Thesis (Ph. D.)--Justus Liebig-Universität Giessen, 2006. / Includes bibliographical references and index.

Thesis (M.A. in English) -- University of Dayton. / Title from PDF t.p. (viewed 06/23/10). Advisor: James Boehnlein. Includes bibliographical references (p. 44-46). Available online via the OhioLINK ETD Center.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on Oct. 6, 2006). PDF text:190 p. ; 8.76Mb. UMI publication number: AAT 3213860. Includes bibliographical references. Also available in microfilm, microfiche and paper format.

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Made available in DSpace on 2015-06-17T19:33:41Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-09-30. Added 1 bitstream(s) on 2015-06-18T12:48:12Z : No. of bitstreams: 1 000819160.pdf: 13060839 bytes, checksum: 360cc1b3e93f9633052a4d4c1ac31d4b (MD5) / Pensando as histórias em quadrinhos enquanto veículo de comunicação de massa, cuja história moderna atravessou por todo século XX até chegar à contemporaneidade, mantendo sua linguagem quase que inalterada, é possível inferir sobre a grande força do meio e, consequentemente, grande impacto das representações que elas criam com quem circulam pela sociedade. A proposta desse trabalho é discutir quais são as identidades do negro nas histórias em quadrinhos americanas da editora Marvel Comics publicadas no Brasil. Temos por hipótese o quanto tais representações podem criar identificação com modelo de conformidade ou reforçar preconceitos por meio dos estereótipos clássicos de minoria racial nos Estados Unidos. A metodologia aplicada é a junção de dois campos, a semiótica aplicada é a junção de dois campos: a semiótica de matriz pierciana, enquanto técnica de pesquisa, responsável por dar relevo às representações e a seus argumentos, bem como a sociologia, a qual se valeu das noções de cultura e identidade explorados por Stuart Hall e Anthony Giddens para as análises dos resultados. A amostra parte de uma coleção de revistas da Marvel Comics publicadas no Brasil pela Panini, no período de 01 de julho a 31 de dezembro de 2011, adquiridas nas bandas e lojas especializadas, perfazendo 76 revistas, com 252 histórias analisadas em que foram identificadas 1370 participações relevantes dos personagens, dessas apenas 75, ou seja, 5,47% foram geridas por negros, demonstrando uma baixa representatividade. Essa percentagem constitui de fato o recorte que é o corpus da pesquisa. Nele, identificamos 16 personagens negros relevantes que, poderiam ser agrupados em 5 modelos possíveis de identidades, muitas das quais alinhadas aos demais campos como cinema e música. Por conclusão, podemos dizer que os dois personagens que se alinham com modelos positivos e mais polifônicos são Tempestade e Luke Cage. Contudo a... / Thinking of the comicsas a vehicle of mass communication, whose modern history crossed through all twentieth century until contemporary times, keeping his language almost unchanged, it is possible to infer about the great strength of the medium and, consequently, the large impacts of the representations it creates and circulates through society by then. The purpose of this paper is to discuss the identities of the black American in the comics of Marvel Comics, published in Brazil. We have as hypothesis, how such representations can create identification with models of conformity or reinforce prejudicies through the classic stereotypes of racional minority in the United States. We have applied as methodology a junction of two fields; a Pierce's semiotic matrix, as a research technique to reveal the representations and their arguments, as well as sociology, which drew on the notions of culture and identity explored by Stuart Hall and Anthony Giddens for analysis of results. The samples comes from Marvel Comics magazines published by Panini, in the period from July 1 to December, 2011, in a collection purchased at news stands and specialized shops. Totaling 76 magazines, with 252 analyzed stories which form identified significant shareholdings of 1370 characters, among these only 75, or 5,47% were managed by blacks, demonstrating a low representation. This percentage is actually the remnant which is the research corpus. 16 black important chacters were identified, those would be grouped into five possible models of identities many of them are related to other fields such as cinema and music. As a whole, we can say thay the two characters that are compared to positive models and are more polyphonic, are Storm and Luke Cage. However, the low representativeness and excess characterization make comics analyzed at, a very fertile field identification by the Brazilian public

Orientador: Claudio Bertolli Filho / Banca: Maximiliano Martin Vicente / Banca: Waldomiro de Castro Santos Vergueiro / Resumo: Pensando as histórias em quadrinhos enquanto veículo de comunicação de massa, cuja história moderna atravessou por todo século XX até chegar à contemporaneidade, mantendo sua linguagem quase que inalterada, é possível inferir sobre a grande força do meio e, consequentemente, grande impacto das representações que elas criam com quem circulam pela sociedade. A proposta desse trabalho é discutir quais são as identidades do negro nas histórias em quadrinhos americanas da editora Marvel Comics publicadas no Brasil. Temos por hipótese o quanto tais representações podem criar identificação com modelo de conformidade ou reforçar preconceitos por meio dos estereótipos clássicos de minoria racial nos Estados Unidos. A metodologia aplicada é a junção de dois campos, a semiótica aplicada é a junção de dois campos: a semiótica de matriz pierciana, enquanto técnica de pesquisa, responsável por dar relevo às representações e a seus argumentos, bem como a sociologia, a qual se valeu das noções de cultura e identidade explorados por Stuart Hall e Anthony Giddens para as análises dos resultados. A amostra parte de uma coleção de revistas da Marvel Comics publicadas no Brasil pela Panini, no período de 01 de julho a 31 de dezembro de 2011, adquiridas nas bandas e lojas especializadas, perfazendo 76 revistas, com 252 histórias analisadas em que foram identificadas 1370 participações relevantes dos personagens, dessas apenas 75, ou seja, 5,47% foram geridas por negros, demonstrando uma baixa representatividade. Essa percentagem constitui de fato o recorte que é o corpus da pesquisa. Nele, identificamos 16 personagens negros relevantes que, poderiam ser agrupados em 5 modelos possíveis de identidades, muitas das quais alinhadas aos demais campos como cinema e música. Por conclusão, podemos dizer que os dois personagens que se alinham com modelos positivos e mais polifônicos são Tempestade e Luke Cage. Contudo a... / Abstract: Thinking of the comicsas a vehicle of mass communication, whose modern history crossed through all twentieth century until contemporary times, keeping his language almost unchanged, it is possible to infer about the great strength of the medium and, consequently, the large impacts of the representations it creates and circulates through society by then. The purpose of this paper is to discuss the identities of the black American in the comics of Marvel Comics, published in Brazil. We have as hypothesis, how such representations can create identification with models of conformity or reinforce prejudicies through the classic stereotypes of racional minority in the United States. We have applied as methodology a junction of two fields; a Pierce's semiotic matrix, as a research technique to reveal the representations and their arguments, as well as sociology, which drew on the notions of culture and identity explored by Stuart Hall and Anthony Giddens for analysis of results. The samples comes from Marvel Comics magazines published by Panini, in the period from July 1 to December, 2011, in a collection purchased at news stands and specialized shops. Totaling 76 magazines, with 252 analyzed stories which form identified significant shareholdings of 1370 characters, among these only 75, or 5,47% were managed by blacks, demonstrating a low representation. This percentage is actually the remnant which is the research corpus. 16 black important chacters were identified, those would be grouped into five possible models of identities many of them are related to other fields such as cinema and music. As a whole, we can say thay the two characters that are compared to positive models and are more polyphonic, are Storm and Luke Cage. However, the low representativeness and excess characterization make comics analyzed at, a very fertile field identification by the Brazilian public / Mestre

In a critical analysis of several independantly produced South African comics of the 1980s and early 1990s, close analysis of the comics leads to an assessment of the artists'intentions and purposes. Discussion of the artists' sources focuses on definitions of different types of comics. What is defined as a comic is usually what has been produced under that definition, and these comics are positioned somewhere between the popular and fine art contexts. As the artists are amateurs, the mechanical structure of comics is exposed through their skill in manipulating, and their initial ignorance of, many comic conventions. By comparison to one another, and to the standard format of commercial comics, some explanation of how a comic works can be reached. The element of closure, bridging the gaps between frames, is unique to comics, and is the most important consideration. Comic artists work with the intangible, creating from static elements an illusion of motion. If the artist deals primarily with what is on the page rather than what is not, the comic remains static. Questions of quality are reliant on the skill with which closure is implemented. The art students who produced these comics are of a generation for whom popular culture is the dominant culture, and they create for an audience of peers. Their cultural milieu is more visual than verbal, and often more media oriented than that of their teachers. They must integrate a fine art training and understanding into the preset rules of a commercial medium. Confronted with the problem of a separation of languages, they evolve a new dialect. Through comparative and critical analyses I will show how this dialect differs from the language of conventional comics, attempting in particular to explain how the mechanics of the cornie medium can limit or expand its communicative potential.

This study is made to determine any educational values to be derived from the use of the comics. The problem shall be to show (1) what those values are, (2) how they shall be attained, and (3) which comics are best suited to aid in the attainment of those values, as shown by the data to be assembled.

姚偉雄. / "2002年7月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 419) / 附中英文摘要. / "2002 nian 7 yue" / Yao Weixiong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 419) / Fu Zhong Ying wen zhai yao. / Chapter 上卷 --- (正文) / 導論 --- p.1 / Chapter I. --- 批判漫畫批判 --- p.1 / Chapter II. --- 《龍虎門》是什麼？ --- p.5 / Chapter III --- .尋找香港文化一尋找香港文化結構 --- p.9 / Chapter IV --- .如何閱讀〈分析三部曲〉？ --- p.11 / 文獻回顧 --- p.14 / Chapter I. --- 漫畫在學術研究的窘困 --- p.14 / Chapter II. --- 重申文本分析：兩種主流文獻之間的空隙 --- p.17 / Chapter III. --- 漫畫研究在香港一忽視文本所產生的問題 --- p.22 / Chapter IV. --- 由「意識」到「無意識」的新路線 --- p.29 / 方法論 --- p.39 / Chapter 第一節 --- 必須研究流行文化的「無意識」層面 --- p.39 / Chapter 第三節 --- 李維史陀與巴特：神話學的「虎鶴雙形拳」 --- p.49 / Chapter 第三節 --- 文本符號研究詳述 --- p.66 / 分析部份 --- p.76 / （前傳） / 《龍虎門》的世界觀 --- p.76 / Chapter I. --- 結構層次上的世界觀 --- p.76 / Chapter II. --- 「穩定」的五六十時代世界 --- p.77 / Chapter III. --- 黑´ؤ白´ؤ灰：不穩定的六七十時代世界 --- p.78 / Chapter IV. --- 動蕩中的「社會觀」：由大染缸中向上流動到「小流氓」起源神話 --- p.80 / Chapter V. --- 「江湖觀」´Ø「全球觀」的奇妙邏輯：從獨行俠到群英會的功夫歷險延績 --- p.86 / Chapter VI. --- 小結 --- p.93 / 〈首部曲〉 / 龍虎群英與香港的文化想像：不在地組織的在地投射 --- p.94 / Chapter I. --- 不是小夾縫，而是大夾心：「黑一灰一白」三角形 --- p.96 / Chapter II. --- 《小流氓》時期的命名模式一正/邪人物的符號任意性 --- p.100 / Chapter III. --- 《龍虎門》時期：由外地建構在地 --- p.109 / Chapter IV. --- 小結：Big Mac雙層夾心結構與開放社會 --- p.122 / 〈二部曲〉 / 被社會壓抑的尚武思維：漫畫《龍虎門》的技擊符號結構 --- p.125 / Chapter I. --- 肉搏.赤膊一獷悍「公仔」的時代意義 --- p.127 / Chapter II. --- 武勇歷險的基本圖式 --- p.129 / Chapter III. --- 經過深思的拳來腳往：功夫語言系統初探 --- p.135 / Chapter IV. --- 象形拳術與理性的平民抗暴 --- p.138 / Chapter V. --- 鐵鑽、電鑽、毒龍鑽一科技的異化與拿捏 --- p.141 / Chapter VI. --- 小結：由功夫英雄到驟變社會的兩難式 --- p.151 / 〈二部曲〉附圖集 --- p.154 / 〈三部曲〉 / 群雄殉道錄：社會的定型與現代武勇理念式微 --- p.165 / Chapter I. --- 八十年代一群雄義勇模式之失落 --- p.167 / Chapter II. --- 孤星宿命論令世界觀逆動 --- p.173 / Chapter III. --- 小結：電視´Ø電影´Ø漫畫的連環透視 --- p.180 / 〈三部曲〉附圖集 --- p.189 / 結論 --- p.194 / Chapter I. --- 倒後的瀏覽 --- p.194 / Chapter II. --- 從文化「無意識」探出社會新浪潮的「內情」 --- p.196 / Chapter III. --- 一種對流行文化的態度 --- p.198 / Chapter IV. --- 王小虎，你為何不死？ --- p.201 / 參考書目 --- p.205 / Chapter 下卷 --- (附錄專輯：《龍虎門》故事簡介) / 龍虎門故事簡介 --- p.215 / 形式解說 --- p.216 / 《小流氓》時期 --- p.218 / 小流氓的起源 --- p.219 / 第1至37期：降龍十八腿的傳授 --- p.221 / 第38至66期：十字追魂棍的發明 --- p.228 / 第67至73期：李小龍之死 --- p.233 / 第74至78期：王家恩仇 --- p.236 / 第79至98期：羅刹教第一役(上） --- p.239 / 《龍虎門》時期 --- p.247 / 羅刹教系列(羅刹教第一役(下)） --- p.247 / 第99至148期：金銀銅鐵四大護法 --- p.248 / 羅刹教系列(羅刹教第二役） --- p.255 / 第149至174期：香港大毒梟 --- p.256 / 第175至203期：五毒門 --- p.261 / 第204至217期：自創雷電神腿 --- p.270 / 第218至233期：天下武功出少林 --- p.277 / 第234至245期：棍妖´Ø瘋妖 --- p.286 / 第245至261期：新四大護法 --- p.293 / 第262至279期：右密使黑鷹 --- p.303 / 第280至304期：左密使白鷲 --- p.314 / 第305至319期：逍遙派 --- p.329 / 第320至337期：宇內三痴 --- p.338 / 白蓮教系列 --- p.346 / 第475至478期：〈白蓮教終結篇> --- p.347 / 羅刹教系列(羅刹教第三役） --- p.356 / 第561至571期：〈羅刹教終結篇〉 --- p.357 / 通天教系列 --- p.365 / 第572至590期：〈捕虎擒龍篇〉 --- p.366 / 第591至600期：〈閻王索命篇〉 --- p.375 / 第601至615期：〈殲歿閻王篇〉 --- p.378 / 第616至635期：〈叛變〉 --- p.382 / 第635至645期：〈虎威〉 --- p.392 / 第646至655期：〈東山復出〉 --- p.395 / 第656至665期：〈冤家路窄〉 --- p.399 / 老祖宗系列 --- p.403 / 第702至711期：〈死神無敵篇〉 --- p.404 / 第900至905期：聚龍一擊.神話破滅 --- p.408 / 第1012至1015期：殺性回歸.身世之謎 --- p.414 / 參考資料 --- p.419

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 240-250).