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Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-16T20:24:37Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:24:13Z (GMT) No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-17T21:24:19Z (GMT). No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação analisa a adaptação do romance Heart of Darkness, de Joseph Conrad (2007), para o formato de graphic novel, publicada por Catherine Anyango e David Zane Mairowitz (CONRAD, 2010). A análise consiste no estudo da transição do foco narrativo, da personagem e do espaço do modo “contar” na narrativa literária para o modo “mostrar” e “contar” das graphic novels. Este trabalho de pesquisa aborda a adaptação como uma obra independente, uma recriação, conforme sugere Hutcheon (2013). A fim de explorar as similaridades entre a narrativa literária e a narrativa em graphic novel e verificar as transformações ocorridas no processo de adaptação, foram levados em consideração os estudos de Groensteen (2013; 2015) e outros autores da teoria literária e da teoria das graphic novels. A análise mostra que o trabalho de Anyango e Mairowitz recria, por meio do uso de recursos visuais e verbais, os aspectos centrais da narrativa de Heart of Darkness, destacando a história do período colonial do Congo através do acréscimo de fragmentos do relato autobiográfico presente em The Congo Diary e de elementos cartográficos, como os mapas do Rio Congo e da Colônia Belga no Congo. / This thesis analyzes the work published by Catherine Anyango and David Zane Mairowitz in 2010, which adapts Joseph Conrad’s novel Heart of Darkness (2007) into a graphic novel. The analysis of the transition of the narrative focus, characters and space from the literary narrative’s “telling mode” to graphic novel’s “telling” and “showing” modes. This research project addresses adaptation as an independent work, a recreation, as suggested by Hutcheon (2013). In order to explore the similarities between the literary narrative and the graphic novel and to verify the transformations taking place in the adaptation process, Groensteen’s (2013/ 2015) and other authors’ contributions to both literary and graphic novel theories were taken into account. The analysis shows that the work by Anyango and Mairowitz recreates through the use of both verbal and non-verbal resources the core aspects of Conrad’s novel, emphasizing the history of Congo’s colonial period by adding fragments of the autobiographical account found in The Congo Diary as well as cartographic elements such as maps of the Congo River and Belgian Congo.

Made available in DSpace on 2016-04-28T19:58:55Z (GMT). No. of bitstreams: 1 Damasio Marques da Silva.pdf: 9521068 bytes, checksum: 8bd0596e6aa06101ca23031f38d910af (MD5) Previous issue date: 2014-12-18 / Secretaria da Educação do Estado de São Paulo / The main objective of this thesis is the analysis of O Cheiro do Ralo (2002), the debut novel by the cartoonist Lourenço Mutarelli. The purpose is to understand the underground language in the hybrid structure within the form of the romance genre. We have made a discursive structural comparison between O Cheiro do Ralo and Rabelais's work, Gargantua (1985) and O terceiro livro dos fatos e ditos heróicos do bom Pantagruel (2006). We associate the marginal language represented by Mutarelli with the works of artists such as Renoir, Munch and Bosch, besides the musical art. All of them are understood as reading devices of the novel, and support the references or the appropriations made by the author in the process of framing the narrative. The contamination of these languages one each other is made by the voice of the implicit narrator. In addition, the selected theories of Bakhtin about plurilingualism and skaz support the research from the social discourse standpoint, and the critical work of Will Eisner (2010; 2013) sustains the entry of the author's voice through the current artwork, mainly, in the language of the graphic novel. It is the entrance of the language of comics, which allows the introduction of these artistic languages contained within the production of Mutarelli before his debut novel. The hypotheses assert that O Cheiro do Ralo is located at the threshold of the novel and the graphic novel, by transiting between the two genres without fixating on any of them. Whereas the underground language differs from the marginal language through certain artistic procedures, and through the recycling of other languages, such as the grotesque and the language of the streets. It is concluded that O Cheiro do Ralo stands as a mediating work of inclusion of the underground literature supported by the marginal one, which is, in turn, evidenced by the artistic imaginary. The cartoonist converges toward to the contemporary scripture in an original language that tells and shows as image and social voice in the Underground Literature / novela inaugural do cartunista Lourenço Mutarelli. O propósito é compreender a linguagem underground na estrutura híbrida dentro da forma do gênero romance. Nós fizemos uma comparação estrutural discursiva entre O Cheiro do Ralo e Gargantua (1985), do livro de Rabelais, e O terceiro livro dos fatos e os ditos heróicos do bom Pantagruel (2006). Associamos a linguagem marginal representada por Mutarelli com os trabalhos de artistas como Renoir, Munch e Bosch, além da arte musical. Todos eles são entendidos enquanto trabalhos de leitura do romance, e fundamentam as referências ou as apropriações feitas pelo autor no processo de estruturação da narrativa. A contaminação destas linguagens em cada uma delas é feita pela voz do narrador implícito. Além disso, as teorias selecionadas de Bakhtin sobre o plurilinguismo e o skaz fundamentam a pesquisa a partir do discurso social e o trabalho crítico de Will Eisner (2010;2013) sustenta a entrada da voz do autor através do trabalho artístico, principalmente, na linguagem da graphic novel. As hipóteses afirmam que O Cheiro do Ralo está localizado no limiar do romance e da grafic novel, transitando entre os dois gêneros sem fixar-se em nenhum deles. Ao mesmo tempo, a linguagem underground difere da linguagem marginal através de certos procedimentos artísticos, e da reciclagem de outras linguagens, como o grotesco e a linguagem das ruas. É conclusivo que O Cheiro do Ralo representa um trabalho mediador de inclusão da literatura underground amparado pela linguagem marginal, que é, por sua vez, evidenciado pelo imaginário artístico. O cartunista converge para a escritura contemporânea em uma linguagem original que "conta e mostra" enquanto imagem e voz social na Literatura Underground

Words on a page are insufficient vehicles for complex ideas. When images and words appear together on the page, as in comics, the process of meaning-making through narrative functions more efficiently. Building on this idea, we must establish a “graphic narratology” to understand the process whereby meaning is transmitted. Analysis of narratological conventions, as well as the conventions of mass-market comics, provides a framework for this new narratology.

At this exact moment, graphic novels are enjoying a heyday of popularity, profusion and attention. As the graphic novel medium matures and detaches itself from the “non-serious” reputation of comics, it is becoming clear that graphic novels are a powerful and effective art form, using the both verbal and the visual to relay their narratives. Portrait, the short graphic novel that is my senior art project, is intended to emphasize the artist’s book character of the graphic novel, and serve as an example of how a graphic novel’s artist’s book characteristics allow communication of the artist’s message effectively.

The purpose of this thesis was to study how journalism is represented in graphic novels, what roles are represented and if journalism in graphic novels is good or evil. The goal was also to see if there were any similarities or differences over a period of time. This was done with a qualitative analysis of two graphic novels written and drawn by Frank Miller. When we did the analysis we focused on pictures and texts that directly had a connection to the journalistic role. We used a semiotic approach to analyze the two graphic novels were our main focus where on what connotation, what denotation and what stereotypes could be found. This study establishes that stereotypes are used to represent journalism in a negative way. Journalists are also the cause of more harm than good. When you put journalism into the narrative technique of good versus evil they are clearly evil and use their power to undermine the heroes of the story. The journalists are put into stereotypical roles such as the female news reporter who is all looks and no brain, or the overzealous male reporter who tries to tell the truth but no one will listen to him. It is also clear that journalism is represented in a way that describes it as a phenomenon that spreads panic because the journalists in many cases come to their own conclusions without having all the facts. The study also shows that over a period of fifteen years the role of the journalist is the same but the way they are represented is very different.  Because of the larger rivalry from other news sources the media is forced to find new ways to attract an audience. Therefore the newer graphic novel portrays a sexualisation of the journalistic role.

"Icon," "representation," and "virtuality," are key elements to consider when reading multi-modal narratives, including graphic narratives. By considering in detail how these elements are realized in various examples, the author shows how the study of the comics can lay groundwork for critical reading across the technological continuum of storytelling.The author looks at how icon, representation, and virtuality interact in a reading of William Hogarth's A Harlot's Progress. He then examines each term in more detail through readings of a variety of graphic narratives including Max Ernst's, Une Semaine de Bonte, Winsor McCay's Little Nemo in Slumberland, Kurt Vonnegut's Breakfast of Champions, Craig Thompson's Blankets, Phoebe Gloeckner's Diary of a Teenage Girl, and Posy Simmonds's Gemma Bovery. The author distinguishes between two types of virtuality, internal and external, and ties the construction of virtuality to reader response theory. In exploring issues related to the icon, the author builds on Scott McCloud's conjecture that the iconic character is the means through which the reader inhabits the virtual space of the graphic story. The author advances the proposition that icons are metonymies and that graphic narratives are centered in metonymic, not metaphoric devices. He also undertakes a discussion of how icon operates within the expanding tradition of the "illustrated novel." Throughout the dissertation an attempt is made to express observation and analysis through continuous instead of binary descriptors in order to emphasize the cooperative rather than oppositional arrangements of word and image within the graphic narrative.The dissertation concludes with an extended examination of Will Eisner's contention that the use of stereotype is a necessity in graphic storytelling. Examples from Frederik Strömberg's Black Images in the Comics are used to test this theory and illustrate its consequences. The treatise finishes with an analysis of approaches to representation that avoid stereotypical treatment, are inclusive but sufficiently flexible to operate through caricature..These observations are applied to issues of characterization and representation in electronic gaming narrative. The author concludes that ethics, effectiveness, reputation and empathy are all compromised when artists resort to stereotypes.

This report is a chronicle of my research and design practice at The University of Texas at Austin in pursuit of the MFA in Design. It traces my interest in visual narrative, specifically in the component relationships evident in a close study of comics as they relate to questions of dimensionality and form. Key elements in this trajectory include the application of humor, sequential illustration, paper engineering and the adaptation of texts to works of visual and dimensional narrative. Along with a documentation of my working methods and experience, an appropriately distilled version of my extensive study of literature, comics, diorama, and pop-up books can be found in the following pages. / text