Hylla
Personnamn
Titel och upphov
Utgivning, distribution etc. Pennsylvania State Univ. Press , University Park : 2000
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning
Term
Indexterm - Okontrollerad
ISBN 0-271-01962-X : 0-271-02188-8 0-271-02188-8
Antal i kö:
*00000805nam a22003017 45
*00114996
*007|||||||||||||||||||||||
*008110824s2000 z| 00 0 eng||
*020 $a0-271-01962-X :$cCIP entry
*020 $a0-271-02188-8
*020 $a0-271-02188-8
*035 $a(Ko)16556
*040 $dG
*084 $aG.05
*084 $aIaa
*084 $aIg.5
*084 $aG:df
*1001 $aCarrier, David
*24514$aThe aesthetics of comics /$cDavid Carrier
*260 $aUniversity Park :$bPennsylvania State Univ. Press ,$c2000
*300 $axii, 139 s. :$bill.
*650 4$aKonstestetik
*650 4$aSerier
*653 $aTecknade serier, estetik
*697 $cLitteraturvetenskap Estetik
*697 $cLitteraturvetenskap Tecknade Serier
*8520 $hG.05
^
Det finns inga omdömen till denna titeln.
Klicka här
för att vara den första som skriver ett omdöme.
From Gary Larson's The Far Side to George Herriman's Krazy Kat , comic strips have two obvious defining features. They are visual narratives, using both words and pictures to tell stories, and they use word balloons to represent the speech and thought of depicted characters. Art historians have studied visual artifacts from every culture; cultural historians have recently paid close attention to movies. Yet the comic strip, an art form known to everyone, has not yet been much studied by aestheticians or art historians. This is the first full-length philosophical account of the comic strip.
Distinguished philosopher David Carrier looks at popular American and Japanese comic strips to identify and solve the aesthetic problems posed by comic strips and to explain the relationship of this artistic genre to other forms of visual art. He traces the use of speech and thought balloons to early Renaissance art and claims that the speech balloon defines comics as neither a purely visual nor a strictly verbal art form, but as something radically new. Comics, he claims, are essentially a composite art that, when successful, seamlessly combine verbal and visual elements.
Carrier looks at the way an audience interprets comics and contrasts the interpretation of comics and other mass-culture images to that of Old Master visual art. The meaning behind the comic can be immediately grasped by the average reader, whereas a piece of museum art can only be fully interpreted by scholars familiar with the history and the background behind the painting. Finally, Carrier relates comics to art history. Ultimately, Carrier's analysis of comics shows why this popular art is worthy of philosophical study and proves that a better understanding of comics will help us better understand the history of art.
List of Illustrations p. ix Acknowledgments p. xi Introduction p. 1 The Nature of Comics Caricature; or, Representing Causal Connection p. 11 The Speech Balloon; or, The Problem of Representing Other Minds p. 27 The Image Sequence; or, Moving Modernist Pictures p. 47 Words and Pictures Bound Together; or, Experiencing the Unity of Comics p. 61 Interpreting Comics The Content of the Form; or, Seeing Pictures, Reading Texts, Viewing Comics p. 77 Interpreting a Populist Art Form; or, The Liberating Force of Krazy Kat p. 87 The Place of Comics in Relation to Art History Posthistorical Art; or, Comics and the Realm of Absolute Knowledge p. 107 Bibliography p. 125 Index p. 137