No description available.

Many people assume that editorial cartoons are easily understood by the bulk of the population. For this reason, editorial cartoons are often used as teaching materials in the classroom. Recent research, however, raises doubts as to the effectiveness of this practice. Investigations by Bedient (1971) and DeSousa & Medhurst (1982) determined that the majority of students (grade 5 through college) could not interpret editorial cartoons. These investigators went on to suggest that a logical next step would be to determine if editorial cartoon literacy can be taught. The cognitive style of the participants was examined to determine if the different teaching strategies were differentially effective vis-a-vis field dependence and field independence. Two presentations (treatments) were designed to model methods of reading editorial cartoons. The Whole Cartoon Analysis presented 25 editorial cartoons along with a 100-200 word interpretation of each cartoon. The Parse Analysis Treatment was accomplished in three steps rather than the one for the Whole method. In step one, the whole cartoon is presented with a short gloss of the meaning. In step two all of the cartoon is visually suppressed except for one visual meaning element. This element of the cartoon is discussed and then the next element of the cartoon is added, and so on until the entire cartoon is back on the screen at which point the overall meaning is discussed. The dependent variable of the investigation was the two-part Editorial Cartoon Interpretation Task. Part A asked each participant to enumerate the symbols in the cartoon and define them as to meaning. Part B asked the participant to write a short thematic interpretation of the cartoon. A two-way Analysis of Variance on the data revealed no significant differences in either the main effects or the interaction. / Ed. D.

At the outset of this investigation its purpose was stated as that of discovering what relationships if any might exist between the quality of comic books read by certain seventh-grade children and their intelligence quotients, reading scores, and language scores. In attempting to carry out its purpose, two hundred seventh-grade children, attending three elementary schools in Wythe County, Virginia, were chosen as subjects for investigation. The manner of proceeding from that point has been described in the preceding chapter. The presentation of findings resulting from the various steps taken to obtain data have been reserved for this chapter; likewise, the interpretations stemming from such findings. The results of administering intelligence, reading, and language tests to the chosen population of children are given herewith, in the form of grouped frequency distributions, in Tables I, II, and III. The so-called comic quotients for the same group are found in Table IV. The coefficients of correlation as computed by the Statistical Laboratory, Virginia Polytechnic Institute, Blacksburg, Virginia, for the same children are found in Table V of this study, page 59. / M.S.

The mass media have been widely studied because of their pervasiveness and effect on society. The comic strips, as part of the newspaper, are widely read. By their very existence and pervasiveness they mold our culture. The purpose of this study was to examine marriage and the family and how it is portrayed in the comic strips. A historical overview of significant family comic strips was done using comic strip texts. A content analysis of contemporary family strips was also done. The strips were analyzed to determine how often demonstrated affection and/or abuse occurred. In addition, the strips were analyzed to determine the quality and quantity of parent-child, sibling, and husband-wife relationships. Two month samples of 15 different comic strips were analyzed. The comic strip family emerged as a stereotyped group that was white, lower-middle class, with a father who worked at a white collar job and a mother who was a housewife. The family included several school-aged or teen-aged children. Neither demonstrated affection nor abuse was found to occur often in comic strip families. Parent-child interactions and interactions among siblings were judged to be more positive than negative. Husband-wife interactions were more often negative than positive, although there was a wide variance among individual strips. Interactions about leisure time and its use occurred more often than any other category. Household tasks, food, finances, in-laws or parents, dress and health comprised the other major categories of interactions. / Master of Science

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.