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Comics and Narration

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This book is the follow-up to Thierry Groensteen's ground-breaking "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 This book is the follow-up to Thierry Groensteen's ground-breaking "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 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.


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This book is the follow-up to Thierry Groensteen's ground-breaking "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 This book is the follow-up to Thierry Groensteen's ground-breaking "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 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.

46 review for Comics and Narration

  1. 4 out of 5

    Guilherme Smee

    Não existe maior teórico dos quadrinhos maior que Thierry Groensteen. Will Eisner e Scott McCloud podem ser os mais populares porque uniram o fazer quadrinhos com o estudar quadrinhos. Mas nenhum estudioso foi mais fundo - ao menos no campo da linguagem dos quadrinhos - do que o francês. Este seu segundo livro mais famoso, além de ter sido inspirado pelo trabalho de Chris Ware, parece ter ficado mais fluido em sua forma. Enquanto o primeiro usava de estruturas, artrologias e formas bastante metó Não existe maior teórico dos quadrinhos maior que Thierry Groensteen. Will Eisner e Scott McCloud podem ser os mais populares porque uniram o fazer quadrinhos com o estudar quadrinhos. Mas nenhum estudioso foi mais fundo - ao menos no campo da linguagem dos quadrinhos - do que o francês. Este seu segundo livro mais famoso, além de ter sido inspirado pelo trabalho de Chris Ware, parece ter ficado mais fluido em sua forma. Enquanto o primeiro usava de estruturas, artrologias e formas bastante metódicas de apresentar a linguagem dos quadrinhos, este segundo possui um texto mais fácil -ainda que continue denso - de se compreender. Se no primeiro livro o autor deu mais ênfase à forma dos quadrinhos, aqui ele vai dar mais destaque ao conteúdo, sublinhando as características narrativas desse meio tão especial que são as histórias em quadrinhos. O Brasil ainda carece de muitas traduções no que tange ao estudo de quadrinhos. A Marsupial Editora fez um belo trabalho em trazer, em 2015, O Sistema dos Quadrinhos, primeiro livro do autor, lançado no longínquo 1999. Vamos torcer para que Comics and Narration não demore tanto assim também. Alô editoras!

  2. 4 out of 5

    Derek Royal

    This is a significant follow up to The System of Comics, and overall, a much more readable translation (by Ann Miller). The core of this book resides in its inner chapters, 2-7. However, there are parts that read more tentative, less informed, or almost tangential to the narratological emphasis of the book. These include the sections on manga, on digital/online comics, and, to a lesser degree, on abstract comics (the first chapter). The last chapter, on comics and contemporary art, isn't near as This is a significant follow up to The System of Comics, and overall, a much more readable translation (by Ann Miller). The core of this book resides in its inner chapters, 2-7. However, there are parts that read more tentative, less informed, or almost tangential to the narratological emphasis of the book. These include the sections on manga, on digital/online comics, and, to a lesser degree, on abstract comics (the first chapter). The last chapter, on comics and contemporary art, isn't near as successful as the rest of the book, but I do understand why Groensteen would want to address this issue. It just seems a little out of place, given the rest of the text. Overall, I find the proposals and insights in this book a major step forward in the formal and rhetorical criticism surrounding comics.

  3. 4 out of 5

    Melanie

    An excellent insight into how narrative functions within comics.

  4. 5 out of 5

    Sérgio

  5. 4 out of 5

    Ana

  6. 5 out of 5

    Barbara

  7. 4 out of 5

    Gretchen

  8. 5 out of 5

    Catherine Kyle

  9. 4 out of 5

    Veronika

  10. 4 out of 5

    Raisu

  11. 5 out of 5

    Felix Paulsen

  12. 5 out of 5

    Sebastian Rosenow

  13. 4 out of 5

    Chinchilla

  14. 5 out of 5

    Evangelos

  15. 5 out of 5

    Brian

  16. 5 out of 5

    Martin

  17. 5 out of 5

    Patrick Holt

  18. 4 out of 5

    Ellie

  19. 4 out of 5

    Gabriel

  20. 5 out of 5

    Lance

  21. 5 out of 5

    Moby-Nostromo

  22. 4 out of 5

    Eric

  23. 4 out of 5

    Atenas

  24. 5 out of 5

    Andrés Santiago

  25. 5 out of 5

    Kevin Wright

  26. 4 out of 5

    Dani Shuping

  27. 4 out of 5

    Brent

  28. 5 out of 5

    Silke Horstkotte

  29. 4 out of 5

    Anna

  30. 4 out of 5

    Sarah

  31. 5 out of 5

    Filip Tyskens

  32. 4 out of 5

    Alëna Citrus

  33. 5 out of 5

    Live Love

  34. 5 out of 5

    C.Frey

  35. 4 out of 5

    Melissa

  36. 5 out of 5

    Andrew Godfrey

  37. 4 out of 5

    Rohan Sinha

  38. 5 out of 5

    Andrew Shaw

  39. 5 out of 5

    gboi7

  40. 5 out of 5

    Erdi

  41. 5 out of 5

    Ema Herbil

  42. 4 out of 5

    重金 張

  43. 5 out of 5

    Jan

  44. 4 out of 5

    Joey Dhaumya

  45. 5 out of 5

    Nbar

  46. 5 out of 5

    Verónica Munitz-soto

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