archives@tulane.edu / Resumen: La presente investigación analiza el espacio periférico representado en la cultura visual y literatura argentinas y españolas del siglo XXI. A partir del estudio de narrativas contemporáneas ambientadas en Buenos Aires y en Barcelona, planteo como hipótesis principal que en estos espacios urbanos periféricos se produce una identidad cultural marginal con características identitarias propias y originales. Los productos culturales que se utilizan, en este trabajo, para analizar la representación del Gran Buenos Aires son la literatura de Leonardo Oyola y la novela gráfica de Ángel Mosquito, mientras que el espacio de la periferia de Barcelona es estudiado a partir de la literatura de Javier Pérez Andújar y el cine documental de Neus Ballús. De esta manera, propongo que estas obras presentan una narrativa de esos espacios periféricos marcadamente diferente a las oficiales, que permite presentarlos como lugares de memoria, resistencia y denuncia contra los sistemas capitalistas neoliberales contemporáneos. ABSTRACT This dissertation analyzes the peripheral space represented in the Argentine and Spanish visual culture and literature of the 21st century. Through the exhaustive study of contemporary narratives set in Buenos Aires and Barcelona, I propose the hypothesis that in these peripheral urban spaces a marginal cultural identity is produced with its own and original identitarian characteristics. The cultural products that I use in this work to analyze the representation of Greater Buenos Aires are the literature of Leonardo Oyola and a graphic novel by Ángel Mosquito, while the depiction of the outskirts of Barcelona is studied in the literature of Javier Pérez Andújar and a documentary film by Neus Ballús. Thus, I propose that these works offer a narrative of these peripheral spaces markedly different from the official ones, which allows them to be presented as places of memory, resistance and denunciation of the contemporary neoliberal capitalist systems. / 1 / Maria Ximena Venturini

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no / Raymond Pettibon's work sits uncomfortably in the world of comics or cartoons. Instead of jokes or punch-lines, his work promotes an intense form of narrative and exhibits a unique ‘illustrative-comic style’ (O'Connor, The Believer [online], 1995). His work emerged from and reflects upon underground pop culture (rock music, TV, films), and it is the dark side of humanity that his work explores. Pettibon says that he actually prefers writing to drawing and the importance of ‘texts’ can be seen in Raymond Pettibon: A Reader (1998, Philadelphia Museum of Art), a collection in which the written inspirations for his psycho-graphic style is clear. This paper examines how the disturbing subject of Charles Manson oozes into the consciousness of writers, artists and musicians, using Pettibon's work as a powerful case study of this weird phenomenon. Manson has haunted the art of our time; he typifies the way in which, as Pettibon acknowledges, ‘There are certain figures, without even my meaning to do it, that become subjects’ (O'Connor, The Believer [online], 1995). In his cartoons, Pettibon depicts Charles Manson in a variety of ways. This reflects the various multiple readings of Manson and his story evident since his trial and conviction in the late 1960s. Pettibon's links with the American music underground brought him in contact with Manson as a symbol. The media obsession with celebrity – especially ‘bad’ celebrities – is a powerful force which Pettibon addresses. In 1989, Pettibon even made a low-budget movie about Manson and his followers. It is a fascinating intersection of graphic art, music and murder which this paper opens up.

The field of writing studies has long inquired about how writers engage in individualized writing processes. As an extension of this inquiry, contemporary scholarship in writing studies began to study collaborative writing through the understanding of writing as a social act. Our understanding of writing processes and collaborative writing has expanded through studies of writing as it occurs in the academy, the workplace, and extracurricular settings. Still, to a large extent, inquiries about writing processes and collaborative writing activity centered on alphabetic texts and focused on writers. Rarely do studies engage"in addition to writers"artists and designers as authors in the collaborative writing process. Composing, as understood by scholars and teachers of writing, is changing due to technological shifts in media and yet, as a field, we have failed to question multimodal composing as an individual or collaborative process.<br />    To extend previous writing studies scholarship, this dissertation engages qualitative case study methodology to explore three unique multimodal collaborations of comics authors. As a visual rhetoric scholar with a personal focus on teaching students about composing in all media, I am drawn to asking questions about how arguments are composed using multimodal means. My personal and scholarly interest in comics led to inquiries about how comics are composed and initial research found that comics are often composed in collaboration, with writers and artists who with them carry multiple and varying literacies (alphabetic text, visual, spatial, etc.). Comics provide a rich subject of study to address this inquiry because of their inherently multimodal nature as a medium that incorporates both word and picture in diverse combinations and for a variety of rhetorical purposes. For this study, I have chosen to focus on comics texts that differ in terms of subject matter, genre, and collaborative makeup in order to examine multimodal collaborations and create distinct cases. Through three cases of multimodal collaboration"Understanding Rhetoric, the Cheo comics, and Brotherman: Dictator of Discipline"this study argues for a further complication of our field\'s understanding of writing processes and collaborative composing. / Ph. D.

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This thesis demonstrates that Doctor Strange comics incorporate established tropes of the fantastic canon while also incorporating postmodern techniques that modernize the genre. Strange's debut series, Strange Tales, begins this development of stylistic changes, but it still relies heavily on standard uses of the fantastic. The 2015 series, Doctor Strange, builds on the evolution of the fantastic apparent in its predecessor while evidencing an even stronger presence of the postmodern. Such use of postmodern strategies disrupts the suspension of disbelief on which popular fantasy often relies. To show this disruption and its effects, this thesis examines Strange Tales and Doctor Strange (2015) as they relate to the fantastic cornerstones of Tolkien's The Hobbit and The Lord of the Rings and Rowling's Harry Potter series. It begins by defining the genre of fantasy and the tenets of postmodernism, then it combines these definitions to explain the new genre of postmodern fantasy, or post-fantasy, which Doctor Strange comics develop. To show how these comics evolve the fantasy genre through applications of postmodernism, this thesis examines their use of otherworldliness and supernaturalism, as well as their characterization and narrative strategies, examining how these facets subvert our expectations of fantasy texts. / Master of Arts / This thesis analyzes the ways in which Doctor Strange comics use common features of popular fantastic texts while also drawing attention to them in ways traditional fantasy does not. In doing so, these comics create an environment for the reader which entertains through the use of fantastic devices but disrupts the escapist tendencies frequently encouraged by fantastic texts. Specifically, this thesis examines Doctor Strange’s 1963 debut in Stan Lee and Steve Ditko’s Strange Tales and the contemporary series Doctor Strange, begun in 2015, in comparison with Tolkien’s The Hobbit and The Lord of the Rings and J.K. Rowling’s Harry Potter series. In doing so, this thesis aims to show what tropes Doctor Strange comics borrow from these popular texts and how they change such tropes to revitalize the fantastic genre. The first chapter defines important terms and genres used throughout the thesis, including postmodernism, fantasy, and post-fantasy. The following chapters explore the changed ways in which Doctor Strange comics present expected features of the fantastic genre, specifically otherworldliness, the supernatural, character tropes of the hero and the villain, and narrative conventions. Each chapter also the effects these changes have on the comics as a whole and how these effects ultimately develop the fantastic by disrupting our expectations of it.

This thesis is a socio-cultural study of the development of female stand-up comedy in the first decade of the twenty-first century within a multi-racial and multi-cultural Britain. It also engages with the theory and practice of performance and asks the question: ‘In what ways can it be said that female stand-up comics perform the comic side of bodily abjection?’ This question is applied to three groups of female case-studies which include: those who came into stand-up comedy in the 1980s; second-generation transnationals who became established at the end of the twentieth century; and twenty-first century newcomers to stand-up comedy. This third group also includes the author of this thesis who uses her own embodied experience as research, and Lynne Parker whose Funny Women organization was set up in 2002 to facilitate female entry into stand-up comedy. Alongside these three groups the subject of females as audience of female stand-up comedy is also explored. The issue of bodily abjection is explored in relation to seminal works on abjection by Julia Kristeva (1982) and Mary Douglas (1966) and regarding theories of the grotesque as posited by Mikhail Bakhtin (1984) and Mary Russo (1995). These texts are used in this thesis to argue that abjection is a significant aspect of both the context and content of contemporary female stand-up comedy and that the orifices, surfaces and processes of the body are still pertinent to twenty-first century female stand-up comedy.

O Jornalismo em Quadrinhos (JQ) é uma forma relativamente recente de se fazer jornalismo, no entanto tem tradição e configuração próprias. A internet expande as possibilidades de produção e publicação do JQ, de modo que, no meio virtual, essas iniciativas se multiplicam. Essa pesqui-sa tem o objetivo de identificar e analisar os elementos que caracterizam o jornalismo em qua-drinhos na web através da experiência do site Cartoon Movement – um portal internacional, colaborativo e independente que publica cartuns políticos e jornalismo em quadrinhos. Para apreender o site de forma mais completa, nossa análise se configura em três esferas: institucio-nal, comercial e editorial. Para as duas primeiras, analisamos as principais seções com conteúdo não-jornalístico (Home, Newsroom, Cartoons, Comics e Projects); para a terceira, estabelece-mos um corpus para a análise de conteúdo a partir das reportagens em quadrinhos publicadas pelo CM. Nossos achados indicam que as principais características encontradas em nosso objeto - autonomia, defesa dos valores do jornalismo, multiplicidade de vozes, colaboração e interna-cionalização - são possibilitadas pela relação interdependente entre as esferas institucional, co-mercial e editorial na organização do site. / Comics Journalism (CJ) is a relatively recent way of reporting news, though it has its own tradi-tions and configuration. The Internet expands the possibilities of production and publication for CJ works, so that in virtual media these initiatives tend to multiply. This research aims to identi-fy and analyze the defining elements of online Comics Journalism through the Cartoon Move-ment (CM) website. CM is an international, independent and collaborative platform for the pub-lication of political cartoons and comics journalism. In order to better capture the website as a whole, our analysis is divided into three stages: the institutional, the commercial and the editori-al. The two first stages deal with the main sections of the site, Home, Newsroom, Cartoons, Comics and Projects; for the third one, we apply content analysis to the comics reports pub-lished on the website. Our findings indicate that the main characteristics observed in our object – independence, promotion of journalistic values, diversity of voices, collaborative prodution and internationalization – are only possible thanks to the interdependent relation between the editorial, the institutional and the commercial aspects in the organization of the website.

Founded as Educational Comics in 1944 and rebranding itself as Entertaining Comics a few years later, EC Comics would publish several comic book titles, such as Tales from the Crypt, and the magazine, Mad. While the success of these publications can be measured by a legacy of directors, writers, comedians, and others in the entertainment industry who describe EC's properties as an early inspiration for them, the company itself cannot be seen as equally successful in the business world. Though its publications have left permanent fingerprints on American popular culture, the company represents an interesting example of a company that never became 'big.' In short, EC provides an interesting contrast to standard narratives about entertainment companies and properties. With scholarship in this field typically analyzing how a company started off small and grew into a larger corporation, EC is an example of a company that started small and remained small as a subsidiary of a larger corporation. In addition to this dissertation functioning as a critical corporate biography of EC's evolution, it also examines how U.S. entertainment has changed as mass audiences have become increasingly fractured as new forms of entertainment technologies have emerged. Overall, this dissertation aims to show how standard humanities approaches to analyzing popular culture can be augmented by also investigating the business practices and work cultures that shaped an entertainment property.