Se discutira las experiencias de los artistas del comic llegando a Netflix y al cine, cómo es el proceso creativo y las dinámicas que lleva esta creación de nuevos universos basado en obras de comic.

This dissertation examines how the comic grotesque is used to address the subject of war in selected prose. The Introduction reviews the essential ludicrous-fearful duality of the grotesque. "Comic Grotesque" refers to examples which emphasize the ludicrous. An organic link exists between the nature of war and the grotesque form. Part One deals with Renaissance selections. The first is the slaughter of the rebels in Sidney's Arcadia, which parodies epic-battle motifs. The princes dispatch the rebels in a series of gruesome and humorous portraits. Nashe's The Unfortunate Traveller contains two grotesque battles. Jack wants to join the stronger side at the Marignano blood bath but soon flies off to the Munster uprising. Jack's grotesque similes and Rabelaisian vitality characterize him as a picaresque hero. Burton's tirade against war in The Anatomy of Melanchols exposes all the absurdities of war but with comic exaggeration. The tirade is part of the greater dilemma of not knowing whether to laugh with Democritus or cry with Heraclitus. To understand Burton's paradoxical view of war, the tirade must be seen within the context of the entire Anatomy. Part Two looks at eighteenth-century selections. The pettiness and horror of war are recurrent themes in Gulliver's Travels. Swift is particularly interested in the unreason of war engines and the perverse delight which men take in the spectacle of battle. Smollett's Roderick Random documents the military experiences of another picaresque hero who sees action in the War of Jenkins's Ear and the battle of Dettingen. Like Jack Wilton, Roderick only enlists in the army to support himself. Perhaps the most memorable comic grotesque statement on war comes in Sterne's Tristram Shandy. The bowling green diversion may be harmless play, but it is also tied to Marlborough's actual campaigns. Paradoxically, uncle Toby's war wound is an emblem of love. / Thesis / Doctor of Philosophy (PhD)

No description available.

Watchmen has been hailed as revolutionary not only for the literary quality of Alan Moore's script and the precise execution of Dave Gibbon's art, but also for the novel's successful exploration of sophisticated subject matter and realistic moral conflict. Perhaps the most interesting question Watchmen forces us to consider is why an individual would put on the costume and don the mask, and how such a constructed persona affects the individual psychologically and morally. For those heroes that came before, the compulsion to fight crime was often an in-born ideology of justice. But for Moore's Watchmen, we find that even superheroes are corruptible, flawed, imperfect, and even (more than) a little crazy. In the wake of what is arguably one of the most influential superhero novels published to date, the comics industry saw a rise in the popularity of anti-heroes like Moore's, but it wasn't until the 1991 creation of Marvel's Deadpool that fans saw exactly what it means to be a hero in the post-atomic, post-Vietnam age. Through self-reflexivity, genre deconstruction, and dark hysteria, Deadpool shows us that it isn't so easy to walk the straight line of the righteous, and that sometimes it's much easier to submit to the madness of a chaotic, morally ambiguous world. / Master of Arts

As a subject of scientific interest `Western` comics (i.e. the European, American, Japanese comics) have after all achieved some recognition. From its beginnings in the 1890s the comic has been an economic success, and gradually gained importance in the contemporary cultural production of `Western´ societies. However, only with a development that finally met the tastes of a `Western´ intellectual readership, scientific treatment of comics became academically acceptable. Compared to the Western market, the production of comics in Africa is negligeable, and therefore its scientific reception almost nonexistent. This article, however preliminary, for the first time takes interest in an African comic, specifically the comics in Swahili, as a subject of its own right. Under the guise of discussing the question given in the title on two levels, I intend to present as much material as possible (without stretching copyrights too far), to give a short introduction to the theory of the comic, and to raise the reader´s interest for the Swahili comic. The first level of discussion focuses on a global perspective. Here I take a more theoretical stance, concentrating on the comic as a narrative medium, reflecting its inventory of representation and questions of reading. My main question is: What does the Swahili comic do that other comics do as well? The second level focuses on the local perspective. I look at the setting in which the comic occurs, i.e. Swahili- speaking, urban East Africa, and take into consideration the cultural embedding of the medium: What can the comic do in East Africa that other media or gemes of cultural expression (music, tv, literature, painting, theatre, etc.) do not or can not do? What is new about the comic in East Africa?

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis (M.A.)--Miami University, Dept. of English, 2006. / Title from first page of PDF document. Includes bibliographical references (p. 62-63).

As a subject of scientific interest `Western` comics (i.e. the European, American, Japanese comics) have after all achieved some recognition. From its beginnings in the 1890s the comic has been an economic success, and gradually gained importance in the contemporary cultural production of `Western´ societies. However, only with a development that finally met the tastes of a `Western´ intellectual readership, scientific treatment of comics became academically acceptable. Compared to the Western market, the production of comics in Africa is negligeable, and therefore its scientific reception almost nonexistent. This article, however preliminary, for the first time takes interest in an African comic, specifically the comics in Swahili, as a subject of its own right. Under the guise of discussing the question given in the title on two levels, I intend to present as much material as possible (without stretching copyrights too far), to give a short introduction to the theory of the comic, and to raise the reader´s interest for the Swahili comic. The first level of discussion focuses on a global perspective. Here I take a more theoretical stance, concentrating on the comic as a narrative medium, reflecting its inventory of representation and questions of reading. My main question is: What does the Swahili comic do that other comics do as well? The second level focuses on the local perspective. I look at the setting in which the comic occurs, i.e. Swahili- speaking, urban East Africa, and take into consideration the cultural embedding of the medium: What can the comic do in East Africa that other media or gemes of cultural expression (music, tv, literature, painting, theatre, etc.) do not or can not do? What is new about the comic in East Africa?

Call number: LD2668 .T4 1951 G75 / Master of Science

No description available.