Michelle Ann Abate examines what The Family Circus, Ziggy, and The Far Side all have in common—they’re single-panel comics, a seemingly simple form that presents cartoonists with a wide range of possibilities. Covering everything from nineteenth-century political cartoons to twenty-first-century web comics, she reveals their complexity, artistry, and influence.
Michelle Ann Abate examines what The Family Circus, Ziggy, and The Far Side all have in common—they’re single-panel comics, a seemingly simple form that presents cartoonists with a wide range of possibilities. Covering everything from nineteenth-century political cartoons to twenty-first-century web comics, she reveals their complexity, artistry, and influence. Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
MICHELLE ANN ABATE is professor of literature for children and young adults at the Ohio State University in Columbus. She is the author of seven previous books of literary criticism, including Blockheads, Beagles, and Sweet Babboos: New Perspectives on Charles M. Schulz’s Peanuts and the Lambda Literary Award nominee Tomboys: A Literary and Cultural History.
Inhaltsangabe
Acknowledgments
List of Figures Introduction. All By Myself: Single-Panel Comics and the Question of Genre Chapter 1. “Those Damned Pictures”: Thomas Nast and the Rise of the Single-Panel Comic as Political Cartoon Chapter 2. Freeze Frame: R. F. Outcault’s The Yellow Kid and the Tableau Vivant Chapter 3. “The New Yorker’s Most Influential Cartoonist”: Peter Arno and the Extraordinary Ordinary of Everyday Life Chapter 4. Not Jokester, but Prankster: Little Lulu’s Silent Social Commentary Chapter 5. Civil / Rights: Jackie Ormes’s Patty-Jo 'n' Ginger, Black Girlhood, and the Black Bourgeoisie Chapter 6. Outside the Circle of Influence: The Family Circus, Diegetic Space, and Comics Narratology Chapter 7. Ziggy Was Here: Tom Wilson’s Newspaper Series, World War II, and the Role of Graffiti in Comics Chapter 8. “His People Are Grotesque”: The Far Side and the Aesthetics of Ugliness Epilogue. Reimagine, Recombine, Recreate: Dan Piraro’s Bizarro, Mashups, and the Comics of Remix Culture Works Cited
List of Figures Introduction. All By Myself: Single-Panel Comics and the Question of Genre Chapter 1. “Those Damned Pictures”: Thomas Nast and the Rise of the Single-Panel Comic as Political Cartoon Chapter 2. Freeze Frame: R. F. Outcault’s The Yellow Kid and the Tableau Vivant Chapter 3. “The New Yorker’s Most Influential Cartoonist”: Peter Arno and the Extraordinary Ordinary of Everyday Life Chapter 4. Not Jokester, but Prankster: Little Lulu’s Silent Social Commentary Chapter 5. Civil / Rights: Jackie Ormes’s Patty-Jo 'n' Ginger, Black Girlhood, and the Black Bourgeoisie Chapter 6. Outside the Circle of Influence: The Family Circus, Diegetic Space, and Comics Narratology Chapter 7. Ziggy Was Here: Tom Wilson’s Newspaper Series, World War II, and the Role of Graffiti in Comics Chapter 8. “His People Are Grotesque”: The Far Side and the Aesthetics of Ugliness Epilogue. Reimagine, Recombine, Recreate: Dan Piraro’s Bizarro, Mashups, and the Comics of Remix Culture Works Cited
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