Asterios Polyp

Asterios Polyp, its arrogant, prickly protagonist, is an award-winning architect who's never built an actual building, and a pedant in the midst of a spiritual crisis.

Author: David Mazzucchelli

Publisher: Pantheon

ISBN: 0307377326

Category: Comics & Graphic Novels

Page: 344

View: 918

Asterios Polyp, its arrogant, prickly protagonist, is an award-winning architect who's never built an actual building, and a pedant in the midst of a spiritual crisis. After the structure of his own life falls apart, he runs away to try to rebuild it into something new.

Son of Classics and Comics

This chapter examines the Greek and Roman elements of Asterios Polyp, exploring the ways in which both the art and the ideas of antiquity can provide ...

Author: C. W. Marshall

Publisher: Oxford University Press, USA

ISBN: 0190268891

Category: Classical literature

Page: 288

View: 844

Wonder Woman, Amazon Princess; Asterix, indefatigable Gaul; Ozymandias, like Alexander looking for new worlds to conquer. Comics use classical sources, narrative patterns, and references to enrich their imaginative worlds and deepen the stories they present. Son of Classics and Comics exploresthat rich interaction. This volume presents thirteen original studies of representations of the ancient world in the medium of comics. Building on the foundation established by their groundbreaking Classics and Comics (OUP, 2011), Kovacs and Marshall have gathered a wide range of studies with a new,global perspective. Chapters are helpfully grouped to facilitate classroom use, with sections on receptions of Homer, on manga, on Asterix, and on the sense of a 'classic" in the modern world. All Greek and Latin are translated. Lavishly illustrated, the volume widens the range of available studies on the reception of the Greek and Roman worlds in comics significantly, and deepens our understanding of comics as a literary medium. Son of Classics and Comics will appeal to students andscholars of classical reception as well as comics fans.

Comics and Stuff

Harvey Kurtzman and Will Elder, Little Annie Fanny (1980). 1.8. David Mazzucchelli's Asterios Polyp (2009) encourages us to read the character's ...

Author: Henry Jenkins

Publisher: NYU Press

ISBN: 1479831255

Category: Social Science

Page:

View: 171

Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves.

Comics and Language

Asterios Polyp's creative use of drawing style obviates this. Relenting after a fight, Hana is seen unmoving across four panels, essentially “fading out” of ...

Author: Hannah Miodrag

Publisher: Univ. Press of Mississippi

ISBN: 1628467959

Category: Literary Criticism

Page: 280

View: 588

It has become an axiom in comic studies that "comics is a language, not a genre." But what exactly does that mean, and how is discourse on the form both aided and hindered by thinking of it in linguistic terms? In Comics and Language, Hannah Miodrag challenges many of the key assumptions about the "grammar" and formal characteristics of comics, and offers a more nuanced, theoretical framework that she argues will better serve the field by offering a consistent means for communicating critical theory in the scholarship. Through engaging close readings and an accessible use of theory, this book exposes the problems embedded in the ways critics have used ideas of language, literature, structuralism, and semiotics, and sets out a new and more theoretically sound way of understanding how comics communicate. Comics and Language argues against the critical tendency to flatten the distinctions between language and images and to discuss literature purely in terms of story content. It closely examines the original critical theories that such arguments purport to draw on and shows how they in fact point away from the conclusions they are commonly used to prove. The book improves the use the field makes of existing scholarly disciplines and furthers the ongoing sophistication of the field. It provides animated and insightful analyses of a range of different texts and takes an interdisciplinary approach. Comics and Language will appeal to the general comics reader and will prove crucial for specialized scholars in the fields of comics, literature, cultural studies, art history, and visual studies. It also provides a valuable summary of the current state of formalist criticism within comics studies and so presents the ideal text for those interested in exploring this growing area of research

Critical Approaches to Comics

Asterios Polyp Copyright 2009 David Mazzucchelli 3.2 Shape and color are used to show emotional connection (page 63). Asterios Polyp Copyright 2009 David ...

Author: Matthew J. Smith

Publisher: Routledge

ISBN: 1136884734

Category: Literary Criticism

Page: 328

View: 638

Critical Approaches to Comics offers students a deeper understanding of the artistic and cultural significance of comic books and graphic novels by introducing key theories and critical methods for analyzing comics. Each chapter explains and then demonstrates a critical method or approach, which students can then apply to interrogate and critique the meanings and forms of comic books, graphic novels, and other sequential art. The authors introduce a wide range of critical perspectives on comics, including fandom, genre, intertextuality, adaptation, gender, narrative, formalism, visual culture, and much more. As the first comprehensive introduction to critical methods for studying comics, Critical Approaches to Comics is the ideal textbook for a variety of courses in comics studies. Contributors: Henry Jenkins, David Berona, Joseph Witek, Randy Duncan, Marc Singer, Pascal Lefevre, Andrei Molotiu, Jeff McLaughlin, Amy Kiste Nyberg, Christopher Murray, Mark Rogers, Ian Gordon, Stanford Carpenter, Matthew J. Smith, Brad J. Ricca, Peter Coogan, Leonard Rifas, Jennifer K. Stuller, Ana Merino, Mel Gibson, Jeffrey A. Brown, Brian Swafford

On the Edge of the Panel

Asterios Polyp recupera de esta forma el dibujo conceptual en historieta, en detrimento de la representación ilusionista de la realidad.

Author: Esther Claudio

Publisher: Cambridge Scholars Publishing

ISBN: 1443881996

Category: Art

Page: 330

View: 314

To create a comic is not to illustrate words, but to create narrative diagrams and transform strokes into imaging words. The infinite array of possibilities that the merging of text and pictures provides is a garden of forking paths that critics have just started to explore. This is an art that operates as the crossroads of various disciplines, but whose specifications require a thorough understanding of its unique mechanisms. The explosion of experimental works and the incorporation of previously marginal (or nonexistent) genres and themes in comics have enriched an already fruitful art in ways that continue to surprise both readers and critics. This collection of essays offers a space of reflection on the cultural, social, historical, and ideological dimensions of comics. With this in the background, the book focuses on three main areas: the origins and definitions of comics; the formal tools of the medium; and authors and their works. The historical and formal approach to comics, as shown here, is still essential and the debate about the origins and definition is still present, but two thirds of this collection formulate other treatments that scholars had not started to tackle until recently. Does this mean that the study of comics has finally reached the necessary confidence to abandon the artistic legitimization of the medium? Or are they just new self defense mechanisms through alliances with other fields of academic interest? This book will add to the debate on comics, as did the international conference that led to it. It provides a channel of communication with an art, a two-headed medium that, like the god Janus, operates as a hinge, as a meeting point, as a bridge between pictorial and literary expression.

Reading Lessons in Seeing

That twopage spread conveys one ending of Asterios Polyp. It is an apocalypse that has been heralded by the symbolic crater at the middle of the book, ...

Author: Michael A. Chaney

Publisher: Univ. Press of Mississippi

ISBN: 1496810260

Category: Literary Criticism

Page: 192

View: 918

Literary scholar Michael A. Chaney examines graphic novels to illustrate that in form and function they inform readers on how they ought to be read. His arguments result in an innovative analysis of the various knowledges that comics produce and the methods artists and writers employ to convey them. Theoretically eclectic, this study attends to the lessons taught by both the form and content of today's most celebrated graphic novels. Chaney analyzes the embedded lessons in comics and graphic novels through the form's central tropes: the iconic child storyteller and the inherent childishness of comics in American culture; the use of mirrors and masks as ciphers of the unconscious; embedded puzzles and games in otherwise story-driven comic narratives; and the form's self-reflexive propensity for showing its work. Comics reveal the labor that goes into producing them, embedding lessons on how to read the "work" as a whole. Throughout, Chaney draws from a range of theoretical insights from psychoanalysis and semiotics to theories of reception and production from film studies, art history, and media studies. Some of the major texts examined include Marjane Satrapi's Persepolis; Chris Ware's Jimmy Corrigan: The Smartest Kid on Earth; Joe Sacco's Palestine; David B.'s Epileptic; Kyle Baker's Nat Turner; and many more. As Chaney's examples show, graphic novels teach us even as they create meaning in their infinite relay between words and pictures.

Lessons Drawn

asterios. Polyp. the third and final unit of the course is dedicated to The Odyssey, which is also a required text, and despite the ubiquity of references ...

Author: David D. Seelow

Publisher: McFarland

ISBN: 1476634912

Category: Education

Page: 258

View: 764

Imagine a classroom where students put away their smart phones and enthusiastically participate in learning activities that unleash creativity and refine critical thinking. Students today live and learn in a transmedia environment that demands multi-modal writing skills and multiple literacies. This collection brings together 17 new essays on using comics and graphic novels to provide both a learning framework and hands-on strategies that transform students' learning experiences through literary forms they respond to.

Spanish Comics

I've read his adaptation of City of Glass and Asterios Polyp.17 PR: See? I didn't like Asterios Polyp that much. EC: Why not? PR: I don't know.

Author: Anne Magnussen

Publisher: Berghahn Books

ISBN: 1789209986

Category: Social Science

Page: 258

View: 198

Spanish comics represent an exciting and diverse field, yet one that is often overlooked outside of Spain. Spanish Comics offers an overview on contemporary scholarship on Spanish comics, focusing on a wide range of comics dating from the Francoist dictatorship, 1939-1975; the Political Transition, 1970-1985; and Democratic Spain since the early 1980s including the emergence of the graphic novel in 2000. Touching on themes of memory, gender, regional identities, and history, the chapters in this collection demonstrate the historical and cultural significance of Spanish comics.

Graphic Novels and Comics in the Classroom

Asterios Polyp is a recent example of how the comic books can be used to challenge the formal underpinnings of art. Continuing that line ofinquiry is one of ...

Author: Carrye Kay Syma

Publisher: McFarland

ISBN: 1476601976

Category: Literary Criticism

Page: 296

View: 339

Sequential art combines the visual and the narrative in a way that readers have to interpret the images with the writing. Comics make a good fit with education because students are using a format that provides active engagement. This collection of essays is a wide-ranging look at current practices using comics and graphic novels in educational settings, from elementary schools through college. The contributors cover history, gender, the use of specific graphic novels, practical application and educational theory. Instructors considering this book for use in a course may request an examination copy here.

Pantheon Books Graphic Novels

Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online.

Author: Source Wikipedia

Publisher: University-Press.org

ISBN: 9781230615929

Category:

Page: 20

View: 705

Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (novels not included). Pages: 18. Chapters: Alias the Cat!, Asterios Polyp, Chicken with Plums, Epileptic (comics), Ethel and Ernest, Habibi (graphic novel), Maus, Mister Wonderful (comics), Persepolis (comics). Excerpt: Maus is a graphic novel completed in 1991 by American cartoonist Art Spiegelman. In it, Spiegelman interviews his father about his experiences as a Polish Jew and Holocaust survivor. The book makes use of postmodern techniques-most strikingly in its depiction of races of humans as different kinds of animals, with Jews as mice, Germans as cats and Poles as pigs. Maus has been variously labeled as memoir, biography, history, fiction, autobiography, or a mix of genres. In 1992, it became the first graphic novel to win a Pulitzer Prize. In the "present" frame tale timeline, beginning in 1978 in Rego Park, New York, Spiegelman talks with his father about his Holocaust experiences, gathering material for the Maus project he is preparing. In the "past," Spiegelman depicts his father's experiences, starting in the years leading up to World War II. Much of the story revolves around Spiegelman's troubled relationship with his father, and the absence of his mother who committed suicide when he was 20. Her grief-stricken husband destroyed her written accounts of Auschwitz. Formally, Spiegelman struggles with problems of presentation, working with a strained animal metaphor that is intended to self-destruct. The book uses a minimalist drawing style while displaying virtuosity in its page and panel layouts, pacing, and structure. A three-page 1972 strip by Spiegelman, also called "Maus," was the impetus for Spiegelman to interview his father about his war experiences. The recorded interviews became the basis for the graphic novel, which was begun in 1978. Maus was serialized from 1980 until 1991 as an insert in Raw, an...


Multimodality

David Mazzuchelli's Asterios Polyp is a densely coded narrative that consistently challenges the reader's modal orientation and comprehension of the use of ...

Author: Janina Wildfeuer

Publisher: Walter de Gruyter GmbH & Co KG

ISBN: 3110608057

Category: Language Arts & Disciplines

Page: 340

View: 105

Multimodality’s popularity as a semiotic approach has not resulted in a common voice yet. Its conceptual anchoring as well as its empirical applications often remain localized and disparate, and ideas of a theory of multimodality are heterogeneous and uncoordinated. For the field to move ahead, it must achieve a more mature status of reflection, mutual support, and interaction with regard to both past and future directions. The red thread across the disciplines reflected in this book is a common goal of capturing the mechanisms of synergetic knowledge construction and transmission using diverse forms of expressions, i.e., multimodality. The collection of chapters brought together in the book reflects both a diversity of disciplines and common interests and challenges, thereby establishing an excellent roadmap for the future. The contributions revisit and redefine theoretical concepts or empirical analyses, which are crucial to the study of multimodality from various perspectives, with a view towards evolving issues of multimodal analysis. With this, the book aims at repositioning the field as a well-grounded scientific discipline with significant implications for future communication research in many fields of study.

Comics and Narration

Mazzucchelli's Asterios Polyp is an example of a work in which the exhibition of a range of styles works in favor of the narrative project instead of ...

Author: Thierry Groensteen

Publisher: Univ. Press of Mississippi

ISBN: 1628467967

Category: Literary Criticism

Page: 216

View: 539

This book is the follow-up to Thierry Groensteen's groundbreaking The System of Comics, in which the leading French-language comics theorist set out to investigate how the medium functions, introducing the principle of iconic solidarity, and showing the systems that underlie the articulation between panels at three levels: page layout, linear sequence, and nonsequential links woven through the comic book as a whole. He now develops that analysis further, using examples from a very wide range of comics, including the work of American artists such as Chris Ware and Robert Crumb. He tests out his theoretical framework by bringing it up against cases that challenge it, such as abstract comics, digital comics and shojo manga, and offers insightful reflections on these innovations. In addition, he includes lengthy chapters on three areas not covered in the first book. First, he explores the role of the narrator, both verbal and visual, and the particular issues that arise out of narration in autobiographical comics. Second, Groensteen tackles the question of rhythm in comics, and the skill demonstrated by virtuoso artists in intertwining different rhythms over and above the basic beat provided by the discontinuity of the panels. And third he resets the relationship of comics to contemporary art, conditioned by cultural history and aesthetic traditions but evolving recently as comics artists move onto avant-garde terrain.

From Comic Strips to Graphic Novels

One remarkable aspect, for instance, about the stylistic heterogeneity in David Mazzucchelli's much-discussed graphic novel, Asterios Polyp (2009), ...

Author: Daniel Stein

Publisher: Walter de Gruyter

ISBN: 311028202X

Category: Literary Criticism

Page: 422

View: 766

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.

101 Outstanding Graphic Novels

38 Mazzucchelli, David Asterios Polyp Pantheon Books, 2009 ISBN 978-0307377326 $35.00 Genius professor Asterios Polyp finds himself alone and adrift at 50 ...

Author: Stephen Weiner

Publisher: NBM Publishing

ISBN: 156163946X

Category: Art

Page: 80

View: 367

The popular primer on the best graphic novels, initially called The 101 Best Graphic Novels, is back in its third updated edition. Expert librarian Stephen Weiner—with the crowdsourcing help of professionals in the field, from artists to critics to leading comic store owners—has sifted through the bewildering thousands of graphic novels now available to come up with an outstanding, not-to-be-missed 101. With an all-encompassing variety of genres, including both fiction and nonfiction, this serves as a great introduction to this increasingly influential world of pop culture and entertainment while also serving as a reference list for fans on what they may have possibly overlooked.

Reading Graphic Novels

... and Fun Home generally work with large amounts of text; others like Arkham Asylum, Jimmy Corrigan, Black Hole, Blankets, Asterios Polyp do not.

Author: Achim Hescher

Publisher: Walter de Gruyter GmbH & Co KG

ISBN: 3110445395

Category: Literary Criticism

Page: 227

View: 224

This monograph presents a prototype theory-based approach to the graphic novel as a narrating genre. After a historical contextualization, the graphic novel is defined through the core feature of complexity and seven gradable subcategories. With regard to narration, the author challenges concepts from classical narratology like the ‘narrator’ and ‘focalization’ to finally discuss aspects of subjectivity, a focal paradigm in the latest research.

Optional Narrator Theory

Some examples include David Mazzucchelli's graphic novel Asterios Polyp (2009), in which the narrator, the protagonist's stillborn twin brother Ignazio, ...

Author: Sylvie Patron

Publisher: U of Nebraska Press

ISBN: 1496224507

Category: Literary Criticism

Page: 336

View: 101

Optional-Narrator Theory makes a strong intervention in (or against) narratology, pushing back against the widespread belief among narrative theorists in general and theorists of the novel in particular that the presence of a fictional narrator is a defining feature of fictional narratives.

Keywords for Comics Studies

David Mazzucchelli's Asterios Polyp (2009) is one of the few works that truly merits that underthought label of “graphic novel” and easily illustrates the ...

Author: Ramzi Fawaz

Publisher: NYU Press

ISBN: 147981668X

Category: Literary Criticism

Page: 288

View: 251

"Across more than fifty essays, Keywords for Comics Studies provides a rich, interdisciplinary vocabulary for comics and sequential art, and identifies new avenues of research into one of the most popular and diverse visual media of the twentieth and twenty-first century. In an original twist on the NYU Keywords mission, the terms in this volume combine attention to the unique aesthetic practices of a distinct medium, comics, with some of the most fundamental concepts of the humanities broadly. Readers will see how scholars, cultural critics, and comics artists from a range of fields-including media and film studies, queer and feminist theory, and critical race and transgender studies among others-take up sequential art as both an object of analysis and a medium for developing new theories about embodiment, identity, literacy, audience reception, genre, cultural politics and more. To do so, Keywords for Comics Studies presents an array of original and inventive analyses of terms central to the study of comics and sequential art, but traditionally siloed in distinct lexicons: these include creative or aesthetic terms like Ink, Creator, Border, and Panel; conceptual terms like trans*, disability, universe, and fantasy; genre terms, like Zine, Pornography, Superhero, and Manga; and canonical terms like X-Men, Archie, Watchmen and Love and Rockets. Written as much for students and lay readers as professors and experts in the field, Keywords for Comics Studies revivifies the fantasy and magic of reading comics in its kaleidoscopic view of the field's most compelling and imaginative ideas"--

Comics Studies

When applied on a larger scale, as in David Mazzucchelli's Asterios Polyp (2009), the transformations follow clearly defined rules.17 Mazzucchelli shifts ...

Author: Charles Hatfield

Publisher: Rutgers University Press

ISBN: 0813591430

Category: Literary Criticism

Page: 270

View: 621

In the twenty-first century, the field of comics studies has exploded. Scholarship on graphic novels, comic books, comic strips, webcomics, manga, and all forms of comic art has grown at a dizzying pace, with new publications, institutions, and courses springing up everywhere. The field crosses disciplinary and cultural borders and brings together myriad traditions. Comics Studies: A Guidebook offers a rich but concise introduction to this multifaceted field, authored by leading experts in multiple disciplines. It opens diverse entryways to comics studies, including history, form, audiences, genre, and cultural, industrial, and economic contexts. An invaluable one-stop resource for veteran and new comics scholars alike, this guidebook represents the state of the art in contemporary comics scholarship.