Comic Elements Research Articles

'functional' projection from visual contrast to mode

In multimodal visual narratives such as Japanese manga, meaning is created through components of different modes - from verbals to onomatopoeias, emblems, and graphics. With the aim of integrating different modes (from text to image) so as to suggest an integrated solution that collectively defines the composing elements of comics, this paper proposes a Function of Mode, which applies semiotic and mathematical principles to expound on the subconscious process of recognizing visual contrasts that are drawn, printed or digitally displayed into various modes that form the building blocks of multimodal discourse. This function sits at the base of multiliteracy for understanding multimodal visual narrative and enables the reader to distinguish different modes by accentuating relevant semiotic channels of meaningmaking - iconicity for imagistic description, symbolization for linguistic features, entitativity for metaphorizing and visualizing non-graphic images, and diegesis for demarcating which elements are meaningful, ideationally or interpersonally.

Diabetes Year One. Drawing my Pathography: Comics, Poetry and the Medical Self

In this article I reflect on the creation of my graphic pathography Diabetes: Year One (2018). I discuss and evaluate the ways in which, trying to articulate a patient perspective that is both personal and universal, my work moved into comics, and how the process involved the discovery of an aesthetic, that required the negotiation of the elements of comics, including: the visual interpretation and development of my ‘self’ and avatar, and the construction of a narrative viewpoint; the understanding and use of a spatial ‘rhythm and metre’ within the panel sequence; the layering of the page through colour and medium; the ‘designing’ of the narrative, and the interrelation of words and image. I then consider my project in the context of the field of graphic medicine (Squier & Williams, 2015) and the work of Nick Sousanis (Sousanis, 2015); from the position of imaging and articulating a complex, or immersive account of patient experience and argue that this approach can provide a nuanced account of medical identity that can enable a richer understanding of patient experience, which, in turn, can be a valuable contribution to the imaging and design of the patient-practitioner interface.

REPRESENTASI EROTISME BARU DALAM KOMIK TAHILALATS TAHUN 2015-2016

This study describes symbols and signs containing erotic elements in the Tahilalats comic by Nurfadli Mursyid. The unit of analysis based on two main components in Tahilalats. The two components are Instagram interactive feature which is used as Tahilalats medium, and comic content aspect. Interactive features include comments, and in terms of comic content including basic comic elements: panels, balloons, captions, & illustrations. Data were analyzed by using qualitative analysis method of semiotics Roland Barthes. The results of the study show symbols of new eroticism that symbolize incest, transgender, and masochism in Tahilalats. Refering to the critical paradigm, there are certain ideologies related to the background of Nurfadli as Buginese through the culture of incest, the figure of bissu, and calabai. On the other hand, the use of Instagram as a comic medium has changed the way of presentation and enjoying erotic content in comics. The presence of features in the platform Instagram also makes the netizens play a major role in constructing erotic content in the Tahilalats. To cite this article (7th APA style): Saputri, N. A. (2018). Representasi Erotisme Baru dalam Komik Tahilalats Tahun 2015-2016 [The Representation of New Eroticism in the Tahilalats Comic 2015-2016]. Journal Communication Spectrum, 8(2), 190-207. http://dx.doi.org/10.36782/jcs.v8i2.1854

GAS Political public space in the satire theatre case study on the performance eyayu fenges” Ethiopian satire theater

Abstract፡ This article aims to describe about the techniques of make understanding for the space of audience or target group in the satire drama in the stage. The researcher would watch the theater in YouTube and in the stage and also read the script which written by Bereket Belayneh in the type of satire drama, its function in terms of political and social issues. In the addition to the above mentioned these script and play must show the use of satire for political and social criticism for the audience clearly with easy understanding. The other thing that plays show transmitted of the message to the higher officials in the comic entertaining way to the audience of the satire drama. Besides techniques, purpose and different features of satire has investigated from the relevant references. Its researcher mainly has shown the technique of making understand for the audience that have been watched the satire theater on the stage. Bereket Belayneh and Girum Zenebe Eyayu fenges Ethiopian Satire Theater focusing on political satire to find the satire and comic elements used in the humor in order to ridicule the political evils and suggest solutions with in artistically color. The primary sources of this article are Bereket Belayneh and Girum zenebe Eyayu fenges Ethiopian Satire Theater. It’s have used as methodology a qualitative descriptive analysis and have use the document study which is that in library, research digital media sites and the relative relevant materials.

I’m No Princess

DC Super Hero Girls (DCSHG) is a trans-media franchise that includes not just screen media texts but a wide array of themed merchandise aimed at a multi-generational market. I argue here that key components of the franchise present a queered version of girlhood that critiques femininity as a gender role while presenting femaleness as encompassing a variety of signifiers, acts, and presentations that can be read as queer (particularly by the so-called big girls in the audience). This is evident in the representation of queer relationships that exist in the sexualized zone of the canonical material, allowing the DCSHG characters to inhabit a liminal proto-queer space between homosocial/gender non-conforming and lesbian that is considered more appropriate for young girls. I examine the way in which the DC Super Hero Girls franchise rejects and reforms familiar elements of comics, super heroism, and princess culture to create that space for girls.

첸중수(錢鍾書) 단편소설에 나타난 웃음의 역설 : 단편소설집 《사람 · 짐승 · 귀신(人 · 獸 · 鬼)》을 중심으로

첸중수(錢鍾書) 단편소설에 나타난 웃음의 역설 : 단편소설집 《사람 · 짐승 · 귀신(人 · 獸 · 鬼)》을 중심으로

The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books, Arresting Development: Comics at the Boundaries of Literature, We Told You So: Comics as Art and Spurgeon with Michael Dean

The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books, Arresting Development: Comics at the Boundaries of Literature, We Told You So: Comics as Art and Spurgeon with Michael Dean

Hybrid Imaginaries: Emma Ríos.

The success of American comics and Japanese manga that, since the end of the 20th century have invaded European markets and Spanish newsstands, have imposed their diverse imaginaries, did, at first, result in the Iberian Peninsula being deserted of its own production during those years. Over time, these have left an imprint that has had consequences for the resurgence of domestic creativity. It is possible to see their influence through the cultural mystification and aesthetic that are combined in the different symbolic elements of contemporary comics by following the trajectory of Emma Rios in her incursion into the field of American comics through publications with Marvel and DC, and in particular by analysing the text Bella Muerte (Astiberri, 2016/2017; original: Pretty Deadly, edited by Image Comics) which the Galician author illustrates from the script by Kelly Sue DeConnick. It is thus possible to trace the desire for full authorship that culminates in the solo work (I.D., Astiberri, 2017; original by Image Comics) on identities and their construction.

ПРОСТРАНСТВЕННО-СТРУКТУРИРОВАННАЯ МОДЕЛЬ В АНАЛИЗЕ КОМИЧЕСКОГО: КОГНИТИВНО-ДИСКУРСИВНЫЙ АСПЕКТ

The study shows how space-structured model can be applied in the analysis of comic elements verbalisators in a sense construction. The stages of creative comic sense derivation are specified: physicalization, direct hypostasis and re-objectivative hypostasis. The concept of lexical expectation serves the basis for transformed sense modelling that realizes comic effects. Creative aspects of individual concept-valency system are constantly revised as regards their compliance with general linguoculture system in order to provide adequate interpretation of comic elements by counter communicants.

Comic Sounds in Contemporary Theatre Performances: Marthaler, Pollesch, Fritsch and Gotscheff

At the Volksbühne am Rosa-Luxemburg-Platz in central Berlin, directors René Pollesch, Christoph Marthaler, Herbert Fritsch, and Dimiter Gotscheff employ comical elements of slapstick, irony, black humour, exaggeration, bluntness, vulgarity, and absurdity. Sound often proves to be significant to the comical effect of the performances as the use of music, sound effects and a specific way of speaking are characteristic for each of their individual directing styles. Even though their styles are comparable in that they all use of a vast array of acoustic elements, they nevertheless differ greatly from each other. The aim of my article is to categorize their use of comical sounds by consideringhowandto whateffect they are employed. The comical aspect of sounds, situations or actions is not necessarily universal or trans-historical, but rather always depends on the specific cultural and historical context that also coins the specific contemporary theatre practice. The article focusses on these connections and on the shifts of attention that are mainly caused by the comical effects of sound and can cause further comical effects.

Communicating Science through Comics: A Method

Scientists are trained to tell stories, scientific stories. Training is also needed to comprehend and contextualize these highly nuanced and technical stories because they are designed to explicitly convey scientific results, delineate their limitations, and describe a reproducible “plot” so that any thorough reenactment can achieve a similar conclusion. Although a carefully constructed scientific story may be crystal clear to other scientists in the same discipline, they are often inaccessible to broader audiences. This is problematic as scientists are increasingly expected to communicate their work to broader audiences that range from specialists in other disciplines to the general public. In fact, science communication is of increasing importance to acquire funding and generate effective outreach, as well as introduce, and sometimes even justify, research to society. This paper suggests a simple and flexible framework to translate a complex scientific publication into a broadly-accessible comic format. Examples are given for embedding scientific details into an easy-to-understand storyline. A background story is developed and panels are generated that convey scientific information via plain language coupled with recurring comic elements to maximize comprehension and memorability. This methodology is an attempt to alleviate the inherent limitations of interdisciplinary and public comprehension that result from standard scientific publication and dissemination practices. We also hope that this methodology will help colleagues enter into the field of science comics.

Collaborative self-translation – Pizzeria Kamikaze as a case in point

ABSTRACTThis paper examines graphic novels through the prism of translation and adaptation studies. Based on the similarity between the mechanisms of interlingual translation and adaptation, or intermedial translation, we discuss the applicability of the concept of ‘collaborative self-translation’ to a case study in which the author and the illustrator function as ‘bilingual’ co-authors. Thus, we provide a unique point of view on graphic novels in general, shedding light on their multimodality and the way they combine the verbal and the visual. Our case study is the graphic novel Pizzeria Kamikaze, first published in 2004, which is about people in an afterworld that actually mirrors life on earth. Based on a story by the Israeli author Etgar Keret, it was transformed into a graphic novel by Keret and the illustrator Asaf Hanuka. This collaboration, facilitated by the artists’ shared social milieu and artistic interests, enabled them to realise, in an innovative way, the elements of comics and cinema already embedded in the original work. The result is a multidimensional work – a satire on Israeli society which also evokes the fantastic world of comics and simulates the dark atmosphere of film noir, while pointing to universal dilemmas.

СИНТЕЗ КОМИКСА И НУАР-СТИЛИСТИКИ В СЕРИИ «ГРАФИЧЕСКИХ РОМАНОВ» Ф. МИЛЛЕРА “SIN CITY” («ГОРОД ГРЕХОВ»): К ПРОБЛЕМЕ РЕИНТЕРПРЕТАЦИИ

The article is devoted to analyzing the realization of “noire” style in the paradigm of comic strip stylistics by the material of F. Miller’s “graphic novel” “Sin City”. It is shown that the mentioned novel synthesizes specific features of comic strip (one and the same hero, story in a series of drawings, minimum amount of text, an adventurous story as “a tale for grown-ups” about the ideal fighters with the evil) and noire stylistics. Actually the writer re-interprets the comic strip genre: “Sin City” lacks comic elements, but it combines the traditions of S. D. Hammett‘s classical “black detective” and pulp-fiction esthetics based on the contrast of black and white.

Comedy of clowns in wayang kulit Kelantan performances

Pak Dogol and Wak Long are the principle clowns in wayang kulit Kelantan (A form of Malay shadow puppet theater). The wayang kulit dalangs (puppeteer) believethat Pak Dogol is not a comic character due to his dignified background, while his companion Wak Long is mostly considered to be a clownwho plays a comic role. However, in most wayang kulit performances both clowns have some comic scenes. Therefore, in this article the comic featuresof these clowns in wayang kulit performances are investigated. For this purpose, the comedy theories of Bergson are applied to four chosen performances, namely Dewa Sayap Tunggal Descends the Earth, Missing Laksmana (performed by Pak Rahim), Independence Day and Dewek. In brief, both Pak Dogol and Wak Long have some comic element in the performances, Wak Long moreso than Pak Dogol. Most of his comic techniques are related to verbal comedy, since he does not care about hierarchy and his wordsand phrases are often unsuitable for the situations he finds himself in. In some cases, Wak Long likes to mock others, especially Pak Dogol, while Pak Dogol is tolerant of Wak Long’s insults, further reinforcing the comedy. Furthermore, the fast movement of Wak Long’s puppet makes his comic character stronger, while the slower movements of Pak Dogol’s puppet provide a contrast. Generally,their comic features are classified as movement, situation and character comedy.Keywords: Pak Dogol – Wak Long – wayang kulit Kelantan – comedy – Bergson

Close Encounters between Bible and Film: An Interdisciplinary Engagement eds. by Laura Copier and Caroline Vander Stichele

Reviewed by: Close Encounters between Bible and Film: An Interdisciplinary Engagement eds. by Laura Copier and Caroline Vander Stichele Philippa Carter laura copier and caroline vander stichele (eds.), Close Encounters between Bible and Film: An Interdisciplinary Engagement (SBLSS 87; Atlanta: SBL Press, 2016). Pp. viii + 333. Paper $48.95. This collection of essays offers an excellent survey of interdisciplinary approaches to the Bible and film, illustrating how the field has moved beyond "the study of the narrative and themes of a film" (p. 1) into a field "where rich and diverse methodological approaches have deepened the reading, analysis, and understanding of the multiple encounters between Bible and film" (p. 2). The volume provides concrete examples of analysis that are genuinely interdisciplinary and outlines techniques to achieve such an approach. Following an introduction by the two editors and George Aichele's piece, "Film Theory and Biblical Studies," the contributions are divided into three sections. Part 1, "Film Technique as Interpretive Lens," includes Larry J. Kreitzer, "The Obtrusive Glimpse: Alfred Hitchcock and the Naked Young Man (Mark 14:51-52)"; Richard Walsh, "On the Harmony of the (Asocial) Gospel: Intolerance's Crosscut Stories"; and Reinhold Zwick, "Reading Biblical Stories with Cinematic Eyes: A Methodological Approach from the Perspective of Transmedial Narratology." Part 2, "Close Encounters between Texts and Films," comprises Michelle Fletcher, "'Behold, I'll Be Back': Terminator, the Book of Revelation and the Power of the Past"; David Shepherd, "'David's Anger Was Greatly Kindled': Melodrama, the Silent Cinema, and the Books of Samuel"; Laura Copier and Caroline Vander Stichele, "Death and Disaster: 2012 Meets Noah"; Tarja Laine's "Religion as Environmental Ethics: Darren Aronofsky's Noah." The volume concludes with part 3, "Interdisciplinary Conversations," containing Daria Pezzoli-Olgiati, "Controversial Mary: Religious Motifs and Conflicting Receptions of Godard's Je vous salue, Marie"; Robert Paul Seesengood, "A World of Feeling: The Affect of Lars von Trier and/as Biblical Apocalyptic"; Jeffrey L. Staley's "Martin Scorsese's Aviator as Theological Complement to His Last Temptation of Christ"; Matthew S. Rindge, "Lusting after Lester's Lolita: Perpetuating and Resisting the Male Gaze in American Beauty"; Abigail Pelham, "Objects and the 'Extended Self': The Construction of Identity in Moonrise Kingdom and the Tabernacle Narratives"; and Jeremy Punt, "The Odds Are Ever in the Empire's Favor: Postcolonial Subject Positioning in The Hunger Games." Anyone interested in the encounter between Bible and film could pick a contribution at random and find enlightening treatments of the topic, but the opening essay by Aichele is especially useful in outlining how such an encounter should be understood. Aichele insists on the importance of semiotics when studying the Bible and film together. His other points—"film is not Bible and Bible is not film" (p. 14); "there is no privileged member in the [End Page 180] film–Bible relationship" (p. 17); "film is not film any more, or at least it is not only film" (p. 19; emphasis his); and today not only film but the Bible is commodified for mass production and consumption—address critical issues in the field. Aichele is characteristically candid regarding the weaknesses of much of the joint study of film and Bible in the past. His point that the privileging of the biblical text—primarily due to the historical concerns of biblical studies as a field—must end if such joint study is to advance resonates. Scholars "must stop privileging history, which serves as a screen—a smoke screen, not a movie screen—behind which the older text that is the Bible is regarded as an original in relation to which the film must be secondary and derivative" (p. 18). Beyond Aichele's contribution, each section rewards the reader with a variety of approaches. Kreitzer's piece in the first section explores how consideration of Hitchcock's famous anonymous cameos in most of his films can inform our understanding of Mark 14:51-52. Both the cameos and the enigmatic verses may well share four features: identification with the intended audience, retention of authorial anonymity, the establishment of a point of narrative transition, and a comic element. Zwick advocates reading biblical narrative with "cinematic eyes." In his treatment of the transfiguration episode in...

REPRESENTATION OF ITALIAN SOCIETY IN THE WORKS OF LUIGI PIRANDELLO: AN ANALYSIS OF THE SHORT STORY THE OIL JAR

The main discussion in this paper is to show how Luigi Pirandello (1867- 1936) in The oil jar (1909) describes the different characteristics of Southern Italian agrarian society of 20th century. The protagonist of the story is a rich Italian farmer from Sicily. It is important to see physical description of the characters in the story to form an idea of the personality of the farmers. This paper reveals different aspects of the agricultural Italian society where large number of farmers is not well organized and is exposed to be exploited by rich landlords of village. The artisans are not being appreciated for their work and are under paid. Through the use of comic elements, author reflects the characteristics of materialistic Italian society.

Aardvarkian gothic

ABSTRACTGothic motifs figure strongly in several storylines in Dave Sim’s Cerebus series, albeit initially for predominantly parodic purposes. One of Sim’s earliest multi-issue arcs, comprising issues 23–25, involves not merely parody of specific mainstream comic elements but also of gothic tropes. Sim’s genre-bending is one of the strengths of Cerebus, and this arc demonstrates Sim’s skill in weaving gothic elements into the book, for parodic purposes but also to serve Sim’s gestational thematic interests. Sim exploits several characteristic elements of the gothic to trouble questions of gender and representation. He reverses the standard trope of the vulnerable woman in a mysterious space, threatened explicitly with violence and implicitly with sex, by making the male Cerebus the vulnerable figure, surrounded by sexually tempting adolescent girls. The story further complicates questions of gender in its invocation of drag, climaxing its interrogation with an innovative take on the doppelgänger motif by introducing Woman Thing and Sump Thing as parodic monstrous others whose violent/sexual encounter literalises Sim’s sexual politics, not to mention the crisis of representation sometimes seen as a key element of gothic. In doing so, he lays the groundwork for much of what will follow in Cerebus.

English Literary Renaissance (Winter, 2017, pp. 1–192; Spring, 2017, pp. 193–323; Autumn, 2017, pp. 325–448)

English Literary Renaissance (Winter, 2017, pp. 1–192; Spring, 2017, pp. 193–323; Autumn, 2017, pp. 325–448)

TDCS application over the STG improves the ability to recognize and appreciate elements involved in humor processing.

The superior temporal gyrus (STG) has been found to play a crucial role in the recognition of actions and facial expressions and may, therefore, be critical for the processing of humorous information. Here we investigated whether tDCS application to the STG would modulate the ability to recognize and appreciate the comic element in serious and comedic situations of misfortune. To this aim, the effects of different types of tDCS stimulation on the STG were analyzed during a task in which the participants were instructed to categorize various misfortunate situations as "comic" or "not comic". Participants underwent three different tDCS conditions: Anodal-right/Cathodal-left; Cathodal-right/Anodal-left; Sham. Images depicting people involved in accidents were grouped into three categories based on the facial expression of the victim: angry or painful (Affective); bewildered and funny (Comic); and images that did not contain the victim's face (No Face). An improvement in mean reaction times in response to both the Comic and No Face stimuli was observed following Anodal-left/Cathodal-right stimulation when compared to sham stimulation. This suggests that this stimulation type reduced the reaction times to socio-emotional complex scenes, regardless of facial expression. The Anodal-right/Cathodal-left stimulation reduced the mean reaction times for Comic stimuli only, suggesting that specifically the right STG may be involved in facial expression recognition and in the appreciation of the comic element in misfortunate situations. These results suggest a functional hemispheric asymmetry in STG response to social stimuli: the left STG might have a role in a general comprehension of social complex situations, while the right STG may be involved in the ability to recognize and integrate specific emotional aspects in a complex scene.

Tragicomic Conceptions: The Winter’s Tale As Response to Amphitryo

Critics have long seen The Winter’s Tale’s mixture of tragic and comic elements as rejecting classical conventions. Yet the play’s tragicomic frame has an important classical model, Plautus’ Amphitryo, a play celebrated in the sixteenth century for coining the term tragicomoedia to describe its generic playfulness. Shakespeare’s engagement with Plautus has been well established, but typically identified with his early plays. Amphitryo, which dramatizes the emotional suffering of a pregnant wife wrongfully accused of adultery, haunted Shakespeare’s dramatic imagination, especially as a model for intermingling tragic and comic modes. In revisiting the play’s juxtaposition of pregnancy, unjust accusations, divine intervention, and miraculous reconciliation, The Winter’s Tale similarly explores the tragicomic potential of the fertile female body. With its focus on the processes of childbearing and its delayed resolution, the play calls upon the language of origin, birth, and growth to explore generic conventions and rethink the production of authorship. [B.B. and T.P.]