro objeto de estudio a través del estudio de textos académicos, entrevistas a actores relevantes, registros de prensa y documentales; nuestra investigación comprende también el diseño y elaboración de una serie de obras artísticas, insertas dentro del proceso de investigación, cuyo objetivo es servir como campo de exploración e indagación, que nos permite a su vez generar cuestionamientos y enfrentarnos a problemas específicos relacionados con la puesta en practica de las ideas. Concluiremos habiendo recorrido los territorios de la pintura y el cómic, cartografiado y estudiado los distintos aspectos en los que ambos lenguajes comulgan y los aspectos que los separan, categorizando asimismo las diversas formas en las que la pintura y el cómic han interactuado entre sí, en una clasificación que permite arrojar luz sobre algunos de los aspectos confusos en relación con este territorio expandido. / [CA] La present investigació consisteix en un acostament analític als camps del còmic i la pintura: els seus elements constitutius essencials, la seua història, els seus punts de comunió tant com les seues diferències i incompatibilitats, es constitueixen en el nostre objecte d'estudi. La nostra hipòtesi es basa en la premissa que aquests llenguatges són formes artístiques i llenguatges diferents, amb similituds i diferències que poden ser profundes. Postulem que la col·laboració i convivència de tots dos llenguatges dins d'una obra plàstica revist un grau de complexitat i requereix considerar un ventall d'aspectes que pogueren resultar problemàtics, per a aconseguir una obra que finalment s'alimente i enriquisca de tots dos llenguatges, en una relació harmònica. El nostre objectiu és reconéixer aquests aspectes que pogueren facilitar o dificultar la interacció entre tots dos llenguatges, en cerca de possibles vies de comunicació i col·laboració. Per a això realitzarem una anàlisi formal i històrica de totes dues disciplines, tant de cadascuna per separat, com en aquells aspectes en els quals es relacionen. Identificarem cada llenguatge amb un territori diferenciat, i establirem un conjunt de classificacions que ens permetran reconéixer diversos aspectes propis de cadascun d'aquests camps. Ens acostarem al nostre objecte d'estudi a través de l'estudi de textos acadèmics, entrevistes a actors rellevants, registres de premsa i documentals; la nostra investigació comprén també el disseny i elaboració d'una sèrie d'obres artístiques, inserides dins del procés d'investigació, l'objectiu de la qual és servir com a camp d'exploració i indagació, que ens permet al seu torn generar qüestionaments i enfrontar-nos a problemes específics relacionats amb la posada en practica de les idees. Conclourem havent recorregut els territoris de la pintura i el còmic, cartografiat i estudiat els diferents aspectes en els quals tots dos llenguatges combreguen i els aspectes que els separen, categoritzant així mateix les diverses formes en les quals la pintura i el còmic han interactuat entre si, en una classificació que permet llançar llum sobre alguns dels aspectes confusos en relació amb aquest territori expandit. / [EN] The present research consists of an analytical approach to the fields of comics and painting: their essential constitutive elements, their history, their points of communion as well as their differences and incompatibilities, constitute our object of study. Our hypothesis is based on the premise that these languages are different artistic forms and languages, with similarities and differences that can be profound. We postulate that the collaboration and coexistence of both languages within a plastic work has a degree of complexity and requires considering a range of aspects that could be problematic, in order to achieve a work that finally feeds and enriches both languages, in a harmonious relationship. Our objective is to recognize these aspects that could facilitate or hinder the interaction between both languages, in search of possible ways of communication and collaboration. To this end, we will carry out a formal and historical analysis of both disciplines, both of each one separately, as well as in those aspects in which they are related. We will identify each language with a differentiated territory, and we will establish a set of classifications that will allow us to recognize different aspects of each of these fields. We will approach our object of study through the study of academic texts, interviews with relevant actors, press records and documentaries; our research also includes the design and elaboration of a series of artistic works, inserted within the research process, whose objective is to serve as a field of exploration and inquiry, which in turn allows us to generate questions and confront specific problems related to the implementation of ideas. We will conclude having traversed the territories of painting and comics, mapping and studying the different aspects in which both languages converge and the aspects that separate them, also categorizing the various ways in which painting and comics have interacted with each other, in a classification that allows us to shed light on some of the confusing aspects in relation to this expanded territory. / Ocaña Salinas, LA. (2023). Hacia un territorio expandido. Convergencia y relaciones fronterizas entre la Pintura contemporánea y el Cómic actual [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202599

This thesis examines the contribution of Jewish artists to American popular culture in the mid-twentieth century and argues that the Jewish imagination contains a peculiar ability to simultaneous articulate the concerns of a specifically ethnic identity and a more universal American character. The thesis posits that by exploring how the Jewish community negotiated the space between ethnic identity and an American paradigm, Jewish artists were able to explore the middle ground between individuality and conformity, selfhood and consensus, liberalism and conservatism, tradition and change, and heritage and progress that held a wider pertinence for a more general American audience. The thesis argues that the diversity of the Jewish American imagination at this time can be united by a leitmotif that can be best described as the ambivalence of transition. By examining aesthetically dissimilar texts from a variety of artistic fields, in particular comic books, theatre, cinema, television, and literature, the thesis argues that despite the cultural evolutions that occurred throughout the thirties, forties and fifties, the Jewish voice articulated a continuing concern regarding the relationship between ethnic identity, masculine identity, the individual and mass culture. This last point hints at another preoccupation of this thesis; the texts analysed here all share a narrative focus that explores and represents notions of masculine identity and ideality. In this way, the thesis necessarily focuses upon debates about masculinity within the Jewish imagination and American culture, charting the evolution of the Jewish and American male and their relationship towards notions of performed, consensus, individual and paradigm masculinity. Although there has not necessarily been a desire to fully deny the notion of a continuing thematic preoccupation within the Jewish imaginary, previous scholarship has shown a tendency towards accentuating the eclectic nature of Jewish American culture. Whilst scholars like Paul Buhle and Stephen J. Whitfield recognise the importance of popular culture as an arena in which Jewish artists sought to articulate issues at the heart of Jewish identity and community in the US, their studies focus upon the kaleidoscopic eclecticism of Jewish American culture. The intention of this thesis is to harness the diversity inherent in Jewish cultural expression via the prevailing leitmotif of the ambivalence of transition. In this way the thesis will use the multifarious and textured fabric of mid-century Jewish culture, as well as the simultaneous articulation of both ethnic and more general concerns, to illuminate the understanding of both Jewish identity and American culture throughout the mid-century. Thus, the thesis builds upon work by the likes of Julian Levinson and Hana Wirth-Nesher that revisits ideas of assimilation and attempts to complicate the inexorable movement away from Jewish distinctiveness and identity. Similarly, the thesis builds upon studies by the likes of Pamela Robertson Wojcik and Will Brooker that attempt to accentuate the reductive understanding of the mid-century based upon boundless suburbia and unthinking conformity.

An automobile is one of the most important phenomenons of modern technology. Since its origins, it has profoundly shaped our physical, economic, politic, social, cultural and media habitat. The objective of this Master thesis is to analyze the evolution of the role of the car in the popculture from the 60s onwards and its dimensions, with a primary focus on Anglosaxon culture, with excursions to Asia and continental Europe, primarily Czechoslovakia/Czech Republic. The core foundation of the thesis lies in the analysis of the popcultural genres, selected films, TV series, computer games and comic books. The main purpose of the thesis is to reflect upon the identity and conceptual shifts of car, going from a mere transport machine through a vehicle of product placement towards the concept of the icon, a narrative hero of popculture. The hypothesis to verify is that the car has become an essential part of the popculture itself, reflected in many various dimensions: car as a toy, car as a friend, car as a status symbol, car as a narrative extension of the hero and finally, car as a hero and subject. The thesis is divided into five separate chapters, all including case studies. Following an introduction summarizing cultural, economic and historic factors of the car industry, the first chapter describes...

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