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This book provides both students and scholars with a critical and historical introduction to the graphic novel. Jan Baetens and Hugo Frey explore this exciting form of visual and literary communication, showing readers how to situate and analyze graphic novels since their rise to prominence half a century ago. Several key questions are addressed: What is the graphic novel? How do we read graphic novels as narrative forms? Why is page design and publishing format so significant? What theories are developing to explain the genre? How is this form blurring the categories of high and popular literature? Why are graphic novelists nostalgic for the old comics? The authors address these and many other questions raised by the genre. Through their analysis of the works of many well-known graphic novelists - including Bechdel, Clowes, Spiegelman and Ware - Baetens and Frey offer significant insights for future teaching and research on the graphic novel.
Graphic arts --- Fiction --- Graphic novels --- Comic books, strips, etc. --- Romans graphiques --- Bandes dessinées --- History and criticism --- History and criticism. --- Histoire et critique --- LITERARY CRITICISM / European / English, Irish, Scottish, Welsh. --- 741.5 --- eenentwintigste eeuw --- graphic novels --- kunst --- narratologie --- kunsttheorie --- striptheorie --- strips --- tekenkunst --- #KVHA:Letterkunde --- #KVHA:Literaire genres --- #KVHA:Graphic novel --- #KVHA:Strips --- 741.51 --- Bandes dessinées --- 82-931 --- 82-931 Stripverhaal --- Stripverhaal --- beeldverhalen
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Correspondance is the name of a Belgian Surrealist magazine published in 1924?1925 by Paul Nougé, Camille Goemans, and Marcel Lecomte. It is considered as seminal as Breton?s ±Surrealist Manifesto (1924). The texts were tart, obscure responses to the arcane literary debates of the time, in particular those underway in André Breton?s circle in Paris. Twenty-two issues of Correspondance were printed, in a modernist typeface on different color papers, and were distributed by mail to selected recipients. Unlike their Parisian associates, the Belgians made an explicit choice against the book as a host medium for literary and other experiments. Nougé, the chief theorist, and his colleagues remained suspicious throughout their careers not only of commercialized literature, but also of literature itself, which they saw as a means to political action, never a goal in itself. Although little recognized, Belgian Surrealists and Correspondance, their earliest manifestation, remain anticipatory and influential in modernist writing practice, especially for their ephemeral style of publishing (proto-mail art) and their intentional plagiarisms (precursor to Situationist détournement)
Surrealist --- Art styles --- Journalism --- periodicals --- anno 1900-1999 --- Belgium --- Surrealism (Literature) --- Periodicals --- Surrealist artists --- Found objects (Art) --- Belgian literature (French) --- Publishing --- History and criticism --- Surréalisme (Littérature) --- Surréalistes --- Littérature belge (française) --- History and criticism. --- Histoire et critique --- Surréalisme (Littérature) --- Surréalistes --- Littérature belge (française)
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Surrealism (Literature) --- Periodicals --- Surrealist artists --- Found objects (Art) --- Belgian literature (French) --- Publishing --- History and criticism.
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Correspondance is the name of a Belgian Surrealist magazine published in 1924–1925 by Paul Nougé, Camille Goemans, and Marcel Lecomte. It is considered as seminal as Breton’s «Surrealist Manifesto» (1924). The texts were tart, obscure responses to the arcane literary debates of the time, in particular those underway in André Breton’s circle in Paris. Twenty-two issues of Correspondance were printed, in a modernist typeface on different color papers, and were distributed by mail to selected recipients. Unlike their Parisian associates, the Belgians made an explicit choice against the book as a host medium for literary and other experiments. Nougé, the chief theorist, and his colleagues remained suspicious throughout their careers not only of commercialized literature, but also of literature itself, which they saw as a means to political action, never a goal in itself. Although little recognized, Belgian Surrealists and Correspondance, their earliest manifestation, remain anticipatory and influential in modernist writing practice, especially for their ephemeral style of publishing (proto-mail art) and their intentional plagiarisms (precursor to Situationist détournement).
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kunsthandel --- kunstkritiek --- Mommen, Félix --- Tézenas, Suzanne --- Meier-Graefe, Julius --- Bürger, Willem (pseud.) --- Piérard, Louis --- Kessler, Harry (graaf) --- Osthaus, Karl Ernst --- Waerndorfer, Fritz --- Gruber, L. Fritz --- Fierens, Paul --- Mogford, Henry --- Gauchez, Léon --- Uhde, Wilhelm --- Natanson, Thadée --- Siret, Adolphe --- Pulings, Gaston --- Stieglitz, Alfred --- 19de eeuw --- 20ste eeuw
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Comic books are beginning to be recognized for their impact on society because they inform, channel and critique cultural norms. The overwhelming number of male heroes confirms the central role of men. However, it is becoming more acceptable for a superheroine to get her own comic series. The superheroine is an important cultural icon but her presence is troubled. Not only does this research explain her representation and the way she is depicted; it also elaborates on how important cultural, social and historical context is. The research question of Girl Power! is twofold: how are comic book superheroines represented and how can this theoretical research be applied to Kamala Khan and her alter ego Ms. Marvel? The first part of this thesis is the theoretical framework. Firstly, this part deals with superhero comics as a genre and its history, critical acclaim, stigma & fan culture, an analysis of DC versus Marvel, and also the characteristics of the superhero and the villain. Secondly, it investigates gender roles within the superhero comics: the superheroine and her history, costume, body and views on ethnicity, race, religion and 'otherness'. As a conclusion, this chapter presents five pragmatic roles embodied by superheroines throughout history. The second part includes a case study of Kamala Khan as Ms. Marvel. After applying the theoretical framework to Kamala and her adventures, there's an analysis of the three first volumes that have been published (No Normal, Generation Why and Crushed).
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