Women have been involved in the writing, illustrating, and production of comic books at almost every step of the genre’s development. The years between the late 1960s and the late 1990s were tumultuous for the comic book industry. At the societal level, these years were saturated with changes that challenged normative ideas of sex roles and gender. The goal of this study is two-fold: it documents the specific contributions to the comic book industry made by the women interviewed, and it addresses research questions that focus on gender, change, and comic books. This project asks: What was the role and status of women in the comic book industry between the early 1970s and late 1990s? By utilizing moderately scheduled, in-depth interviews with women working in the comic book industry during this period, this study explores their experiences and treatment while working in an insular, male-dominated field.

Thesis (M.A.)--York University, 2000. Graduate Programme in Geography. / Typescript. Includes bibliographical references (leaves 120-127). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59198.

Thesis (M.A.)--University of Virginia, 1998. / Description based on content as of June 1999; title from title screen.

Thesis (master's)--Humboldt-Universität zu Berlin Institut für Bibliothekswissenschaft, 2005. / Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Adam Z. Newton and John M. Slatin. Vita. Includes bibliographical references. Also available from UMI.

Thesis (M.A.), English--University of Central Oklahoma, 2009. / Includes bibliographical references (leaves 65-68). Filmography: leaves 69-70.

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1992. / Vita. Abstract. Includes bibliographical references (leaves 69-71). Also available via the Internet.

Establishing a decisive nexus between gender, laughter, and media, this article not only critically discusses the often contradictorily defined concepts of humour, the comic, and laughter but also introduces to the most important theories in these fields with reference to Henri Bergson, Friedrich Nietzsche, Charles Baudelaire, Sigmund Freud, Mikhail Bakhtin, Helmuth Plessner, Anton C. Zijderveld, Judith Butler, Bernhard Greiner, Hans Robert Jauß, Peter L. Berger, and others. Basic concepts such as the “significantly comic” versus the “absolutely comic” or the “comedy of denigration and exclusion” versus the “comedy of valorization and inclusion” are interrogated and the link between comedy, citationality, performativity as well as parody is established. Moreover, this article explores the sociological, psychoanalytical, bodily and theological dimensions to laughter and questions notions such as the carnivalesque and the grotesque. It is argued that the liberating potential of “full laughter” can be understood as the return of the body, of the repressed, and of the Other, and that if it is precisely this ‘other realm’ which ultimately makes laughter possible, laughter simultaneously is humankind’s best means of dealing with it.

Thesis (M.S.)--Boston University

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