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"The good comic novel". La narrativa comica di Henry Fielding e l'importanza dell'esempio cervantino analyses the influence of Don Quixote on Henry Fielding's fiction, starting with a survey of the reception of the Spanish novel in England. Joseph Andrews and Tom Jones are analyzed and compared with the Spanish novel, from which Fielding overtly borrowed some characters, episodes, and Cervantes' parodic strategies. Fielding's and Cervantes's narrative proceeded from the parodic deconstruction and subsequent innovation of previous literature, with the main purpose of teaching and amusing the reader at the same time. Finally, the volume examines the role of Fielding and Cervantes in the rise of the fictional and the self-conscious novel.

Comic books, strips, etc.

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Drawing on archival research, interviews with major artists and publishers, and close readings of numerous seminal works, this book presents an intelligent and groundbreaking exploration of Russia's rich, but until now overlooked and misunderstood comics heritage.

Comic books, strips, etc. --- Cartoonists --- Comic books, strips, etc

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Fantasy comic books, strips, etc. --- Fantastic comic books, strips, etc. --- Comic books, strips, etc.

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La bande dessinee ce n'est pas seulement des albums et des heros, ce sont aussi des auteurs et autrices qui en font les scenarios et qui la dessinent ; des editeurs, petits ou grands, aux logiques plus ou moins experimentales ; des supports varies, de la revue au numerique en passant par l'album ; des festivals qui la celebrent, du plus connu au plus meconnu ; des libraires qui la vendent, notamment dans des boutiques specialisees ; des bibliothecaires qui la mettent en avant dans leurs mediatheques grace a des expositions ou des conferences ; des universitaires qui en font l'histoire ou la theorie ; des critiques enfin qui en parlent dans des revues papiers ou sur des sites internet.Bref, la BD, c'est tout un monde trs riche de crateurs et de mdiateurs qu'un seul livre ne peut suffire dcrire et analyser. Mais c'est une premire pierre l'difice, dont l'approche ne peut tre que pluridisciplinaire. C'est pourquoi il est bien question ici de sociologies au pluriel, qui visent comprendre concrtement ce que faire de la bande dessine veut dire et que pratique aussi bien le civilisationniste, le littraire, que l'historien du prsent et de la culture, le sociologue videmment ou le spcialiste d'information-communication qui en propose une socio-smiotique.Ce sont quelques 17 spcialistes qui offrent ainsi un large panorama de cette fabrique de la bande dessine travers trois grands axes le jeu des marges (sociologie ditoriale) le jeu des identits (sociologie professionnelle) et le jeu des passages (les processus de lgitimation et d'artification

Comic books, strips, etc. --- Publishing --- Social aspects

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Starting in the mid-1980s, a talented set of comics artists changed the American comic-book industry forever by introducing adult sensibilities and aesthetic considerations into popular genres such as superhero comics and the newspaper strip. Frank MillerÃ?'s Batman: The Dark Knight Returns (1986) and Alan Moore and Dave GibbonsÃ?'s Watchmen (1987) revolutionized the former genre in particular. During this same period, underground and alternative genres began to garner critical acclaim and media attention beyond comics-specific outlets, as best represented by Art SpiegelmanÃ?'s Maus . Publishers began to collect, bind, and market comics as Ã?"graphic novels,Ã?" and these appeared in mainstream bookstores and in magazine reviews. The Rise of the American Comics Artist: Creators and Contexts brings together new scholarship surveying the production, distribution and reception of American comics from this pivotal decade to the present. The collection specifically explores the figure of the comics creatorÃ?--either as writer, as artist, or as writer and artistÃ?--in contemporary U.S. comics, using creators as focal points to evaluate changes to the industry, its aesthetics, and its critical reception. The book also includes essays on landmark creators such as Joe Sacco, Art Spiegelman, and Chris Ware, as well as insightful interviews with Jeff Smith ( Bone ), Jim Woodring ( Frank ) and Scott McCloud ( Understanding Comics ). As comics have reached new audiences, through different material and electronic forms, the publicÃ?'s broad perception of what comics are has changed. The Rise of the American Comics Artist surveys the ways in which the figure of the creator has been at the heart of these evolutions.

Comic books, strips, etc. --- Cartoonists --- History