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This essay collection examines the theory and history of graphic narrative – realized in various different formats, including comic strips, comic books, and graphic novels – as one of the most interesting and versatile forms of storytelling in contemporary media culture. The contributions assembled in this volume test the applicability of narratological concepts to graphic narrative, examine aspects of graphic narrative beyond the ‘single work,’ consider the development of particular narrative strategies within individual genres, and trace the forms and functions of graphic narrative across cultures. Analyzing a wide range of texts, genres, and narrative strategies from both theoretical and historical perspectives, the international group of scholars gathered here offers state-of-the-art research on graphic narrative in the context of an increasingly postclassical and transmedial narratology.

Graphic arts --- Literary rhetorics --- Fiction --- Narration (Rhetoric) --- Narration (Rhétorique) --- Narrative writing --- Verhaal (Retoriek) --- Comic books, strips, etc. --- Graphic novels --- Romans graphiques --- Bandes dessinées --- Narration --- History and criticism. --- Histoire et critique --- 82-3 --- Proza. Fictie. Narratologie --- 82-3 Proza. Fictie. Narratologie --- Narration (Rhetoric). --- Comic books, strips, etc --- History and criticism --- Narration. --- Histoire et critique. --- 82-3 Fiction. Prose narrative --- Fiction. Prose narrative --- 82-931 --- 070.84 --- 741.5 --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal

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Als Festschrift zu Klaus Sachs-Hombachs 65. Geburtstag versammelt der Band eine Reihe ausgewählter Beiträge wichtiger Wegbegleiter*innen zur für das wissenschaftliche Werk des so Geehrten zentralen Frage nach den Formen und Funktionen gegenwärtiger wie historischer Bildmedien.Ziel des Bandes ist es dabei, diverse philosophische ebenso wie literatur-, kultur- und medienwissenschaftliche Perspektiven auf die Materialität, Semiotik und Ästhetik von Bildern und anderen (auch) visuellen Medienformen in einen produktiven interdisziplinären Dialog zu bringen.Mit Beiträgen von Frauke Berndt, Lars Christian Grabbe, Mark Halawa-Sarholz, Hans Dieter Huber, Berenike Jung, Eva Kimminich, Joachim Knape, Richard Langston, Stefan Meier, Dieter Mersch, Catrin Misselhorn, Stephan Packard, Cornelia Pierstorff, Goda Plaum, Patrick Rupert-Kruse, Schamma Schahadat, Eva Schürmann, Stephan Schwan, Jakob Steinbrenner, Bernd Stiegler, Jan-Noël Thon, Anne Ulrich, Lambert Wiesing, Lukas R.A. Wilde, Thomas Wilke und Hans J. Wulff.

Multimedia systems. --- Digital media.

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Media in general and narrative media in particular have the potential to represent not only a variety of both possible and actual worlds but also the perception and consciousness of characters in these worlds. Hence, media can be understood as qualia machines, as technologies that allow for the production of subjective experiences within the affordances and limitations posed by the conventions of their specific mediality. This edited collection examines the transmedial as well as the medium-specific strategies employed by the verbal representations characteristic for literary texts, the verbal-pictorial representations characteristic for comics, the audiovisual representations characteristic for films, and the interactive representations characteristic for video games. Combining theoretical perspectives from analytic philosophy, cognitive theory, and narratology with approaches from phenomenology, psychosemiotics, and social semiotics, the contributions collected in this volume provide a state-of-the-art map of current research on a wide variety of ways in which subjectivity can be represented across conventionally distinct media.

Subjectivity. --- Narration (Rhetoric) --- Mass media.

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Der vorliegende Sammelband versucht sich an einer differenzierten Bestandsaufnahme und literaturgeschichtlichen Verortung der deutschsprachigen Popliteratur der 1990er Jahre, die in der Regel mit Autoren wie Joachim Bessing, Rainald Goetz, Alexa Hennig von Lange, Christian Kracht, Joachim Lottmann, Thomas Meinecke, Andreas Neumeister und Benjamin von Stuckrad-Barre verbunden wird. Neben einer auffälligen Unterzahl von Autorinnen liegt ein gemeinsames Merkmal der genannten Autoren in ihrer medialen wie literarischen Selbstinszenierung. Vor diesem Hintergrund geht es in den Beiträgen des vorliegenden Bandes - etwa im Kontext von Dandyismus, Camp-Ästhetik oder Gender Theory - insbesondere um die Performativität popliterarischer Autorinszenierungen. Über die Beschäftigung mit autorbezogenen Fragen hinaus werden jedoch auch die typischen Merkmale der als Popliteratur bezeichneten Gruppe von Texten betrachtet: Lassen sich erzählerische Besonderheiten aufzeigen? Wie verhält sich Popliteratur zu Popmusik? Welche Rolle spielt Intertextualität als konstituierendes Schreibverfahren? Schließlich werden in den Beiträgen immer wieder die unterschiedlichen Kontexte thematisiert, in denen Popliteratur geschrieben, vertrieben und gelesen wird.

Popular literature --- Culture de masse --- Popliteratur --- History and criticism. --- History and criticism --- Culture de masse. --- Popliteratur. --- Contemporary Literature, Pop Literature.

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This volume aims to intensify the interdisciplinary dialogue on comics and related popular multimodal forms (including manga, graphic novels, and cartoons) by focusing on the concept of medial, mediated, and mediating agency. To this end, a theoretically and methodologically diverse set of contributions explores the interrelations between individual, collective, and institutional actors within historical and contemporary comics cultures. Agency is at stake when recipients resist hegemonic readings of multimodal texts. In the same manner, "authorship" can be understood as the attribution of agency of and between various medial instances and roles such as writers, artists, colorists, letterers, or editors, as well as with regard to commercial rights holders such as publishing houses or conglomerates and reviewers or fans. From this perspective, aspects of comics production (authorship and institutionalization) can be related to aspects of comics reception (appropriation and discursivation), and circulation (participation and canonization), including their potential for transmedialization and making contributions to the formation of the public sphere.

Aesthetics --- History.