A Research Report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts, Applied Ethics for Professionals, September 2017 / The cartoons depicting the Prophet Muhammad on the front cover of various issues of the French satirical magazine, Charlie Hebdo, leading up to the 2015 terrorist attack have been seen by many to be harmful and offensive. This report argues that, from a liberal perspective, the cartoonists did not do anything morally wrong by publishing these cartoons. In fact, it is argued that the cartoonists were morally justified in publishing these cartoons because they were protecting the liberal value of free speech. I argue that both the act of publishing these cartoons, as well as the actual content of these cartoons were morally justifiable. Arguments against the cartoons pertaining to both harm and offence are proven to be unsound. Furthermore, when balancing the seriousness of the offence with the reasonableness of the cartoons, it becomes clear that the offence is not as serious as some may think. / XL2018

Thesis (M.A. (English))--University of the Witwatersrand, Faculty of Humanities, 2016. / This dissertation examines how particular combinations of image and text in sequential art reflect specific social, historical and political contexts. The analysis of how meaning is constructed is done through consideration of three iterations of the Batman superhero character, and argues for an eventual postmodernisation of the character. The first case study presented is the original version of Batman as it debuted in 1939, which naturally established much of the substance from which later depictions would take their cues. The second case study used is the “camp” 1960s TV series starring Adam West, which was influenced by the highly restricted Batman comics under the Comics Code Authority established in 1954. The main case study, and the central focus of this dissertation, is Batman – Arkham Asylum (1989), a graphic novel by Grant Morrison and Dave McKean, the latest of the three iterations, which represents the eventual disruption of the enforced or constructed harmony evident in the earlier versions of the character into a fracturing and fragmentation both of the world and the self. It is a version of Batman that privileges the interiority and psychological complexity of the character, representing a culmination of the 1980s shift toward a more mature audience with its incorporation of horror, violence and mental turmoil. These three examples are compared and contrasted, showing how each constructs a particular meaning using its own unique combination of image and text. Having established a historicity for the character and having constructed an argument for how Batman as a cultural icon echoes shifts in society, the focus of the dissertation is transferred to a deeper analysis of Arkham and attempts to trace more explicitly its status as a postmodern text by examining its fragmentary nature, its use of intertextuality and how meaning in Arkham is constructed in the mind. Following this, an exploration of the central theme of madness in the graphic novel is provided in order to show how the work both critiques the representation of madness in fiction as well as how the liminal setting of the asylum functions as part of the postmodernisation of Batman by creating a “landscape of madness” where irrationality and the uncanny dominate reality, in contrast to the logical, “left-brain” treatment of Batman which had become common prior to Arkham Asylum. The analysis of the three iterations is shaped by WTJ Mitchell’s theories on imagetext relationships and additionally by the principles of sequential art outlined by Scott McCloud. The postmodern theoretical framework is informed by John Docker’s explorations of fragmentation, intertextuality, inversion and the Carnivalesque. Additionally, the writings of Lillian Feder and Michel Foucault will inform the discussion of madness in Arkham. / GR2017

Thesis (Ph.D.)--University of Alberta, 2010. / Title from pdf main screen (viewed on April 8, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English, Department of English and Film Studies, University of Alberta. Includes bibliographical references.

by Cheung Hiu Wan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves [135-140]). / Abstracts in English and Chinese. / Acknowledgement / Abstract / List of figures / Chapter Chapter 1. --- Introduction / Chapter 1.1 --- Scope of Study --- p.1 / Chapter 1.2 --- Literature Review --- p.3 / Chapter 1.3 --- Methodology --- p.13 / Chapter 1.4 --- Structure of the Thesis --- p.17 / Chapter Chapter 2. --- Historical Development of Comics in China / Chapter 2.1 --- Comics History before1949 --- p.24 / Chapter 2 . 2 --- Comics under the Reign of Chinese Communist Party --- p.29 / Chapter 2.3 --- Beijing Cartoon after the Open Door Policy --- p.31 / Chapter 2.4 --- Concluding Remarks --- p.39 / Chapter Chapter 3 . --- Interaction with the Leaders of Beijing Publishing House / Chapter 3.1 --- Leaders´ةExpectation for Beijing Cartoon --- p.41 / Chapter 3.2 --- The Discrepancy between the Senior and Junior Editors --- p.51 / Chapter 3.3 --- Editors' Comments on Interaction with the Leaders of the Beijing Publishing House --- p.54 / Chapter Chapter 4. --- Interaction with the Senior Artists / Chapter 4.1 --- Cartoon Art Festival98 --- p.57 / Chapter 4.2 --- The Invasion of Japanese Comics --- p.59 / Chapter 4.3 --- The Essence of Comics with Chinese Features --- p.63 / Chapter 4.4 --- The Expected Role of the Chinese Government --- p.67 / Chapter 4.5 --- The Editors´ة Comments on Cartoon Art Festival98 --- p.68 / Chapter 4 . --- 6 Concluding Remarks --- p.70 / Chapter Chapter 5. --- Interaction with the Junior Artists / Chapter 5.1 --- Social Status of the Junior Artists --- p.12 / Chapter 5.2 --- Cooperation with Beijing Cartoon --- p.11 / Chapter 5.3 --- Why do they Join the Comics Business --- p.79 / Chapter 5.4 --- Agreement and Terms of Payment --- p.87 / Chapter 5.5 --- Summer Camping: Market Mechanism and Autonomy in Artists' Creation --- p.88 / Chapter 5.6 --- The Editors' Expectation on the Roles of The Artists --- p.96 / Chapter 5.7 --- Artists' Comments on the Educational Aspect of Comics --- p.98 / Chapter 5.8 --- Concluding Remarks --- p.102 / Chapter Chapter 6. --- The Interaction with the Readers and Elders / Chapter 6.1 --- Whom were and Whom are the Comics for? --- p.104 / Chapter 6.2 --- Parents and Teachers: Comics for Education --- p.105 / Chapter 6.3 --- Parents and Teachers: Sex and Violence in Japanese Comics --- p.107 / Chapter 6.4 --- More than Sex and Violence in Japanese Comics --- p.110 / Chapter 6.5 --- Nippon´ؤcentric and Militarism of Japanese Comics --- p.115 / Chapter 6.6 --- Better Academic Performances and More Choices --- p.115 / Chapter 6.7 --- The Popularity of Comics among the Teenagers --- p.118 / Chapter 6.8 --- Feedback from the Comics Readers --- p.121 / Chapter 6.9 --- The Conflicts: More Education or More Entertainment --- p.122 / Chapter 6.10 --- Concluding Remarks --- p.12 5 / Chapter Chapter 7. --- Conclusion --- p.127 / Appendix / References

No description available.

This research study has several objectives. The first is to research graphic novels and comic books, their history and the issues this visual and literary medium has had with censorship, with preconceived notions that the medium is only meant for a juvenile audience, and with the development of rating standards. The second objective is to study current literature that has been written by scholars and librarians on this medium. This exploration of graphic novels and comic books and the scholarship and collection development efforts related to them provides a foundation for considering the issues and challenges which current and future librarians may have to face, in maintaining this literary form in library collections. The third objective is to conduct a focus group and to survey librarians in Tennessee from a range of backgrounds in order to consider a number of questions, including: if these librarians have encountered patrons who challenged having these books included in their institutions’ collections, what age range the surveyed librarians believe this medium is meant to appeal to, and how the librarians would rate content in comic books and graphic novels; such as, violence, language, sexual activity, etc.; including terms used by publishers in their rating standards to describe different levels of content. The results from this study showed there was quite a difference between what librarians feel is appropriate for the levels they were given and the types of content; with there being usually at least a 2 - 3 year age difference between the top two to three options chosen or there being a difference between the participants selecting an age range and selecting either “All Ages” or “None” as appropriate. The literature research and the data obtained from the survey along with the responses received from the focus group indicate that, since the majority of participants stated they “sometimes” experienced selection difficulties and problems with cataloging and shelving these books, picking an appropriate age range for a comic book or graphic novel is very subjective and librarians and publishers are still a long way away from agreeing on the appropriateness of the content.

Although research has previously connected comic books and national ideology, there has yet to be a study examining the role of villains in this relationship. By analyzing representations of evil and villainy in the long-running series Captain America and understanding them in light of the model of the circuit of culture, the transforming imaginary space of the American nation can be traced.

The purpose of this study is to analyze the international political events and commentary presented in five comic strips from 1940 to 1970. The investigation focused on the narratives, individual episodes and characterizations presented in the strips. The research was taken from approximately 51,000 strips over the thirty year period. Four of the strips used in the study covered the entire period, and included: Li'l Abner - Al Capp, Little Orphan Annie - Harold Gray, Smilin' Jack - Zack Mosley, and Terr and the Pirates - Milton Caniff (1940-47) and George Wunder (1947-1970). One strip, Pogo, drawn by Walt Kelly, was available only from 1950-70.The three decade period was utilized in order to study a sufficient number of strips so the cartoonists' ideas and attitudes could be understood. The time period selected was a volatile period in international affairs in which the United States played a major role. The investigation concentrates on two major areas of international politics: World War II and the cold war era. The study reveals that the cartoonists in portraying these two major found events used their medium not only for entertainment but to support the United States in its international activities.In addition they used international political affairs and events as sources of information to draw action stories and make political statements. In this vein, World War II offered a great opportunity for the cartoonists. The narratives presented in the strips offered constant reminders of the war in Europe and Asia, and engendered American support for the war effort. The authors pushed American values and democratic principles while formulating a negative image of the Axis leaders and military. In this way, the cartoonists used their medium to propagandize their readers into full support for the war.During the cold war era, the cartoonists again in international affairs a rich source of information for their stories. The strips portrayed the intense rivalry of the cold war conflict initially focusing on the Soviet Union. Narratives were included which depicted the Soviet leaders negatively, especially Premier Nikita Khrushchev. The Russian people, Soviet life and Communism in general were also represented in the strips in a disreputable fashion. In addition, the vigorous competition of the arms and space races were depicted in the strips.The other major nation of the cold war, which the cartoonists characterized in their strips, was China. The authors wrote stories about the civil war in China and obviously supported the Nationalists. After the Nationalists were exiled to Formosa, the narratives focused on the People's Republic of China. The stories depicted the Chinese Communists' methods of governing and their leadership, especially Mao Tse-tung. The propaganda efforts of the Chinese Communists were frequently represented in the strips as well as the attempts to expand their influence in the Pacific area. In addition, the Sino-Soviet split was included, with the cartoonists' portraying the Chinese attempting to take over the leadership of the Communist world from the Soviets.The cartoonists also used their strips to convey information, ideas, and opinions about the third world areas of Vietnam, Latin America and the Middle East. With Vietnam, the stories centered on the war, while the authors represented the Vietcong and North Vietnamese as evil and detestable people. The influence of the Vietnamese war on the American political scene was also considered. In their narratives about Latin America, the cartoonists illustrated the area in terms of revolution, corruption and smuggling. Communism and Fidel Castro's Cuba were frequently used in the strips. Communism and oil were the two major themes the cartoonists used in the strips that dealt with the Middle East.This study presents a narrative of the strips with an analysis of the cartoonists' aims, objectives, and opinions. The work also contains an annotated bibliography.

Women have been involved in the writing, illustrating, and production of comic books at almost every step of the genre’s development. The years between the late 1960s and the late 1990s were tumultuous for the comic book industry. At the societal level, these years were saturated with changes that challenged normative ideas of sex roles and gender. The goal of this study is two-fold: it documents the specific contributions to the comic book industry made by the women interviewed, and it addresses research questions that focus on gender, change, and comic books. This project asks: What was the role and status of women in the comic book industry between the early 1970s and late 1990s? By utilizing moderately scheduled, in-depth interviews with women working in the comic book industry during this period, this study explores their experiences and treatment while working in an insular, male-dominated field.

Mitt arbetes syfte är att på kronologiskt och tematiskt vis presentera och analysera de olikasätt på vilka politiska åsikter och samhällsmässiga problem har presenterats och beartbetats i amerikanska serietidningar under tiden mellan 1950 och år 2000, samt att undersöka hur serietidningen i sig har utvecklats som medium under samma tidsperiod. Mitt arbete är först uppdelat i tidsperioder om tio år och sedan inom olika tematiska underrubriker som avser att behandla viktiga politiska eller branschrelaterade aspekter. Den tidigare forskningen jag tagit del av är uteslutande engelskspråkig och innefattar bl.a Bradford W. Wrights Comic Book Nation, Paul Lopes Demanding Respect och Fredrik Strömbergs Comic Art Propaganda som alla behandlar den amerikanska serietidningens utveckling och delvis deras politiska innehåll. De källor jag använt mig av är en hel uppsjö avamerikanska seriepublikationer från de tre största förlagen i USA, Marvel Comics, DC Comics och Image Comics med inledande fokus på de två förstnämnda. Jag kommer i mitt arbete fram till att serietidningarna gått från att vara ett politiskt drivetmedie under 50-talet, till att vara ett som lägger mer fokus på de enskilda individerna och karaktärsutveckling. Utvecklingen har också medfört att serietidningarna överlag blivit alltmörkare och hårdare, inte nödvändigtvis med ett större fokus på våld, men i alla fall en större acceptans för det våldsamma. 50-talet har fokus på den allmäna kommunistskräcken och den produktionskod som begränsade och censurerade serietidningarnas innehåll. 60-talet visar på en uppenbar rädsla och osäkerhet för mängden ny teknologi som kom under den här tiden samtidigt som man också lägger stor fokus på medborgarrätt och jämställdhet. Under 70-talet börjar mediets resa mot det mörkare och den produktionskod man hittils följt faller allt mer bort när våld och droger tillåts ta allt större plats samtidigt som de flesta politiska kommentarer försvinner. Under den moderna eran, från mitten av 80-talet och frammåt består den mörka tematikenfrån 70-talet och tar nya intensiva vändningar framförallt med nya religiösa och okulta anspelningar.