Thesis (M.A.)--Miami University, Dept. of English, 2006. / Title from first page of PDF document. Includes bibliographical references (p. 62-63).

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In this report I explore themes of aesthetics and communication, while describing my process of making a meta-comic about my experiences with art and education. What is beauty, and how can I tell you how it makes me feel? / I denna rapport undersöker jag estetik och kommunikation somtidigt som jag beskriver min arbetsprocess med att göra en meta-serie om mina upplevelser kring konst och konstutbildning. Vad är skönhet, och hur kan jag berätta om hur det känns?

Made available in DSpace on 2014-12-17T15:06:57Z (GMT). No. of bitstreams: 1 AdaLFS_DISSERT.pdf: 1645660 bytes, checksum: 5de9358a92b2399b650ad69fa7a9b8af (MD5) Previous issue date: 2012-09-06 / The object of this study is the construction of situation models in the discourse pattern comic book narrative, and sits in the field of Cognitive Linguistics. Its main foundations are the notions of embodied mind (LAKOFF; JOHNSON, 1999), mental simulation (BARSALOU, 1999), discourse pattern (DUQUE; COSTA, 2012) and situation models (ZWAAN, 1999). I stem from the hypothesis that the process of meaning construction in narratives is attached to the simulation of space, of time and of the characters goals and actions within the story world, dimensions which make up the situation models elaborated by the reader. The simulation of these experiences during discourse processing originates from the fact of it having an embodied and cultural basis, i.e., upon being confronted with the clues found in the narrative, the cognitive structures that make up the reader s personal and social memories are triggered and make it possible to activate information which in turn refer to his/her physical and social experiences, built up in the environment in which he/she lives. As regards comic book narratives, the construction of situation models is closely related to the recurring activation of certain cognitive structures originating from graphic resources that are typical of that discourse pattern. These conclusions were drawn from the data analysis taken from the work Palestina (SACCO, 2003; 2004; 2011) / Este trabalho tem como objeto de estudo a constru??o dos modelos situacionais no padr?o discursivo narrativa em quadrinhos e insere-se no campo da Lingu?stica Cognitiva, tomando por base, principalmente, as no??es de mente corporificada (LAKOFF; JOHNSON, 1999), simula??o mental (BARSALOU, 1999), padr?o discursivo (DUQUE; COSTA, 2012) e modelos situacionais (ZWAAN, 1999). Parto da hip?tese de que o processo de constru??o de sentidos para as narrativas est? atrelado ? simula??o do espa?o, do tempo, dos objetivos e das a??es dos personagens do mundo da hist?ria, dimens?es essas que constituem os modelos situacionais elaborados pelo leitor. A simula??o dessas experi?ncias durante o processamento discursivo adv?m do fato de este ter base corporificada e cultural, ou seja, diante das pistas apresentadas na narrativa, as estruturas cognitivas que comp?em as mem?rias pessoal e social do leitor s?o ativadas e permitem o acionamento de informa??es que remetem ?s suas experi?ncias f?sicas e sociais, constru?das no ambiente em que ele vive. No tocante ?s narrativas em quadrinhos, a constru??o de modelos situacionais est? intimamente ligada ? ativa??o recorrente de certas estruturas cognitivas a partir de recursos gr?ficos t?picos daquele padr?o discursivo. Essas conclus?es foram obtidas a partir da an?lise de dados retirados da obra Palestina (SACCO, 2003; 2004; 2011)

Projektet handlar om att utforska hur man läser och skapar en serietidning. Under mitt liv har jag använt mig av min fantasi för att lösa problem. Jag växte upp i en idyllisk och konservativ villaförort i norra Stockholm, där man förväntades vara som normen. Jag hade svårt att passa in och flydde istället in i min fantasi och det var då jag började läsa serietidningar.

Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.

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Gjenskinn is a graphic novel about feeling stuck, and the attempt to walk it off. The comic follows the young student Mia as she leaves her apartment around midnight to go buy snacks, ending up on a trip that is both longer and more social than planned.  Exploring themes of melancholia through excessive overthinking and awkward conversations, Gjenskinn tries to put images to feelings it's hard to put words to. It is a story about finding your way back (from the store), told with both humor and seriousness. / Gjenskinn er en grafisk roman om følelsen av å stå fast og forsøket på å gå det av seg. Historien følger den unge studenten Mia når hun forlater leiligheten sin litt før midnatt for å kjøpe snacks, på en tur som både blir lengre og mer sosial enn planlagt. Tegneserien utforsker tema som melankoli gjennom alt fra kontinuerlig overtenking til kleine samtaler, og prøver å sette bilde på følelser det er vanskelig å sette ord på. Det er en historie om å finne veien tilbake (fra butikken), fortalt med både humor og alvor.

« Comic book » est un terme anglo-saxon, plus spécifiquement américain, employé pour désigner les fascicules de bande dessinée. Il a trouvé son autonomie en 1938 avec la création de « Superman » qui a amorcé l'hégémonie de la figure du « super-héros » dans la production. Au cours du vingtième siècle, éditeurs et auteurs ont eu recours à des stratégies de conquête et de fidélisation du lectorat dont le procédé de la réécriture est le plus significatif. Le super-héros fut alors soumis à l'interprétation de nombreux créateurs et devint le témoin à multiples facettes de l'Histoire des États-Unis. Il s'est dessiné à partir des années quatre-vingt une tendance réflexive qui prend cette figure comme objet critique et qui a donné naissance à ce qu'on appelle ici le « metacomic ». À partir d'un corpus représentatif, cette thèse est consacrée aux stratégies qui fondent cette réflexivité et aux discours qu'elle véhicule dans les œuvres. Elle se divise en quatre chapitres. Le premier est un descriptif de l'industrie du comic book qui explique ses particularités et l'hégémonie en son sein du genre « superhéroïque ». Le second est dédié aux processus formels qui permettent de justifier la constitution du corpus en définissant la réflexivité des œuvres. Le troisième est voué à une analyse du caractère idéologique de cette métafiction, afin de montrer en quoi la mise en crise du super-héros sert un discours sur l'Histoire et la politique américaines. Le dernier s'intéresse à la manière dont les œuvres consacrent le super-héros comme figure de l'imagination : adoptant une approche fictionnaliste, on y démontre comment transfictionnalité et univers fictionnels sont utilisés pour revisiter / “Comic Book” is the Anglo-Saxon, more specifically American term employed to describe a specific material medium for comics. The epochal moment in the history of the comic book was the 1938 publication of « Superman », which marked the starting point of the hegemony of the figure of the superhero in comic production. Over the course of the twentieth century, authors and publishers have used various strategies for winning over readers and securing their loyalty. Among these, the technique of rewriting is the most significant. Thus, the superhero has been the subject of many reinterpretations, and consequently, has born witness to many facets of the United States’ history. The publications of the 1980s have seen the rise of a reflexive approach in which the superhero becomes an object of critique himself. This new genre is here referred to as Metacomic. Drawing on a representative body of works, the doctoral thesis at hand examines the strategies that constitute this reflexivity, as well as the multiple discourses that it gives rise to. The thesis is divided into four chapters. The first chapter gives an account of the comic book industry and explains its particularities, as well as the hegemonic position of the superhero genre in the industry. The second chapter attempts a definition of reflexivity in comic books, which permits to establish a body of works to be examined. The third chapter attempts an analysis of the ideological aspects of this metafiction in order to show how the crisis of the superhero reflects on a certain discourse on American history and politics. The fourth and last chapter examines how the analysed comics establish the superhero as an agent of imag

This thesis’ purpose is to demonstrate, via the examination of popular youth literature (primarily pulp magazines and comic books) from the 1920s through to the 1950s, that the stories found therein drew their definitions of heroism and villainy from an overarching, nativist fear of outsiders that had existed before the Great War, but intensified afterwards. These depictions were transferred to America’s “new” enemies following both the United States’ entry into the Second World War, as well as the early stages of the Cold War. This transference of nativist imagery left behind the ethnically-based origins of such depictions, showing that racism was not the sole and simple reason for such exaggerated visages. A process of change, in regards to America’s nativist sentiment, so virulent after the First World War, will be explained by way of the popular, inexpensive escapism of the time, the pulp magazines and comic books of the early to mid-twentieth century.