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� Why Are Comics Still in Search of Cultural Legitimization? Thierry GroensTeen Although comics have been in existence for over a century and a half, they suffer from a considerable lack of legitimacy. To those who know and love it, the art that has given us Rodolphe Töpffer and Wilhelm Busch, Hergé and Tardi, Winsor McCay and George Herriman, Barks and Gottfredson, Franquin and Moebius, Segar and Spiegelman, Gotlib and Bretécher, Crumb and Mattotti, Hugo Pratt and Alberto Breccia, not to mention The Spirit, Peanuts or Asterix . . . in short, comic art, has nothing left to prove. If its validity as an art form appears self-evident, it is curious that the legitimizing authorities (universities, museums, the media) still regularly charge it with being infantile, vulgar, or insignificant. This as if the whole of the genre were to be lowered to the level of its most mediocre products—and its most remarkable incarnations ignored. Comic art suffers from an extraordinarily narrow image, given the richness and diversity of its manifestations. Furthermore, its globally bad reputation jeopardizes the acknowledgment of its most talented creators. Comic art’s continuing inability to reap the symbolic benefits of its most accomplished achievements is particularly striking and merits elucidation. This is the subject I would like to reflect upon today. Some of the points I will make concern the specific history and situation of French comics and cannot be applied to other national situations without some adaptation. I will start by evoking some of the paradoxes of the history of the 9th art. Modern (printed) comics appeared in the 1830s—in the form of Rodolphe Töpffer’s pioneering work1—which makes them more or less contemporary with the invention of photography. And yet, it was not until the 1960s that the French language found a permanent name for this mode of expression—that was, by then, over a hundred years old. During this long period, comics were known, not as bandes dessinées (literally strips that have been drawn) but, successively or indiscriminately, as histoires en estampes, which is Töpffer’s own term (stories told in prints), histoires en images (picture stories), récits illustrés (illustrated tales), films dessinés (films made of drawings) and of course, comics. Translated by Shirley Smolderen. Reprinted by permission from Anne Magnussen and Hans-Christian Christiansen, eds., Comics and Culture: Analytical and Theoretical Approaches to Comics (Museum Tusculanum Press, 2000), 29–41. Co py ri gh t @ 20 09 . Un iv er si ty P re ss o f Mi ss is si pp i. Al l ri gh ts r es er ve d. M ay n ot b e re pr od uc ed i n an y fo rm w it ho ut p er mi ss io n fr om t he p ub li sh er , ex ce pt f ai r us es p er mi tt ed u nd er U .S . or a pp li ca bl e co py ri gh t la w. EBSCO : eBook Collection (EBSCOhost) - printed on 10/6/2019 8:47 PM via MICHIGAN STATE UNIV AN: 458766 ; Heer, Jeet, .
Why Are Comics Still in Search of Cultural Legitimizat.docx
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questions 1: This week, we look at several examples of early modernist* art such as post-impressionism*, cubism*, fauvism*, futurism*, and expressionism*. Let's discuss the relationships between these aesthetic categories and the sociopolitical* climate of the period, always (as we did for Rubens) describing and analyzing specific examples of these categories, as well as (as we did last week for romanticism to impressionism) questioning whether such categories express the wishes of the artists involved and/or if such terms have stuck with critics and scholars. How did the sociopolitical climate of the time period, including especially the First World War, influence artists? As always, your posts need to meet multiple rubrics to get quality-points (one rubric means one point, up to four). Comparison with present-day examples are always welcome as added ornament, but the meat and potatoes of your point-getting posts will need to focus on the years between 1904 and 1939 (just before WWII). Which artistic and philosophical sub-cultures (circles of friends, enemies, and patrons) were among the most influential in this period, and which works caused the most adoration and debate, then and now? question 2:As it's Black History Month (when is white history month? Every other one?) and you may have seen that African-American singing was my Ph.D. topic and scholarly primary-area within music history, I'd like to invite everyone to consider the particular presence of continued "race" inequities in early-20th-century arts and politics over the globe (as we discussed slaves in Greece and the portrayal of lower classes in the realist strain within romanticism). In the U.S. what used to be referred to as "the black problem" has been particularly thorny. Through most of the 19th century, by far the most-popular multimedia performance-form (music, dance, jokes, costumes) in the U.S. (with some popularity in England and elsewhere) was blackface minstrelsy, where both white and some black performers (mostly male) "blacked up" using burnt-cork and oil over their faces, while exaggerating and reddening their lips, wearing white gloves, etc., a disgusting but fascinating deep strain at the root of American popular culture. But this thread is about roughly 1890-1939; what are some ways that African-Americans began to develop their own subcultures both in the South (where the vast majority of African-Americans lived in earlier, slave years) but also growing in the North (particularly business and industrial centers). What are some artistic, political, and philosophical sub-cultures (circles of friends, enemies, and patrons) under cultivation in these years, and what are some leading products of these circles? (For instance, were the patrons of most black art also black, and how did differences of class and ethnicity tend to affect the terms of this patronage?) As always, be specific and avoid clichés, triteness, and hyperbole/exaggeration. Consider also the emergen ...
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ComicFestival Munich - AWARD WINNERS 2023 PENG! – Der Münchner Comicpreis. Best German Comic PING! winner Helena Baumeister "oh cupid" published by Avant Verlag. Best European Comic, PING! winner Igort "Reports from Ukraine 2: Diary of an Invasion" (reproduction). Best comic from the English-speaking world, PING! winner Dave McKean: RAPTOR published by Cross Cult. Best secondary literature, PING! winner Alexander Braun "The Katzenjammer Kids published by Avant-Verlag Best edition of a classic, PING! winner Alan Moore and others "SWAMP THING" published by Panini Group (Panini comics) LIFE'S WORK for Gudrun Penndorf the Asterix translator. Gudrun Penndorf received the award for her life's work. Gudrun Penndorf translated numerous albums of the classic "Lucky Luke", as well as "Isnogud". SPECIAL PRICES for Timur Vermes a German writer. His first novel "Er ist wieder da", which has sold over a million copies in Germany, is a satire about Adolf Hitler and 21st-century Germany and Rainer Schneider who is member of the comic association Comicaze and employee of the Munich comic festival.
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