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Comics and Language
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
Comics and Language
eBook
The complete idiot's guide to writing nonfiction
Get all the tools you need to craft compelling creative nonfiction prose. This helpful guide gives you everything you need to write real-life characters, compelling plots, natural dialogue, and captivating details.
Book
Comics and Narration
This book is the follow-up to Thierry Groensteen's ground-breakingThe 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 sh?jo 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.
eBook
Elements of fiction
\"In his essential writing guide, This Year You Write Your Novel, Walter Mosley supplied aspiring writers with the basic tools and practical advice needed to write a novel in a single year. In this complementary follow up, Mosley guides the reader through the fundamental building blocks of fiction to deliver a master class on the writer's craft. In a series of conversational and instructive chapters, Mosley breaks down the art of fiction to its most essential elements: character and character development, plot and story, voice and narrative, context and description. The result is a detailed depiction of the writing process, from the blank page to the first draft to rewriting, and rewriting again. Throughout, Elements of Fiction is enriched by the author's reflection on his own methods and enlivened by engaging demonstrative examples, not drawn from other literary works but written by Mosley himself.\"-- Provided by publisher.
Book
Hand of Fire
Jack Kirby (1917-1994) is one of the most influential and popular artists in comics history. With Stan Lee, he created the Fantastic Four and defined the drawing and narrative style of Marvel Comics from the 1960s to the present day. Kirby is credited with creating or cocreating a number of Marvel's mainstay properties, among them the X-Men, the Hulk, Thor, and the Silver Surfer. His earlier work with Joe Simon led to the creation of Captain America, the popular kid gang and romance comic genres, and one of the most successful comics studios of the 1940s and 1950s. Kirby's distinctive narrative drawing, use of bold abstraction, and creation of angst-ridden and morally flawed heroes mark him as one of the most influential mainstream creators in comics.In this book, Charles Hatfield examines the artistic legacy of one of America's true comic book giants. He analyzes the development of Kirby's cartooning technique, his use of dynamic composition, the recurring themes and moral ambiguities in his work, his eventual split from Lee, and his later work as a solo artist. Against the backdrop of Kirby's earlier work in various genres, Hand of Fire examines the peak of Kirby's career, when he introduced a new sense of scope and sublimity to comic book fantasy.
eBook
The writers' & artists' yearbook guide to how to write : the essential guide for authors
Tips and guidelines to writing effectively for publication in both fiction and nonfiction and for all age levels, providing examples of proper character development, plot structure, and prose style, and includes techniques on editing and marketing the finished manuscript.
Book
A Friendship
Of all these neighborly interactions, Mr. Siddiqui felt that his relationship with Mrs. Khanna, who sat at a desk to his left, was by far the most courteous, respectful, sophisticated, moral, intelligent, and mutually beneficial-a model of old-fashioned civility. [...]this is the situation,\" Mrs. Khanna said in her thick voice, throwing the dupatta over her broad shoulders. \"For these young people, going on hunger strike is just a fashion. \"What I told Madam is-okay, you can't change my name officially by tomorrow, that's fine. Because if my fellow students know I am a Muslim tomorrow, then they will know it for the rest of the four years.\"
Journal Article
Corners
What is he, a guava?\" She wanted it to say murdered, which kicked the discussion up into even harsher tones. On the other end of the line was a recorded message, but it took me a few seconds to realize that. When they walked me out to my car, Noam's mom accused me of lying again. Noam used to bring her my books with trembling hands, as if I were at the very least some kind of Chekhov, but she'd always sensed it: the way I cut corners, the pandering.
Journal Article