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Varnum, Robin and Christina T. Gibbons, eds. The Language of Comics: Word and image. Studies in Popular Culture. Jackson: Univ. Press of Mississippi, 2001. 
Added by: joachim (7/20/09, 1:34 AM)   Last edited by: joachim (10/2/11, 6:59 PM)
Resource type: Book
Language: en: English
ID no. (ISBN etc.): 1-57806-413-9
BibTeX citation key: Varnum2001a
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Categories: General
Keywords: Collection of essays
Creators: Gibbons, Varnum
Publisher: Univ. Press of Mississippi (Jackson)
Views: 22/564
In our culture, which depends increasingly on images of instruction and recreation, it is important to ask how words and images make meaning when they are combined. Comics, one of the most widely read media of the twentieth century, serves as an ideal for focusing on an investigation on the word-and-image question. This collection of essays attempts to give an answer. The first six see words and images as separate art forms that play with or against each other. David Kunzle finds that words restrict the meaning of the art of Adolphe Willette and Theophile-Alexandre Steinlen in “Le Chat Noir”. David A. Berona, examining wordless novels, argues that the ability to read pictures depends on the ability to read words. Todd Taylor draws on classical rhetoric to demonstrate that images in “The Road Runner” are more persuasive that words. N. C. Christopher Couch—writing on “The Yellow Kid”—and Robert C. Harvey—discussing early “New Yorker” cartoons—are both interested in the historical development of the partnership between words and images in comics. Frank L. Cioffi traces a disjunctive relationship of opposites in the work of Andrzej Mleczko, Ben Katchor, R. Crumb, and Art Spiegelman. The last four essays explore the integration of words and images. Among five comic books adaptations of “Hamlet” Marion D. Perret finds one in which words and images form a dialectic. Jan Baetens critiques the semiotically inspired theory of Phillippi Marion. Catherine Khordic explores speech balloons in “Asterix the Gaul”. Gene Kannenburg, Jr., demonstrates how the Chicago-based artist Chris Ware blurs the difference between word and image. The Language of Comics, however, is the first collection of critical essays on comics to explore a single issue as it affects a variety of comics.

Table of Contents

Introduction (ix)

David Kunzle: The Voices of Silence: Willette, Steinlen and the Introduction of the Silent Strip in the Chat Noir, with a German Coda (3)
David A. Beronä: Pictures Speak in Comics without Words: Pictorial Principles in the Work of Milt Gross, Hendrik Dorgathen, Eric Drooker, and Peter Kuper (19)
Todd Taylor: If He Catches You, You’re Through: Coyotes and Visual Ethos (40)
N. C. Christopher Couch: The Yellow Kid and the Comic Page (60)
Robert C. Harvey: Comedy at the Juncture of Word and Image: The Emergence of the Modern Magazine Gag Cartoon Reveals the Vital Blend (75)
Frank L. Cioffi: Disturbing Comics: The Disjunction of Word and Image in the Comics of Andrzej Mleczko, Ben Katchor, R. Crumb, and Art Spiegelman (97)
Marion D. Perret: “And Suit the Action to the Word”: How a Comics Panel Can Speak Shakespeare (123)
Jan Baetens: Revealing Traces: A New Theory of Graphic Enunciation (145)
Catherine Khordoc: The Comic Book's Soundtrack: Visual Sound Effects in Asterix (156)
Gene Kannenberg, Jr.: The Comics of Chris Ware: Text, Image, and Visual Narrative Strategies (174)

Notes (199)
Works Cited (205)
Contributors (213)
Index (215)
Added by: joachim  Last edited by: joachim
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