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Art Spiegelman is one of the most important figures in the history of American comics. His work Maus (1980 and 1991) is arguably the landmark text in the field of comic book studies. Given the relatively recent reissue of his first collection Breakdowns (2008) and the publication of his interview/essay collection/scrapbook Metamaus (2011), it is likely that his work will continue to be the subject of critical interest. This thesis concerns the collections Breakdowns (1977 and 2008), Maus (1980 and 1991) and In the Shadow of No Towers (2004). It represents the first book-length extended study of Spiegelman s three major works. The central argument put forth in this thesis is that the Spiegelman oeuvre articulates and manifests a madness which its author perceives to underlie supposedly rational society. In support of this thesis I will employ critical models from the following fields: Holocaust studies, trauma theory, the anti-psychiatry movement, theories concerning the representation of madness, formalist analyses of comics, and Genette s narratological taxonomy.

Reflecting the masculine ethos of the larger comic book industry, superhero comics continue to be male-dominated spaces. Within comic studies, superhero scholars problematically normalize this androcentrism by reiterating the genre’s masculinist rhetoric, repeatedly positioning superheroes as stoic figures of whiteness, nationhood, heteronormativity and able-bodied masculinity. Although some intervention has been made to challenge these interpretations, scholars fail to acknowledge how transgender and/or transsexual readers evaluate comic heroes. This thesis provides one such intervention into the field, specifically focusing on the last son of Krypton, Superman. Drawing together the work of trans, queer, feminist, psychoanalytic, and monster theorists, my research attempts to “trans” Superman; thus, (re)reading the Man of Steel in a way that distinctly reflects the experiences of those who are denied access to the figure via their/our own gender “transgressions”. By interpolating transsexuality into the Superman narrative, I rewrite the figure’s place within the genre’s cis-sexist, masculinist history and while doing so, (re)position him as a more suitable hero for the trans community. / Thesis (Master, Gender Studies) -- Queen's University, 2013-12-05 10:35:05.511

This study explores controlling images as essential to the representation of black women’s lives within the media, especially the comic book character, Storm from the X-Men series. The researcher uses content analysis to examine the graphic images, text and dialogue of the comic books chosen for this study. Furthermore, the researcher juxtaposes Storm to the main controlling images that Patricia Hill Collins discusses in her seminal work, Black Feminist Thought, but also to expand this discussion to include the stereotype of the Magical Negro.

In recent years, through the process of narrative and literary criticism, scholars have begun suggesting that satire is present in specific texts of the Old Testament. Thus the primary function of this thesis is to analyse the validity of these arguments alongside suggesting different places where satire may be found. To achieve this goal, the thesis begins by analysing and defining satire as a concept. A clear definition provides the thesis with the method needed to identify satire in texts which predate any defined understanding of the concept. The thesis also uses satirical works from throughout history as templates for understanding similar types of satire within the biblical works. Once this methodology has been established, different genres of the Old Testament form the different chapters of the thesis. It identifies four different places where satire is deployed. Thus it examines satire in narratives, the book of Jonah, prophetic texts and wisdom literature. Each chapter combines new ideas with the analysis of previous scholastic arguments concerning the presence of satire. Within each genre a different type of satire with a range of complexity is deployed. The idol critiques in prophetic texts show simplistic satire. Narrative satire shows both situational and character-based satire. The book of Jonah is an example of hypocritical satire. Finally, satire in the wisdom literature contains a range of different satirical styles. The thesis concludes that satire is present within the texts of the Old Testament. This has implication to the field of satire. It affirms the existence of pre-Hellenistic satire. Alongside this, it shows that satire is a subconscious human technique, deployable even when the proponent has no defined understanding of the concept. In the field of Old Testament studies it provides an alternative reading of many familiar texts. A satirical reading provides clear insight into authorial intent as well as offering different interpretations of the texts which are examined.

New Ways To Express Old Hatred is a sociological account of the consistencies and changes comic racist discourse has experienced over the past forty years in British popular culture, accounting for both content and communicative form in relation to the ethics and aesthetics of humour. The main focal point of the study concerns a case study representative of the communicative changes installed by the digitalisation of media in the cultural public sphere. Sickipedia.org which demonstrates a contemporary, participatory comic community that is simultaneously representative of popular culture. Sickipedia.org circulates explicit comic racist material on a large scale across several formats including its main website, several smart phone applications and a range of social media including Facebook and Twitter. This contemporary emergence of comic racism is discussed in relation to the historical context of wider comic racism in British popular culture, comparatively evaluating the form and content of material from the 'clubland' humour of the 1970s, the anti-racist tradition of 1980s Alternative comedy, the thematically fragmented popular comedy of the 1990s through to prejudicial liquidity evident in more recent comedy. The central argument being asserted is that comic racist discourse has been consistently reproduced for the last forty years. However its communicative form, aesthetic presentation and in some cases its content has undertaken a process of transformation in order for it to be circulated in contemporary popular cultural products unchallenged by both social critics and institutional authorities. Critical humour studies stresses that ridicule-based humorous discourse must be treated critically, especially if that ridicule is directed at groups who are socially marginalised. Comic racism represents the discursive stability of traditional racist discourses that have circulated in society since the Enlightenment, reproducing the ideological perspectives of white supremacy, social exclusion of 'Others' and the perceived, amalgamated biological and cultural inferiority of non-white 'races'. Drawing from content analysis and critical discourse analysis of Sickipedia.org, this study, on a textual level, with reference to theory and history, critically discusses the persistent reproduction of comic racism in the cultural public sphere of the UK, deconstructing the hateful messages embedded in racist jokes and providing an original contribution to critical humour studies.

It is difficult to say that anything will be proven in this thesis of mine. I think of it more as an account of some things that happened in my artwork over the course of graduate school and my earlier development as an artist. Some influences are listed, but certainly not all of them. Likewise, the work that is mentioned in this paper represents a sampling rather than an in-depth survey. I don't have any tables or charts.

This thesis concerns with the literary theory of autobiography and its use for comics. The goal is to try to modify literary theory for comics and apply it in practical analysis. The fundamental theoretical framework constitutes of The autobiographical Pact by Philippe Lejeune and a theory of paratexts according to Gérard Genette. In practical analysis the thesis bases on the comparison of comics with literary work and uses the knowledge acquired in the theoretical part. The emphasis is put on designing of autobiographical pact and on para- and metatexts which are connected to both of the books. Klíčová slova anglicky Autobiography, autobiographic elements, comics, literature, paratext, metatext

Orientador: Laan Mendes de Barros / Banca: Waldomiro de Castro / Banca: Maximiliano Martin Vicente / Resumo: A proposta dessa pesquisa é estudar os motivos que levam os professores a utilizarem ou não as Histórias em Quadrinhos como recurso auxiliar e estimulador no processo de aprendizagem na sala de aula. Trata-se de uma mídia cultural popular que utilizada adequadamente, pode abordar diferentes faixas etárias, níveis de ensino e diversas questões sociais, políticas, históricas, geográficas, entre outros. Num tempo em que as mídias digitais competem com a figura do professor, é fundamental valorizar este profissional que busca diferentes recursos embasados a partir de conceitos de Educomunicação a fim de trazer mais uma ferramenta auxiliadora e atrativa para os educandos passando conceitos e conteúdos da grade curricular. / Abstract: The purpose of this research is to study the reasons that lead teachers to use - or not - COMICS as an auxiliary and stimulating resource in the process of in classroom learning. It is a popular cultural media that, when used properly, can address different age groups, levels of education and many social, political, historical, and geographical topics, among others. At a time when digital media competes with the teacher, it is essencial to value this professional that seeks different resources based on concepts of "Educommunication" in order to bring useful and attractive tools in transmitting concepts and contents of the curriculum to students / Mestre

Cette thèse porte sur l’oeuvre de l’auteur espagnol de bande dessinée Carlos Giménez, l’un des dessinateurs et scénaristes les plus importants en Espagne, et dont une grande partie de l’oeuvre constitue un témoignage précieux de plus de cinquante ans d’Histoire en Espagne, depuis la guerre civile jusqu’à la transition démocratique. Auteur résolument engagé, véritable pionnier en matière de bande dessinée autobiographique, Carlos Giménez est en outre doté d’un style caractéristique : un graphisme en noir et blanc, un trait personnel, à la fois réaliste et parfois très caricatural, toujours au service d’une critique idéologique ou sociétale. Ce travail de recherche s’est articulé autour de deux grands axes constitutifs de son oeuvre : le souvenir, qui correspond à la réflexion sur l’Histoire et la mémoire, et la dénonciation. Une dénonciation qui semble aujourd’hui devenir peut-être moins criante au bénéfice de ce que l’on pourrait appeler la finalité éducative, chez un auteur qui met de plus en plus l’accent sur l’héritage de la mémoire, ou comment transmettre la mémoire aux générations futures. Aussi ses dernières productions s’avèrent-elles plus que jamais en phase avec les débats qui agitent l’Espagne aujourd’hui autour du thème de la mémoire historique et montrent jusqu’à quel point le neuvième art, cet « art séquentiel », production accessible à un public éclectique (mais peut-être aussi plus jeune),constitue même une base « didactico-pédagogique »,dont la finalité édifiante des jeunes générations est indéniable chez l’auteur madrilène. / This research focuses on the Spanish cartoonist Carlos Giménez, one of the most important artists and scriptwriters in Spain. A large part of the work is avaluable testimony of more than fifty years of history in Spain, since the Civil War to the Democratic Transition. Author resolutely committed, genuine pioneer ofautobiographical comic, Carlos Giménez is further provided with a characteristic style: a black and white graphics, a personal trait, both realistic and sometimesvery cartoonish, always at the service of ideological or social criticism. This research revolves around two main axes constituent of his work: memory and enunciation. A denunciation that now seems to be perhaps less glaring in favor of what might be called the educational purpose, for an author who puts more emphasis on the legacy of memory. Thus his last productions are more than ever in tune with the debates which agitate Spain today on the theme of Historical Memory and show how far the 9th art, production accessible to a large public is even a "didactic-pedagogic"base for younger generations.