Comic Images Research Articles

The aesthetic category of the comic in the musical characterization of characters (on the example of Yuri Shevchenko's ballet “Buratino and the Magic Violin”)

The purpose of the article. To analyze the embodiment of the comic on the material of Yuri Shevchenko’s ballet “Buratino and the Magic Violin” through the analysis of musical and choreographic elements, as well as the peculiarities of their synthesis. Suggest a typology of ballet characters. Methodology. Methods of comparison and matching helped to determine the differences between comic and lyrical characters, as well as to identify the means of expression that created the appropriate comic image. Scientific novelty. For the first time in Ukrainian art history, an analysis of musical and choreographic elements was carried out to identify the comic component of the characters in Yuri Shevchenko’s ballet “Buratino and the Magic Violin”. The synthesis of musical and choreographic components of ballet is emphasized. A typology of ballet characters is proposed. Conclusions. The analysis allowed to divide the characters of Yuri Shevchenko’s ballet “Buratino and the Magic Violin” into comic, semi-comic, humorous, and lyrical. The means of expression (musical and choreographic) used to characterize the characters with an emphasis on the comic group were identified. In music, this is the leittimbre of the trombone mainly in low registers, “broken” intervals, as well as leitintervals (dissonances), tremolo trumpet, and glissando of copper and, most importantly, the characteristic rhythmic pattern with syncope. In choreography, it is the dominance of non-classical elements and movements, as well as specific, street techniques ― leitelements (falling, pushing, pulling, kicking). Keywords: aesthetic category comic, choreographic elements, synthesis of elements, leittimbres, leitelements, leitintervals, comic, semi-comic, humorous, lyrical characters.

Where to draw the line when the lines are blurred: A computational and functional analysis of cohesion in superhero comics

With Halliday and Hasan’s (1976) discussion of cohesion in text, linguists have long established the relation between cohesive devices employed, discursive context and register (González 2013; Guijarro 2016). However, cohesion studies in the realm of comics have largely revolved around the visual alone so far (Groensteen 2007; Kress & van Leeuwen 1996). Further, the question of how cohesive devices are employed in comics so as to attain specific discursive functions both as a reflection of the genre and as a multimodal medium remains unexplored. Based upon Halliday & Hasan’s treatment of cohesion, the present research therefore addresses these deficits by examining cohesion in 20 Marvel and 21 DC modern-era comics, comprising a corpus totaling 70,865 words (tokens) and 9,805 lexemes (word types). Where cohesion was maintained, personal deixis (38.59%), endophora (12.80%), lexical repetition (11.11%) and discourse deixis (10.32%) were the most frequent (fi ≥ 10%) cohesive ties. In incohesive sentences, the cohesion breaks could be attributed to changes in narrative stage (16.85%), ellipsis (12.68%), exophora (12.08%) and so-called delayed cohesion (11.53%), whereby cohesion amongst a series of sentences is interrupted by topic digressions or prefaces beyond the discursive context but immediately re-established thereafter. These findings illuminate the multimodal interdependency between text and image in superhero comics and its effect on realizing and resolving (non–)cohesive language.

The Development of Physics Digital Comics on Temperature and Heat Material to Improve The Critical Thinking Ability

This study was conducted to develop temperature and heat learning media for high school students to improve their critical thinking skills regarding the phenomena related to temperature and heat material. This study uses the DDDE (Decide, Design, Development, Evaluation) method. This research begins with the stages of determining digital comics as learning media, compiling storylines and sketching comic images, compiling complete comics along with character dialogues, and evaluating the final results of digital comics. Three validators carried out validation test. The results of the validation test showed that digital comics were significantly suitable to be used as supporting media for temperature and heat learning based on several criteria, including learning aspects of 89.78%, material aspects of 93%, and media aspects 93.17%. These digital comics were consequently suitable to be used as a medium for supporting online learning and had time efficiency in delivering material. The implication of this study will facilitate the teaching and learning process from home or School from Home (SFH) during the pandemic period and is expected to be developed in further studies.

Application of Aerospace Technologies in Environmental Safety Management of Planned Activities with the Help of Integrated Automations

The article considers the problems of application of aerospace technologies in the management of environmental safety of the planned activity with the help of integrated automated systems. The purpose of the article. The aim of the article is to determine the features of the application of aerospace technologies in the management of environmental safety of planned activities using integrated automated systems and the formation of a methodology for assessing environmental risk in the ecosystem. The scientific novelty is that the proposed methodology for assessing environmental risk in the ecosystem and provided scientific and practical recommendations for the use of space technologies for Earth observation to study the state of the environment in the management of environmental safety of planned activities Conclusions. The methodology of ecological risk assessment in the ecosystem is considered. The risk analysis scheme includes a wide range of interrelated problems and different stages: identification of risk factors, risk assessment, risk management. Recommendations for ecosystem risk assessment are provided. Features of risk management in the ecosystem are considered. The risk management strategy defined in the environmental decision-making support system may be based on the choice of the level of risk in the range from the minimum (which is considered to be quite small) to the maximum allowable. The article considers several strategies for environmental safety management: prevention of the causes of catastrophes up to the abandonment of products of hazardous industries, closure of emergency facilities; prevention of emergencies in cases where it is impossible to avert the causes of disasters (construction of protective structures, dams, the creation of an underground economy, early evacuation of the population, etc.); disaster mitigation, implementation of stabilization and compensation measures. The most suitable, from the point of view of the main goal of environmental safety management, is risk minimization, ie the implementation of the first and second strategies. However, in practice this is not always possible. A combination of all three types of strategies is most likely. Therefore, the selection of space survey materials is an important step in the classification for environmental monitoring. Procedures of thematic decoding and creation of digital maps of the area with the use of comic images are considered. When creating a digital map of ecological monitoring of regions, it is advisable to use the procedure of creating a vector layer of terrain in the ArcCatalog environment, and build a mosaic image using the software Erdas Imagine. Key words: aerospace technologies, ecological safety, ecological information, ecological problem, ecological threats, environment, process of making information ecological decisions, system of support of ecological information decisions, system of management of ecological safety, system approach, managerial decisions.

Gogolʼs Parody of the Novella Genre (“The Carriage”)

“The Carriage” is a parody of the most popular novella genre in the 1830s. It makes use of comic stylizations of the typical and customary elements of the didactic descriptive narrations about provincial or County life in Russia. It mimics familiar literary representations of provincial backwoods, mores of landlords, habits and amusements of provincials and billeted regimental officers. Plot and compositional stereotypes and speech patterns of the narrators are also parodied. However, Gogol's masterful parody grows out of a holistic comic image and has a free-standing story. The plot sets forth a simple-minded narrator, a literary amateur “lacking imagination” (somewhat resembling Pushkin's Belkin), an imitator, who constantly disrupts the logic of his own narration. Literary parody was widespread, to be sure, but Gogol undoubtedly had in mind the author of “The Tales of Belkin” and “Count Nulin”, recognizing in the latter not only a satirical take on “an insignificant event”, but also the substantiality of the “living picture”.

РОМАН В. СКОТТА «СЕНТ-РОНАНСКИЕ ВОДЫ» В ТВОРЧЕСКОМ ВОСПРИЯТИИ И.С. ТУРГЕНЕВА

The article brings forth and develops the problem of I.S. Turgenev’s consequent perception of W. Scott’s SaintRonan’s Well (1824). The author focuses, firstly, on the I.S. Turgenev’s notes on the pages of the English novel and, secondly, on the analysis of Turgenev’s Clara Militch (1883), whose artistic composition reflects Walter Scott’s motifs and images. Saint Ronan’s Well was in the area of Turgenev’s reader interest in the early 1840-s. While reading the novel, he left notes in the form of short lines on the margins and underlined separate words, using either a pencil or his nail. On the one hand, Turgenev’s notes demonstrate his reader interest to the ironic impression of the entire Saint Ronan’s Well society and its individual representatives (for example, the images of Mac Turk, Mister Winterblossom, Earl Etherington). On the other hand, Turgenev emphasizes four leading and minor characters. Paired by Turgenev, they have an antithetic mode: the comic images of Peregrine Touchwood and Meg Dods and dramatic images of Lord Etherington and John Mowbray. Turgenev is sensitive to W. Scott’s principle of depiction, based on the deep and acute contradiction between individual characters and within their feeling worlds.

Expression Analysis of Big Mom Characters in One Piece Comic 89 (Badend Musical)

One Piece comics are about the world of pirates, and are the best-selling comics in history. Like most comics, One Piece comics consist of protagonist and antagonist. The depiction of One Piece comics is the same as the usual depiction of Japanese comics, namely using Mango style with narrative content and the use of black and white. Depictions of moments, image details and character expressions become important in black and white comics to bring the narrative to life. For character portrayals, comics look for alternatives to emphasize expression in their comic images. This research focuses on the analysis of one of the most antagonists in the one piece comic is Big Mom. This study aims to find out the characteristics of visualizing the expression of Big Mom characters in One Piece comics using visual language by means of wimba 4 (depiction). The research method used is Bahasa Rupa by classifying images of Big Mom's expression through a form language method. The results of the analysis showed a depiction of expression, using a detailed draw of lines on the eyes, eyebrows, nose and mouth. The way it is portrayed in Big Mom's expressions uses expressive depictions, distortions and lines. Expressive depictions use thick lines that give a wrinkle effect on the forehead, eyes, nose and around the mouth. Depiction of enlarged distortion, used on parts of the eyes, nose, mouth and teeth. The depiction of the line is used as a shadow and effect so that the antagonistic expression of Big Mom feels sharp.

Locating reality through visual narratives: Marjane Sartapi’s surfacing in “Persepolis”

The innovative way of telling stories by using visuals with a motive of imparting a message to an audience has influenced several writings. The use of visual narratives turns out to be a profound technique of illustrating stories that has existed and continues to exist event today. From oral narratives to visual ones the art of storytelling has always been efficacious and more absorbing. Impressing upon what, how, where, and in what manner the event took place through graphics is fascinating. There is substantial writing that primarily deals with research on visual stories. One such is Marjane Sartapis Persepolis told through the eyes of a young girl, and this unique perspective of graphic narration offers distinctive insight into the perseverance to retain one's identity in tumultuous times. Nations and homelands play an important part in ones identity formation. Associating oneself to national sentiments and signs, individuals feel themselves part of the nation. However, identity becomes problematic for those in diaspora. This research paper intends to look at Majane Sartapis Persepolis as an attempt of the author to surface through many of her inner-outer conflicts. The paper shall trace her journey of self-approval from Iran to Vienna and finally to France. The trauma and the identity crisis she faces during her childhood in Iran and later in Vienna is an experience which she decides to narrate using animated comic images. The use of visual narrative form has helped her convey the trauma and pain she long carried. Finding a homeland and an identity became challenging.

Finding (One)self in Art Education: A Queer Conversation

Abstract This article, a two-person narrative, makes visible some challenges embedded in queering pre-service art education in an educational sphere that tends to be seen as heteronormative, White, able-bodied, and cisgendered—even for those who are queer themselves. In this piece, Ria, an undergraduate student, offers the reader a peek into a lived experience rarely shared as they describe the challenge of finding themselves at university, navigating the repeated coming out process both in and outside the classroom, undergoing treatment for cancer, and returning a changed person. The co-narrative offers the perspective of Ria’s university faculty member and mentor. Acknowledging moments of awareness and dissonance, she discusses the journey to rectify curriculum and pedagogy in a responsive manner while noting the value of being present for one’s student beyond the walls of the classroom. Ria’s comic book images are the vehicle through which life, grief, and moving forward are explored.

Type in pictures. Comic book lettering in contemporary American comics. An overview

This paper focuses on the issue of comic book lettering in mainstream American comics with an aim to introduce theoretical and methodological framework for further analysis of comic book typography. First, it addresses numerous aspects of relations between text and image in comics and presents the brief history of lettering in American comic book industry, as it grew apart from its European counterpart in the early years of development and became much more institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and especially Richard Starkins, who introduced an affordable means of using the digital typography in early 90s' comic books. In its main part the paper presents the classification of usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This analysis was based on the research sample of over 700 comic book issues, mostly from the Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines functions of comic book typography and outlines three possible fields of further study.

Belarusian-Russian mixed speech in modern stage performances

This article analyses the typical features of the influence of the Russian language on Belarusian stage speech. Contemporary theatre, concerts, and other cultural events have played an important role in the popularization in the Belarusian language of misbalanced bilingualism. According to the transcripts of modern actors, emcees, and musicians recorded in theatres, music clubs, literature museums, and culture centres between 2012 and 2019, different fragments and types of mixing of Belarusian and Russian are revealed. Firstly, we notice switching of language code, which is used for famous phrases from literature, cinema, etc., or shows someone else’s speech. Secondly, we have examples of Russian language interference in Belarusian at the lexical, grammatical, and phonetic levels. So-called trasianka-distorted Russian language according to the special features of the Belarusian orthoepyis observed as a specific kind of interfered speech. In addition, various variants of hard mixing of systems and subsystems, functional styles of two languages (especially including of dialect words and forms), jargon lexis, and special units of alternative norms of the Belarusian language tarashkevitsa are shown. This research notes that mixed speech is a result not only of bilingual interaction, but the decline in the standard of stage speech. It is noted that trasianka helps to create a comic or negative character image on stage.

Beyond Xenophilia

This essay, by the editor of Common Knowledge, responds to a piece by Dionigi Albera that, in turn, responds to Jeffrey Perl’s introduction, published in May 2017, to CK’s multipart symposium on xenophilia. Albera argues that the ambivalence that Perl observes in many instances of xenophilia needs genealogical explanation, and Albera turns for this purpose to analysis of the relationship between Aphrodite and Ares in Greco-Roman mythology. In the present piece, Perl extends that exploration in analysis of a series of images in which the gods of love and war, along with their illegimate children Eros and Phobos (or philia and phobia), are given comical and often vulgar treatment by artists ranging from Botticelli and Mantegna, in the fifteenth century; to Titian, Veronese, and Tintoretto, in the sixteenth; to Rubens, Jan Bruegel the Elder, and Poussin, in the seventeenth; to Lagrenée, in the eighteenth; to David and Guillemot, in the nineteenth; to Jeff Koons in our own day. Perl and Albera agree with these artists that the antithetical pair, Aphrodite and Ares, have a fully logical, if furtive relationship in mythology, iconography, and psychology. The idealization to which the comic images respond—that when warriors make love, there is no warfare—is laughed, again and again, out of court. But Perl’s concern, unlike Albera’s, is that this cynicism on the part of artists and advanced intellectuals means that, despite their ostensible preference for peace over conflict, they will always find cause to undermine every effort to make way for peace.

Comic-Con: Can Comics of the Constitution Enable Meaningful Learning in Political Science?

ABSTRACTThis article explores the value and application of using comic images to teach difficult political texts. We presented either visual or textual portions of the Constitution to 71 American 18- to 22-year-olds using Survey Monkey Audience, measuring and comparing their knowledge of the Constitution before and after viewing. Respondents viewing the comic of congressional duties experienced statistically significant gains in pretest to posttest mean knowledge scores. Respondents viewing the text also experienced an increase in mean scores pretest to posttest; however, these changes were smaller and not statistically significant. This indicates that students may better comprehend content from visual depictions of difficult texts. We conclude by providing an example of one way that we use comics of political texts as a tool for student learning in an international civics exchange program.

Feature visualization in comic artist classification using deep neural networks

Deep neural networks have become a standard framework for image analytics. Besides the traditional applications, such as object classification and detection, the latest studies have started to expand the scope of the applications to include artworks. However, popular art forms, such as comics, have been ignored in this trend. This study investigates visual features for comic classification using deep neural networks. An effective input format for comic classification is first defined, and a convolutional neural network is used to classify comic images into eight different artist categories. Using a publicly available dataset, the trained model obtains a mean F1 score of 84% for the classification. A feature visualization technique is also applied to the trained classifier, to verify the internal visual characteristics that succeed in classification. The experimental result shows that the visualized features are significantly different from those of general object classification. This work represents one of the first attempts to examine the visual characteristics of comics using feature visualization, in terms of comic author classification with deep neural networks.

Eminent Victorian Cartoonists by Richard Scully

Reviewed by: Eminent Victorian Cartoonists by Richard Scully Brian Maidment (bio) Richard Scully, Eminent Victorian Cartoonists, 3 vols. (London: Political Cartoon Society, 2018), pp. 665 £36 hardcover. Both substantial and accessible, Richard Scully's study of eleven productive Victorian cartoonists will be of lasting value and considerable significance to periodicals research. The three volumes are organised around three loosely defined chronological phases in the publication of Victorian cartoons and their key artists: "The Founders" (John "HB" Doyle, John Leech, and Sir John Tenniel), "The Rivals of 'Mr Punch'" (Matthew Somerville Morgan, John Proctor, William Henry Boucher, Fred Barnard, and John Gordon Thomson), and "Heirs and Successors" (Linley Sambourne, Bernard Partridge, and Francis Curruthers Gould). Scully gives each cartoonist a spacious biography, frequently supported with new material from the primary sources that he has diligently assembled, and a careful account of the artist's graphic contributions to political debates. Each chapter focuses on an individual artist (Proctor and Boucher are taken together, however) with a thematic subtitle summary; Morgan at Fun and Tomahawk, for example, is designated as the "Bohemian Upstart" of the mid-Victorian cartoon in contrast to "The Tory Rivals of Tenniel" represented by Proctor and Boucher in Will O' The Wisp, Judy, and Moonshine. Scully's organisational structure—beginning with a broad overview of the field, moving on to individual artists positioned as representative, and finally presenting detailed accounts of the lives and work of each artist—offers a more substantial and better-informed generic map of the Victorian cartoon than anything previously available. His choice of subjects encompasses the central role undertaken by Punch in defining the graphic potential of the cartoon, but it brings the range of mid-Victorian graphic satire much more [End Page 636] clearly into focus and reminds us of the visual richness to be found in other major Victorian comic magazines. As the title suggests, Scully's project is underpinned by two complementary ideas. Through their lively and complex satirical attention to politics and manners, the "eminent Victorians" studied here serve as an antidote to the gloomy, repressed, and anxious subjects of Lytton Strachey's Eminent Victorians (1918). Underlying the immediate reverberations of Strachey's title is a reminder of how central humour was to the Victorian frame of mind and how Victorian studies has rejected cliché notions of the Victorian over the last fifty years. But Scully also quite clearly asserts a high degree of eminence for these artists despite their relative obscurity and frequent subordination to the printed word within the academic study of Victorian periodicals. A second aspect of his project, then, is to give due credit to a number of undervalued artists whose eminence resides not just in the graphic work they produced but also in their creative contribution to the networks, circles, and cultural geography from which periodicals emerge. "Cartoonist," too, is a significant term. While some of the artists in this study produced many comic images for books, Scully defines the nineteenth-century cartoon as a form that was essentially associated with the magazine. Thus his starting place is 1843, the moment that Punch settled on "cartoon" as the term most applicable to its full-page satirical illustrations of topical socio-political events. "Caricature" was perhaps too closely linked to a single-plate commodity culture and its genteel audience, while "pencillings" (the first term used by Punch) seems inappropriately tenuous for the bold line and clearly stated political content of Punch's big satirical illustrations. The term "cuts" remained in use, alluding both to their wood-engraved mode of production and their ability to cut to the quick of an issue, but the massive two-coloured allusive wood engravings that Morgan produced for Tomahawk were a million miles away from the vernacular woodcut. The "cartoon" thus became a central defining characteristic of the humorous magazine until the end of the century when it migrated to the illustrated newspaper, which could better exploit its topicality. While Scully's volumes contain a great deal of new information gathered from an extensive study of available resources, they also offer an important guide to the methodological complexities of studying cartoons. Scully has already published significant work in this field, especially...

A GRAMÁTICA DO DESIGN VISUAL E A RELAÇÃO PALAVRA-IMAGEM NA PRODUÇÃO DE SENTIDOS DE TIRAS DA TURMA DO XAXADO

Esta pesquisa fundamenta-se na abordagem Sociossemiótica e tem por base teórica a Gramática do Design Visual – GDV – de Kress e Van Leeuwen (1996). Objetiva investigar a pertinência das interações entre palavras e imagens nas tiras da Turma do Xaxado, do cartunista Antônio Cedraz. O corpus tematiza às problemáticas do sertão nordestino brasileiro, especificamente, aqui tratadas as da relação sertão-sertanejo-universo de trabalho e do coronelismo. Tais problemáticas estão intimamente relacionadas às relações de poder, às desigualdades sociais e aos interesses ideológicos ainda persistentes nessa região. Metodologicamente, a pesquisa circunscreve-se na exposição dos quadros teóricos – quadros comunicacionais, paisagem semiótica e esquematização das metafunções representacional, interacional e composicional – aplicando-os à prática de modo a favorecer a compreensão, sensibilização e notoriedade da ampliação da produção de sentidos estabelecida por esses recursos semióticos comunicativos. Examinam-se, portanto, como resultados obtidos as transgressões e rupturas permissivas nessas semioses por intermédio das relações dialógicas via negociações e acordos entre esses recursos semióticos que remetem ao cômico, risível e, por fim, ao crítico.
 Palavras-chave: Produção de sentidos; paisagem semiótica; relação palavra-imagem.

Caricature and the Comic Image in the 1830s

This essay forms a brief overview of the extent to which the comic image became inscribed into the print culture of the 1830s. The decade saw a decline in the production of caricature as a satirical force, but developed a wide range of new print forms and genres that allowed graphic satire a broad cultural presence. Some of these, such as down-market single-plate lithographs and short sequences of oblong folio multi-image plates, sought to retain the autonomy of the comic image within a rapidly developing and commercially inventive market place. Other hybrid forms, especially periodicals, were developed as a mechanism for incorporating radical graphic political commentary. The comic image was also used to produce subversive travesty versions of established print forms such as the almanac and the annual. The decade suggests a turbulently inventive and experimental phase in the history of the comic image, and, in spite of the widespread indifference of scholars, offers much of interest to cultural historians.

Caricature and the Comic Image in the 1830s

This essay forms a brief overview of the extent to which the comic image became inscribed into the print culture of the 1830s. The decade saw a decline in the production of caricature as a satirical force, but developed a wide range of new print forms and genres that allowed graphic satire a broad cultural presence. Some of these, such as down-market single-plate lithographs and short sequences of oblong folio multi-image plates, sought to retain the autonomy of the comic image within a rapidly developing and commercially inventive market place. Other hybrid forms, especially periodicals, were developed as a mechanism for incorporating radical graphic political commentary. The comic image was also used to produce subversive travesty versions of established print forms such as the almanac and the annual. The decade suggests a turbulently inventive and experimental phase in the history of the comic image, and, in spite of the widespread indifference of scholars, offers much of interest to cultural historians.

«РАЗБИТОЕ СЕРДЦЕ С ВЕСЕЛЫМ НАПЕВОМ»: ТРОГАТЕЛЬНО-КОМИЧЕСКАЯ МОДЕЛЬ ИЗОБРАЖЕНИЯ ЧЕРНОЙ РАСЫ В АМЕРИКАНСКОЙ ЛИТЕРАТУРЕ И КУЛЬТУРЕ XVIII – НАЧАЛА XX ВВ.

«РАЗБИТОЕ СЕРДЦЕ С ВЕСЕЛЫМ НАПЕВОМ»: ТРОГАТЕЛЬНО-КОМИЧЕСКАЯ МОДЕЛЬ ИЗОБРАЖЕНИЯ ЧЕРНОЙ РАСЫ В АМЕРИКАНСКОЙ ЛИТЕРАТУРЕ И КУЛЬТУРЕ XVIII – НАЧАЛА XX ВВ.

Approach to the translation ofsoundin comic books

AbstractThe relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language.Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.