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The imagined life of an Otaku collector, or to be a Cosplay star a thesis/dissertation submitted to Auckland University of Technology in partial fulfilment [sic] of the requirements for the degree of Master of Art and Design, 2008 /Watts, Mark Leonard. January 2008 (has links)
Thesis (MA--Art and Design)--AUT University, 2008. / Copyrighted images have been removed from electronic version. Includes bibliographical references. Also held in print ( leaves : ill. ; 30 cm.) in the City Campus Theses Collection (T 709.2 WAT)
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Subterranean Dissent in the Okefenokee Swamp: The Life and Politics of Walt Kelly's 1950s POGOBlack, James E, Dr. 07 December 2012 (has links)
The purpose of this study is to analyze how and why Kelly initially began interjecting political satire into his comic strip Pogo and how he was able to avoid being blacklisted during the time of the Red Scare. The scope of this study includes a history of the medium, a biography of the author, and a discussion of humor as a means of dissent and personal artistry. The methodology uses both historical documentation and semiotic analysis of Kelly’s work from high school, the Disney studios, The New York Star and Pogo. Case studies include gender racial, and political analysis. The findings resulted from an analysis of the archive. Conclusions reached were that Kelly’s work created a new form of political dissent that was less satirical than editorial cartoons of the day and more directed toward the enjoyment of the reader rather than at any political affiliation, a form of comedic writing that continues to be used today in such forms as the Daily Show, Colbert Report and Saturday Night Live. This new form of political satire is important to journalistic studies since it reveals a theme of parrhesia, a Socratic term for speaking truth to power, that was further developed in the twentieth century by Star columnist I. F. Stone and French philosopher Michel Foucault. The primary limitation of this study was that Pogo was an extremely personal work, one that could not be duplicated by others successfully after the author died.
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Spandex cinema : three approaches to comic book film adaptation /Smith, Benjamin. January 2009 (has links) (PDF)
Thesis (M.A.), English--University of Central Oklahoma, 2009. / Includes bibliographical references (leaves 65-68). Filmography: leaves 69-70.
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Narrativas em Libras: análise de processos cognitivos / Narratives in Libras: analysis of cognitive processesValeria Fernandes Nunes 10 January 2014 (has links)
Palavras ou expressões produzidas em línguas de sinais são conhecidas como sinais. Línguas de sinais são produzidas especificamente em forma visual e o significado dos sinais pode ser compreendido por meio da relação com recursos visuais, do usuário com o mundo e com o corpo. Este estudo, com base na Linguística Cognitiva, propõe-se a analisar essas relações em sinais da Língua Brasileira de Sinais (Libras), produzidos por dez surdos ao narrarem a história em quadrinhos Não chora que eu dou um jeito da Turma da Mônica. Os processos cognitivos foram analisados à luz da gramática cognitiva (LANGACKER, 2008), da corporificação (LAKOFF; JOHNSON, 1980), da metonímia conceptual (LAKOFF; JOHNSON, 2003; EVANS; GREEN, 2006; KÖVECSES, 2010), da categorização (CROFT; CRUSE, 2004; Rosch apud FERRARI, 2011), da iconicidade cognitiva (WILCOX, 2000; QUADROS, 2004; WILCOX, 2004) e da mescla em espaço real (FAUCONNIER; TURNER, 1996, 2003; LIDDELL, 2003; SHAFFER, 2012; DUDIS apud SHAFFER, 2012). Constatou-se que alguns sinais produzidos apresentaram conceptualização de base icônica. A partir dessa fundamentação, postulou-se que esses sinais poderiam receber a seguinte categorização: icônicos (BOLA e CAIXA); icônico metonímicos (INES e CASA); icônico metonímico corporificados (MONICA e CHORAR). Por meio dessa classificação, propôs-se também a categorização de nomes e verbos pessoais. Outro processo cognitivo investigado foi a mescla em espaço real, constatada em seis das dez narrativas, como um recurso cognitivo acionado para expor ao interlocutor a troca de turnos dos participantes da narração. Tendo em vista que esses sinais foram encontrados em narrativas, analisam-se etapas da narrativa (LABOV apud FIGUEIREDO, 2009) e a estrutura das histórias em quadrinhos (SILVA, 2001; SOUZA, 2013). Verificou-se que não houve narrativa com todas as etapas de Labov. Assim, por meio de uma investigação inicial, esta pesquisa fornece questionamentos acerca dos processos cognitivos acionados na produção de sinais da Libras nas narrativas pesquisadas / Words or expressions produced in sign languages are known as signs . Sign languages are produced specifically in visual form and signs meaning can be understood through the relationship with visual space, the signers relationship with the world and with the body. This study, based on Cognitive Linguistics, proposes to examine these relationships in signs of Brazilian Sign Language Libras, which were produced by ten deaf when narrating Turma da Mônica comic strip Não chora que eu dou um jeito. Cognitive processes were analyzed according to cognitive grammar (LANGACKER, 2008) , embodiment (LAKOFF; JOHNSON, 1980) , conceptual metonymy (LAKOFF; JOHNSON, 2003; EVANS; GREEN, 2006; KÖVECSES, 2010), categorization (CROFT; CRUSE, 2004; ROSCH apud FERRARI, 2011) , cognitive iconicity (WILCOX, 2000; QUADROS, 2004; WILCOX, 2004) and real space blend (FAUCONNIER; TURNER, 1996, 2003; LIDDELL, 2003; SHAFFER, 2012; DUDIS apud SHAFFER, 2012). It was found that some signs produced had an iconic relationship. From this reasoning, it was postulated that these signs could receive the following categorization: iconic signs (BOLA and CAIXA); iconic metonymic signs (CASA and INES); iconic metonymic embodied signs (MONICA e CHORAR). Through this classification, it was also proposed the categorization of personal nouns and verbs. Another cognitive process investigated was real space blend, found in six of the ten narratives, as a cognitive resource used to expose the receiver the differences between participants narration. These signs were removed from narratives, therefore stages of the narrative (LABOV apud FIGUEIREDO, 2009) and structure of comics ( SILVA, 2001; SOUZA, 2013 ) were analyzed. It was found that there wasnt a narrative with all Labovs stages, but narrations with some of those stages. Thus, by an initial investigation, this research provides questions about the cognitive processes used to produce signs of Libras in narratives
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Narrativas em Libras: análise de processos cognitivos / Narratives in Libras: analysis of cognitive processesValeria Fernandes Nunes 10 January 2014 (has links)
Palavras ou expressões produzidas em línguas de sinais são conhecidas como sinais. Línguas de sinais são produzidas especificamente em forma visual e o significado dos sinais pode ser compreendido por meio da relação com recursos visuais, do usuário com o mundo e com o corpo. Este estudo, com base na Linguística Cognitiva, propõe-se a analisar essas relações em sinais da Língua Brasileira de Sinais (Libras), produzidos por dez surdos ao narrarem a história em quadrinhos Não chora que eu dou um jeito da Turma da Mônica. Os processos cognitivos foram analisados à luz da gramática cognitiva (LANGACKER, 2008), da corporificação (LAKOFF; JOHNSON, 1980), da metonímia conceptual (LAKOFF; JOHNSON, 2003; EVANS; GREEN, 2006; KÖVECSES, 2010), da categorização (CROFT; CRUSE, 2004; Rosch apud FERRARI, 2011), da iconicidade cognitiva (WILCOX, 2000; QUADROS, 2004; WILCOX, 2004) e da mescla em espaço real (FAUCONNIER; TURNER, 1996, 2003; LIDDELL, 2003; SHAFFER, 2012; DUDIS apud SHAFFER, 2012). Constatou-se que alguns sinais produzidos apresentaram conceptualização de base icônica. A partir dessa fundamentação, postulou-se que esses sinais poderiam receber a seguinte categorização: icônicos (BOLA e CAIXA); icônico metonímicos (INES e CASA); icônico metonímico corporificados (MONICA e CHORAR). Por meio dessa classificação, propôs-se também a categorização de nomes e verbos pessoais. Outro processo cognitivo investigado foi a mescla em espaço real, constatada em seis das dez narrativas, como um recurso cognitivo acionado para expor ao interlocutor a troca de turnos dos participantes da narração. Tendo em vista que esses sinais foram encontrados em narrativas, analisam-se etapas da narrativa (LABOV apud FIGUEIREDO, 2009) e a estrutura das histórias em quadrinhos (SILVA, 2001; SOUZA, 2013). Verificou-se que não houve narrativa com todas as etapas de Labov. Assim, por meio de uma investigação inicial, esta pesquisa fornece questionamentos acerca dos processos cognitivos acionados na produção de sinais da Libras nas narrativas pesquisadas / Words or expressions produced in sign languages are known as signs . Sign languages are produced specifically in visual form and signs meaning can be understood through the relationship with visual space, the signers relationship with the world and with the body. This study, based on Cognitive Linguistics, proposes to examine these relationships in signs of Brazilian Sign Language Libras, which were produced by ten deaf when narrating Turma da Mônica comic strip Não chora que eu dou um jeito. Cognitive processes were analyzed according to cognitive grammar (LANGACKER, 2008) , embodiment (LAKOFF; JOHNSON, 1980) , conceptual metonymy (LAKOFF; JOHNSON, 2003; EVANS; GREEN, 2006; KÖVECSES, 2010), categorization (CROFT; CRUSE, 2004; ROSCH apud FERRARI, 2011) , cognitive iconicity (WILCOX, 2000; QUADROS, 2004; WILCOX, 2004) and real space blend (FAUCONNIER; TURNER, 1996, 2003; LIDDELL, 2003; SHAFFER, 2012; DUDIS apud SHAFFER, 2012). It was found that some signs produced had an iconic relationship. From this reasoning, it was postulated that these signs could receive the following categorization: iconic signs (BOLA and CAIXA); iconic metonymic signs (CASA and INES); iconic metonymic embodied signs (MONICA e CHORAR). Through this classification, it was also proposed the categorization of personal nouns and verbs. Another cognitive process investigated was real space blend, found in six of the ten narratives, as a cognitive resource used to expose the receiver the differences between participants narration. These signs were removed from narratives, therefore stages of the narrative (LABOV apud FIGUEIREDO, 2009) and structure of comics ( SILVA, 2001; SOUZA, 2013 ) were analyzed. It was found that there wasnt a narrative with all Labovs stages, but narrations with some of those stages. Thus, by an initial investigation, this research provides questions about the cognitive processes used to produce signs of Libras in narratives
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La bande dessinée au siècle de Rodolphe Töpffer : catalogue commenté des albums et feuilletons publiés à Paris et à Genève, de 1835 à 1905 / The comic strip in the century of Rodolphe Töpffer : catalogue commented by albums and serials published in Paris and in Geneva, from 1835 till 1905Filliot, Camille 23 September 2011 (has links)
Cette thèse a pour objectif premier de dresser un inventaire des albums et des feuilletons de bande dessinée publiés à Paris et à Genève, à partir des « histoires en estampes » de Rodolphe Töpffer jusqu’aux séquences de Christophe publiées dans Le Petit Français illustré. L’établissement du catalogue amène à élargir le cadre initial de la recherche pour aborder diverses formes de récits en images que voit se développer le XIXe siècle. À partir de là, il s’agit d’envisager la bande dessinée à travers ses principaux supports éditoriaux (l’album et la presse illustrée, mais aussi l’imagerie populaire représentée par la collection de la maison d’édition fondée par Albert Quantin), et de comprendre en quoi le dispositif de diffusion influe sur le medium en devenir. Une mise en relation de ces différentes formes s’attache ensuite à définir les langages de la bande dessinée : les usages faits de l’image et du texte, les thématiques privilégiées et notamment la teneur parodique des œuvres. La bande dessinée est ainsi placée dans l’évolution des poétiques et de l’expression visuelle, dans l’histoire de l’imprimé et des média. / This thesis has for first goal to make an inventory of the albums and serials of comic strip published in Paris and in Geneva from Rodolphe Töpffer’s “stories in prints” up to Christophe's sequences printed in The Small illustrated Frenchman. Once the catalogue established it becomes possible to widen the initial framework of the research and approach the different forms of narratives in images that develop during the XIXth century. From there, the comic strip can be studied through its main editorial supports (the album and the illustrated press, but also the popular imaging represented by the collection of the publishing house established by Albert Quantin), and one can understand in which way the modes of dissemination influence the progress of the medium. It gets thus easier to define the languages of the comic strip: the manners images and texts intertwin, the main themes and in particular the continuous parodic mood of the works. The comic strip eventually finds its place in the evolution of the literary and visual expressions as well as in the history of printing and of the media.
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From indoctrination to heteroglossia the changing rhetorical function of the comic book superhero /Ehritz, Andrew A. January 2006 (has links)
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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Lire Quino : poétique des formes brèves de la littérature dessinée dans la presse argentine (1954-1976) / Reading Quino : poetics of drawn literature brief forms in argentinian presse (1954-1976)Latxague, Claire 29 November 2011 (has links)
De 1954 à 1976, l'œuvre de Quino paraît essentiellement dans la presse argentine. Très vite, l'humoriste est reconnu de la profession et rejoint les pages de quelques-uns des plus grands périodiques d'humour et d'actualité de l'époque. S'adaptant à différentes lignes éditoriales, il explore plusieurs courants comiques, du burlesque à l'absurde, en passant par la satire d'une société en crise. Le rythme de publication soutenu et la variété des formes employées par l'humoriste – strip, planche et dessin unique – sont propices à l'élaboration d'une poétique de la brièveté. L'œuvre de Quino se construit dans une dynamique de répétition et de variation qui revisite la tradition du dessin humoristique de presse et thématise les conditions de sa création / From 1954 to 1976, Quino's work is essentially published in argentinian press. The humorist is very soon acknowledged by his profession and joins the pages of some of the most important journals and magazines of humor and information at this time. Adapting his creation to different editorial lines, he explores several forms of comic, from slapstick to absurdity, and even the satirizing of a society in crisis. His intense rhythm of publication and the diversity of forms used by the humorist – strip, page and cartoon – are favorable to elaborate a poetics of briefness. Quino's work is elaborated in a dynamics of repetition and variation which revisits graphic humor tradition and thematizes the conditions of his creation. / De 1954 a 1976, la obra de Quino se publica principalmente en la prensa argentina. Muy pronto, el humorista recibe el reconocimiento de los profesionales del humor y accede a las páginas de algunos de los periódicos y revistas de humor y de actualidad más importantes de la época. Al adaptarse a diversas líneas editoriales, explora varias formas de comicidad, del burlesco al absurdo, pasando por la sátira de una sociedad en crisis. El ritmo de publicación intenso y la diversidad de formas empleadas por el humorista – tira, página y dibujo único – son propicios para elaborar una poética de la brevedad. La obra de Quino se construye en una dinámica de repetición y variación que revisita la tradición del humor gráfico y tematiza las condiciones de su creación.
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A cultura em quadrinhos: um estudo sobre as tiras cômicas em livros didáticos de espanhol para o ensino médio / Culture in comics: a study of comic strips in Spanish textbooks for high schoolAgarie, Bianca 13 March 2017 (has links)
Ao longo de nossa trajetória como professora de língua espanhola, deparamo-nos com diversas dificuldades, entre elas a escolha de materiais didáticos adequados ao nosso público e contexto de ensino. Nesse sentido, uma de nossas maiores preocupações é a relação entre língua e cultura, visto que, muitas vezes, nesses materiais, elas se encontram dissociadas. Como os indivíduos se comunicam por meio dos gêneros discursivos e, assim, estabelecem uma interconexão da linguagem com a vida social (FIORIN, 2006, p. 61), entendemos que essas formas ou tipos de enunciados relativamente estáveis (BAKHTIN, 2003) são importantes para conhecer o contexto sociocultural da língua meta. Uma das formas por meio das quais os sujeitos estabelecem relações e expressam crenças e opiniões é a tira cômica, objeto de nosso estudo, pois, se por um lado ela aparenta simplicidade pela proximidade com a oralidade e pelo uso de imagens que facilitam o entendimento, por outro, ressalta a sua dificuldade pela interpretação da intersecção do verbal e do visual e que implicam, normalmente, a recorrência a referências como o contexto de produção e o conhecimento dos elementos que integram a linguagem dos quadrinhos, os quais podem compor-se não somente por uma sequência predominantemente narrativa, mas também pela conversacional-dialogal ou pela argumentativa (SILVEIRA, 2003). Dada a potencialidade que o estudo com esse gênero tem para estimular a reflexão crítica do alunado, pautada pelos multiletramentos, analisamos a presença de aspectos culturais nas propostas que fazem uso das tiras cômicas em dois livros didáticos de espanhol selecionados pelo Programa Nacional do Livro Didático de 2012 e 2015, a saber, Síntesis: curso de lengua española (MARTIN, 2011, 2011a, 2011b) e Cercanía Joven (COIMBRA; CHAVES; BARCIA, 2013, 2013a, 2013b). Para fundamentar este trabalho, estudamos o termo cultura (THOMPSON, 1995; CUCHE, 1999; EAGLETON, 2005; BOAS, 2010) a fim de evidenciar como esse conceito está presente no ensino e aprendizagem de línguas. Em seguida, aprofundamo-nos na concepção, características e papel das tiras cômicas (EGUTI, 2001; SILVA JUNIOR, 2004; RAMOS, 2007, 2011; CAGNIN, 2014) com o intuito de situá-las no contexto educacional e compreendê-las melhor para afastá-las de terminologias equivocadas. Nossa pesquisa, de cunho exploratório e bibliográfico, abarcou tanto dados quantitativos, coletados nos LD e organizados em gráficos e quadros, quanto qualitativos, os quais, com base na Análise de Conteúdo (FRANCO, 2012), possibilitaram a inferência de crenças, valores e ideologias dos autores das obras didáticas selecionadas. Concluímos que a maioria das atividades incluídas nos manuais se pauta em atividades de compreensão, que, em geral, buscam a exploração de informações explícitas dos textos e cujo principal objetivo é a ilustração de um item gramatical. Isso posto, confiamos que as discussões apresentadas servirão para estimular a reflexão crítica de autores e editores de livros didáticos, com vistas à exploração da potencialidade da tira cômica, principalmente no que concerne ao aspecto cultural, e também de professores e alunos para que ambos possam desenvolver maior criticidade em relação ao seu objeto de estudo. / Throughout our history as a Spanish language teacher, we are faced with several difficulties, among them the choice of teaching materials appropriate to our public and teaching context. In this sense, one of our major concerns is the relationship between language and culture, since in these materials they are often dissociated. As individuals communicate through discursive genres and thus establish an \"interconnection of language with social life\" (FIORIN, 2006, 61), we understand that these relatively stable forms or types of utterances (BAKHTIN, 2003) are important to know the socio-cultural context of the target language. One of the ways in which subjects establish relationships and express beliefs and opinions is the comic strip, object of our study, because, on the one hand, it seems simple by its proximity to orality and by the use of images that facilitate the understanding; on the other , emphasizes its difficulty in interpreting the intersection of verbal and visual and which usually imply the recurrence to references such as the context of production and knowledge of the elements that integrate the language of comics, which may be composed not only of a predominantly narrative sequence, but also by conversational-dialogal or argumentative sequence (SILVEIRA, 2003). Given the potential that the study with this genre has to stimulate the critical reflection of the student, guided by the multiliteracies, we analyze the presence of cultural aspects in the proposals that make use of the comic strips in two Spanish textbooks selected by the Programa Nacional do Livro Didático of 2012 and 2015, namely, Síntesis: curso de lengua española (MARTIN, 2011, 2011a, 2011b) and Cercanía Joven (COIMBRA, CHAVES, BARCIA, 2013, 2013a, 2013b). In order to substantiate this work, we study the term culture (THOMPSON, 1995; CUCHE, 1999; EAGLETON, 2005; BOAS, 2010) so as to show how this concept is present in language teaching and learning. Afterwards, we delve into the concept, characteristics and role of comic strips (EGUTI, 2001; SILVA JUNIOR, 2004; RAMOS, 2007, 2011; CAGNIN, 2014) in order to situate them in the educational context and better understand them away from the wrong terminology. Our exploratory and bibliographical research encompassed both quantitative data, collected and organized in graphs and charts, as well as qualitative ones, which, based on the Content Analysis (FRANCO, 2012), enabled the inference of the beliefs, values and ideologies of authors of the selected textbooks. We conclude that most of the activities included in the manuals are based on comprehension exercises, which, in general, seek the exploration of explicit information of the texts and whose main objective is the illustration of a grammatical item. In light of this, we understand that the discussions presented will serve to stimulate the critical reflection of authors and editors of textbooks, in view of exploring the potentiality of the comic strip, especially in what concerns the cultural aspect, as well as teachers and students so both may become more critical to their object of study.
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Chico Bento, um caipira do campo ou da cidade? : a representação do espaço rural e urbano e de seus habitantes na revista em quadrinhos do Chico Bento (1982-2000) /Parrilla, Franciele Aline. January 2006 (has links)
Orientador: Tania Regina De Luca / Banca: Antonio Celso Ferreira / Banca: Ângela de Castro Gomes / Resumo: O objetivo da presente dissertação é realizar uma leitura crítica e sistematizada da revista em quadrinhos intitulada Chico Bento - nome da personagem criada por Maurício de Sousa - entre os anos de 1982 e 2000, a fim de analisar as representações elaboradas acerca do campo e da cidade e de seus habitantes. Do mesmo modo, pretende-se investigar de que maneira tais imagens dialogam com outras representações já cristalizadas acerca desses espaços. / Abstract: The objective of the present dissertation is to make a critical and systematized reading of the comic strips entitled Chico Bento - name of the character created by Maurício de Sousa - from 1982 to 2000, in order to analyze the representations elaborated concerning the rural and urban spaces and of their inhabitants. In this way, it intends to investigate that it sorts out such images dialogue with other representations crystallized of those spaces. / Mestre
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