Results for 'comics'

11 found
Order:
See also
Bibliography: Comics in Aesthetics
  1. Comics & Collective Authorship.Christy Mag Uidhir - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Wiley-Blackwell. pp. 47-67.
    Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  2. Comics and Genre.Catharine Abell - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. pp. 68--84.
    An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark   4 citations  
  3. Defining Comics.Aaron Meskin - 2016 - In Aaron Meskin, Frank Bramlett & Roy Cook (eds.), Routledge Companion to Comics. Routledge. pp. 221-229.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  4. Comics, Prints, and Multiplicity.Roy T. Cook & Aaron Meskin - 2015 - Journal of Aesthetics and Art Criticism 73 (1):57-67.
    Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5. Comics and Ethics.Jon Robson - forthcoming - In F. Bramlett, R. Cook & A. Meskin (eds.), Routledge Companion to Comics and Graphic Novels. Routledge.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  6.  87
    Shifting Perspectives in Pictorial Narratives.Emar Maier & Sofia Bimpikou - forthcoming - In Uli Sauerland & Stephanie Solt (eds.), Proceeding of Sinn und Bedeutung 23. Barcelona: Leibniz-Centre General Linguistics (ZAS).
    We propose an extension of Discourse Respresentation Theory (DRT) for analyzing pictorial narratives. We test drive our PicDRT framework by analyzing the way authors represent characters’ mental states and perception in comics. Our investigation goes beyond Abusch and Rooth (2017) in handling not just free perception sequences, but also a form of apparent perspective blending somewhat reminiscent of free indirect discourse.
    Download  
     
    Export citation  
     
    Bookmark  
  7.  25
    Aesthetics And Popular Art: An Interview With Aaron Meskin.Aaron Meskin - 2010 - Postgraduate Journal of Aesthetics 7 (2):1-9.
    As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  8.  29
    Gry Komputerowe I Branża Gier a Sztuka Komiksowa.Andrzej Klimczuk - 2011 - In Grażyna Gajewska & Rafał Wójcik (eds.), Contextual Mix. Through Graphic Stories to Analyses of Contemporary Culture. Poznańskie Towarzystwo Przyjaciół Nauk. pp. 385--396.
    Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and artists working (...)
    Download  
     
    Export citation  
     
    Bookmark  
  9. Why They Won't Save Us: Political Dispositions in the Conflicts of Superheroes.Woody Evans - 2014 - Transformative Works and Cultures 17.
    Comic book superheroes tend to be conservative and their opponents progressive. Here I explore the reasons for heroic conservatism, review recent disruptions to the trend, and consider what superhuman politics can tell us about our own transhuman and science fictional conditions.
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  10.  33
    Picturing Words: The Semantics of Speech Balloons.Emar Maier - 2019 - In Proceedings of the 22nd Amsterdam Colloquium. Amsterdam: pp. 584-592.
    Semantics traditionally focuses on linguistic meaning. In recent years, the Super Linguistics movement has tried to broaden the scope of inquiry in various directions, including an extension of semantics to talk about the meaning of pictures. There are close similarities between the interpretation of language and of pictures. Most fundamentally, pictures, like utterances, can be either true or false of a given state of affairs, and hence both express propositions (Zimmermann, 2016; Greenberg, 2013; Abusch, 2015). Moreover, sequences of pictures, like (...)
    Download  
     
    Export citation  
     
    Bookmark  
  11.  63
    Моделі споживання коміксів як варіант постмодерністської соціально-економічної комунікації.Tatyana Pavlova, Roman Pavlov & Oksana Levkovich - 2019 - In Управління розвитком суб'єктів підприємництва в умовах викликів ХХІ століття. Днипро, Днепропетровская область, Украина, 49000: pp. 313-324.
    Авторами розглянуті умови соціалізації споживання коміксів у мікросоціальному масштабі, що дає змогу описати особливості формування та розвитку різноманітних поведінкових моделей попиту на даний продукт сучасної культури. Запропоновано доповнити сегментацію споживачів коміксів такими критеріями як схильність до домінантного формату читання та потенційні умови перегляду домінантного формату читання. Ключові слова: комікс, варіативність моделей споживання, суспільство, постмодернізм, соціальна комунікація. -/- Авторами рассмотрены условия социализации потребления комиксов в микросоциальном масштабе, что позволяет описать особенности формирования и развития разнообразных поведенческих моделей спроса на данный продукт современной (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark