This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style. As well as considering what Art History proposes of comic scholarship, including the questioning of some of its deep-rooted categories and procedures, it also appraises what comics and Comics Studies afford and ask of Art History. This book draws together the work of international scholars applying art-historical methodologies to the study of a range of comic strips, books, cartoons, graphic novels and manga, who, as well as being researchers, are also educators, artists, designers, curators, producers, librarians, editors, and writers, with some undertaking practice-based research. Many are trained art historians, but others come from, have migrated into, or straddle other disciplines, such as Comparative Literature, American Literature, Cultural Studies, Visual Studies, and a rangeof subjects within Art & Design practice.
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Family history research can lead in many directions. Two years ago when investigating the lives of the families of the siblings of my great grandfather (George Moses) I located the following family story.The image for this week's Sepia Saturday, encouraged me to check my notes and write this post on what I had previously found. Program held in National Library of Australia collection - online on History Bucket post The above image is the cover of an eight page program prepared for the tour of Australia and New Zealand by the opera singer, Madame Elsa Stralia, in 1925. Elsie Mary Fischer was born in Adelaide on 1 March 1881. Her parents, Johannes Hugo Fischer and Annie Christina Clausen, were both musicians - her mother was a pianist while her father was a baritone and Secretary of the Adelaide Liedertafel. In 1889 the family moved to Melbourne where Elsie went to school. She then studied at the Conservatorium of Music directed by Professor George Marshall-Hall where she was awarded two annual scholarships to study with Mme Elise Wiedermann. Her studies completed, Elsie travelled with W C Williamson's Comic Opera Company and in Sydney studied with Gustave Slapoffski who, in 1909, presented her at a concert of the Sydney Philhamonic Orchestra. Elsie's music career was underway. William Mountford Moses was born on 18 May 1875 and was the son of William Moses (1844-1923) and Elvina Mountford (1851-1935). William and Elvina had twelve children (one died when a baby). The family was known in the Windsor district for their musical abilities and they regularly arranged and performed in concerts. One of their sons, Stanley Mountford Moses, a violinist, was performing in concerts in Europe when he died at the age of 23. William Mountford Moses played the flute and also organised a district drum and fife band. In 1899 William married Linda May Beatrice Conlan. In August 1906 William and Linda had a son, Jack, who died on 29 November. Linda died a week later on 5 December 1906. At St Stephen's Church, Phillip Street, Sydney, on 24 December 1908, William Mountford Moses (eldest son of William Moses of Windsor) married Elsie Mary Fischer (eldest daughter of the late Hugo Fischer of Adelaide). Shortly afterwards the newly married couple set off for Europe so Elsie could further her musical career. But first Elsie started to make changes to her name. At one stage she performed as Elsa Adela but as another singer was using Adelaide as a name she finally decided on Elsa Stralia. Australian singers at the time seemed to favour the trend set by Dame Nellie Melba in selecting Australian related names as stage names. Elsie performed in some concerts in London before travelling to Italy to become a pupil of Falchi in Milan. In 1912 she performed at Genova Teatro Carlo Felice before returning to England. In 1913 she made her debut at Covent Garden as Donna Elvira in Don Giovanni and performed there again the following year. The Advertiser 12 July 1913 Then war came to Europe. During the war years Madame Elsa Stralia performed at the Drury Lane Theatre with roles in Thomas Beecham's opera seasons. She also toured with with a concert party to South Africa, was soloist with the Royal Philharmonic Society as well as touring with violinist Eugène Ysaÿe, pianist Vladimir de Pachmann and with (Dame) Clara Butt. Many of these performance raised funds for the war effort. Two of Elsie's brothers, Harold and Frank, were killed in action during the war. Newspapers in Australia, including the Windsor and Richmond Gazette, provided short reports of the success of Elsa Stralia (Mrs W M Moses) including the following: A great concert was held in London in honor of the magnificent feat of arms by the Australasians in the landing at Gallipoli. The singers represented the different dominions of the Empire. Madame Stralia (Mrs. W. M. Moses) sang tor Australia, and was accorded a wildly enthusiastic reception. (Windsor and Richmond Gazette 13 August 1915) Many of the newspaper reports mention that Mr W M Moses was accompanying his wife but there is little additional information except for one report that mentioned that he was working in the munitions industry in England during the war. This was confirmed in William's obituary published in Windsor and Richmond Gazette 8 November 1940: ...during the Great War played his part as manager of a munitions factory in England, having a number of memorable experiences in the bombing raids of that period, when the Zepplins were attempting to score a hit on the factory with which he was connected. As a result of his employment in this work, however, he contracted, through regular contact with certain of the materials used in manufacturing explosives, an illness which left him a semi-invalid for the remaining years of his life, though he bore his ill-health with an habitual cheerfulness which was an inspiration to his friends. After the war Elsa Stralia continued to perform in England and Europe and in 1921-22 she was a soloist in twelve concerts for the New York Symphony Orchestra. Returning to London she began her recording career with the Columbia Gramophone Company. In 1925 Elsa Stralia made a successful tour of Australia and New Zealand. Another tour was made in 1934 for the Australian Broadcasting Commission. She also toured New Zealand. From 1925 to 1934 she spent much of her time in the USA, often doing radio broadcasts, while in 1929 she made another concert tour of the United States. I am not sure when William decided to return to Australia. An article in Windsor and Richmond Gazette 16 January 1920 states that he had applied for transfer of a wine licence to the new Hawkesbury stores. I have seen other references suggesting he was still in England: A letter was recently received by Mr. and Mrs. W. Moses, of Lawson, from their son, Mr. W. H. Moses[W M] , husband of Mme. Elsa Stralia, who is regarded as one of the greatest singers of the present day. They are in London. Mme. Elsa Stralia has been engaged by the Beecham Opera Company, and is to give 76 operatic performances, commencing on September 27, and finishing at the end of July. At the end of her operatic season this Australian nightingale will probably make a tour of Australia. Windsor and Richmond Gazette 24 September 1920. However William certainly remained in Australia in 1925 after his wife returned overseas after her Australasian tour. On her return to Australia in 1934-1935 Elsie Mary Moses filed for a divorce from her husband, William Mountford Moses, in Sydney in April 1935 on the grounds of desertion. The divorce was not contested and we only have Elsie's side of the story. According to Elsie, William returned to Sydney in 1920 'to prepare a home for her'. William did not reply to her letters and when she announced to him in 1924 that she wanted to retire 'he refused to do anything for her'. When in America in 1933 she became ill and had to be assisted back to Australia. She then stated that she saw her husband in a cafe, but he would have nothing to do with her. (Canberra Times 16 April 1935). The divorce was granted. In Wellington New Zealand 29 April 1935 the announcement was made of the engagement of 'Miss Elsa Stralia, the well known singer who arrived here from Sydney by the liner Monowai today' to Mr Adolph Christensen, a sheep farmer, of Patea, New Zealand. 'Mr Christensen met Miss Stralia on her arrival, and in an interview both confirmed the engagement. (The West Australian 30 April 1935) Madame Elsa Stralia and Adolph Christensen were married in Sydney on 14 November 1935. The newspaper reports at the time stated that the couple had met after Madame Elsa Stralia had sung a concert at Patea and they were engaged three days later. The Advertiser (Adelaide) 15 November 1935 provides a detailed description of the wedding including the dress of the wedding party. After the wedding the couple returned to New Zealand. When her husband died in 1943 Elsie returned to Australia and lived in Belgrave until her death on 1 September 1945. Money from the estate of Elsie Mary Christensen was used to fund a scholarship for young female singers. William Moses died at Windsor, New South Wales on 1 November 1930. His obituary stated that his health had suffered from the effects of working in the munitions factory in London during the First World War. The electoral roll entries show that he lived in Manly for a time but spent most of the rest of his life in Windsor. The entry for 1930 provides his occupation as 'invalid'. Occupation is blank for other entries. In Windsor he would have been close to a large circle of family and friends. References There are many references to and articles about Elsa Stralia in Trove including photos, sheet music and gramophone recordings. Among the photos there is also an image of a pendant presented to Elsa Stralia on her arrival in Sydney in March 1925. There are also a number of articles available online including: Elsa Stralia (1881-1945) - Australian Dictionary of Biography Elsa Stralia - Forgotton Opera Singers Elsa Stralia - History Bucket
by Avril Horner (Editor), Sue Zlosnik (Editor) The Edinburgh Companion to Comic Gothic explores the role of irony, satire, parody, pastiche and the absurd in Gothic texts dating from the eighteenth century up to the present day. Its particular focus on the use of Comic Gothic in social media and popular culture make it a distinctive and original contribution to Gothic studies that will be especially welcomed by undergraduate and postgraduate students. Back Jacket [headline]Extends the existing body of scholarship on Comic Gothic to cover new media, contemporary texts and writing from a range of cultures Comic Gothic: An Edinburgh Companion explores the role of irony, satire, parody, pastiche and the absurd in Gothic texts dating from the eighteenth century to the present day. By bringing together important analyses of classic and recent Gothic texts, this collection assesses the place of Comic Gothic in the realms of culture, social interaction and politics. From revisiting foundational Gothic writers such as Horace Walpole to highlighting contemporary Gothic fiction from across the world, seventeen essays examine the role of comedy in early formations of the Gothic and the genre today. Its particular focus on the use of Comic Gothic in social media, popular culture and the visual domain make this book a distinctive and original contribution to Gothic Studies. [editor biographies] Avril Horner is Emeritus Professor of English Literature at Kingston University, London. With Sue Zlosnik she has co-authored many articles and several books, including Daphne du Maurier: Writing, Identity and the Gothic Imagination (1998), Gothic and the Comic Turn (2005) and Women and the Gothic (2016). Other works include Edith Wharton: Sex, Satire and the Older Woman (with Janet Beer, 2011) and Living on Paper: Letters from Iris Murdoch, 1934-1995 (with Anne Rowe, 2015). Sue Zlosnik is Emeritus Professor of English at Manchester Metropolitan University and former co-President of the International Gothic Association. With Avril Horner, she has published six books, including the aforementioned, as well as numerous articles. Alone, she has published essays on writers as diverse as J. R. R. Tolkien and Chuck Palahniuk, and a monograph, Patrick McGrath (2011). She is co-editor (with Agnes Andeweg) of Gothic Kinship (2013). Author Biography Avril Horner is Emeritus Professor of English Literature at Kingston University. With Sue Zlosnik she has co-authored many articles and several books, including Daphne du Maurier: Writing, Identity and the Gothic Imagination (1998), Gothic and the Comic Turn (2005) and Women and the Gothic (2016). Other works include Edith Wharton: Sex, Satire and the Older Woman (with Janet Beer, 2011) and Living on Paper: Letters from Iris Murdoch, 1934-1995 (with Anne Rowe, 2015). Alone, she has published essays on writers such as Djuna Barnes, Kate Chopin, Iris Murdoch and Carol Ann Duffy. Her biography of Barbara Comyns will be published in 2024. Sue Zlosnik is Emeritus Professor of English at Manchester Metropolitan University and former co-President of the International Gothic Association. With Avril Horner, she has published six books, including Daphne du Maurier: Writing, Identity and the Gothic Imagination (1998), Gothic and the Comic Turn (2005), The Edinburgh Companion to Women and the Gothic (2016) as well as numerous essays and articles. Alone, she has published essays on writers as diverse as J. R. R. Tolkien and Chuck Palahniuk and a monograph, Patrick McGrath (2011). She is co-editor (with Agnes Andeweg) of Gothic Kinship (2013). Number of Pages: 296 Dimensions: 0.69 x 9.21 x 6.14 IN
Written in straightforward, jargon-free language, A Concise Dictionary of Comics guides students, researchers, readers, and educators of all ages and at all levels of comics expertise. It provides them with a dictionary that doubles as a compendium of comics scholarship. A Concise Dictionary of Comics provides clear and informative definitions for each term. It includes twenty-five witty illustrations and pairs most defined terms with references to books, articles, book chapters, and other relevant critical sources. All references are dated and listed in an extensive, up-to-date bibliography of comics scholarship. Each term is also categorized according to type in an index of thematic groupings. This organization serves as a pedagogical aid for teachers and students learning about a specific facet of comics studies and as a research tool for scholars who are unfamiliar with a particular term but know what category it falls into. These features make A Concise Dictionary of Comics especially useful for critics, students, teachers, and researchers, and a vital reference to anyone else who wants to learn more about comics.
About the Book An transdisciplinary exploration of narrative not just as a target for interpretation but also as a means for making sense of experience itself. Book Synopsis An transdisciplinary exploration of narrative not just as a target for interpretation but also as a means for making sense of experience itself.With Storytelling and the Sciences of Mind, David Herman proposes a cross-fertilization between the study of narrative and research on intelligent behavior. This cross-fertilization goes beyond the simple importing of ideas from the sciences of mind into scholarship on narrative and instead aims for convergence between work in narrative studies and research in the cognitive sciences. The book as a whole centers on two questions: How do people make sense of stories? And: How do people use stories to make sense of the world? Examining narratives from different periods and across multiple media and genres, Herman shows how traditions of narrative research can help shape ways of formulating and addressing questions about intelligent activity, and vice versa.Using case studies that range from Robert Louis Stevenson's Dr Jekyll and Mr Hyde to sequences from The Incredible Hulk comics to narratives told in everyday interaction, Herman considers storytelling both as a target for interpretation and as a resource for making sense of experience itself. In doing so, he puts ideas from narrative scholarship into dialogue with such fields as psycholinguistics, philosophy of mind, and cognitive, social, and ecological psychology. After exploring ways in which interpreters of stories can use textual cues to build narrative worlds, or storyworlds, Herman investigates how this process of narrative worldmaking in turn supports efforts to understand--and engage with--the conduct of persons, among other aspects of lived experience. Review Quotes Storytelling and the Sciences of Mind is an important attempt to bridge the gap between several (sub)disciplinary approaches while avoiding the pitfalls of the promotion of one master discipline....David Herman proves an excellent guide, both by the richness of the information he provides and by the clever positions he takes toward them.--Leonardo-- About the Author David Herman is Arts and Humanities Distinguished Professor in the Department of English at The Ohio State University. He is the author of Basic Elements of Narrative and other books.
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And a couple more great recent items from PHD Comics:
Digital dream is an original oil painting on canvas, realized in 2012 by the emerging artist anastasia kurakina. Signature, title, technique, and date on the back. Realized in rome in 2012 (as reported on the back). Very good conditions. This beautiful artwork represents a lying woman in a surreal composition. Anastasia kurakina was born in 1987 in moscow (russia). She studied in moscow and in rome. At present, she lives and works in paris, london, monte carlo, milan, moscow, and rome. Her psychologically analytical works are a kind of art fables. A simple image or object from life transforms into a metaphora of life itself in her paintings. Her portraits and graphic works are philosophical essence of visible and seeming reality. Art education: 2019 – sorbonne university, paris; 2012-2014 – ma fine art at the academy of fine arts of rome; 2007-2012 – academy of fine arts of rome; 1998-2005 – moscow academic art lyceum of the academy of fine arts of russia. Personal exhibitions: 2019 – rome, marino gallery; 2018 –milan, zanuso gallery; 2017 – london, russian cultu al centre; 2017 –luzern, switzerland, international comic festival; 2017 – rome, russian center of culture and science; 2016 – st.petersburg, the pushkinskaya 10 art center, art league gallery; 2016 – porto cervo, sardinia, evening solo show at mdm museum of contemporary art; 2016 – rome, american embassy; 2013 – tolentino (mc), international art museum of tolentino; 2006 – moscow, central house of artist. Awards: 2017 – rome, i prize of the national award “arte &sport” of the aoni (national italian olympic academy); 2015 – rome, adrenalina prize i prize; 2013 – rome, adrenalina prize under 35 and prize of the public, museum of contemporary art macro; 2013 – chieti, milan, golden medal of «illustrate manzoni»award, chieti-milano manzoni’s museum, italy; 2012 – milan, winner of the scholarship for the artistic research of socetà umanitaria of milan; 2011 – tolentino, i prize “city of tolentino” of the 26th edition of the international bienniale of art humor of tolentino; 2008 – modena, i prize “under 25” of the national competition of contemporary sacred art “familia sancta“. Collective exhibitions: 2019 – london, uk royal watercolour society’s contemporary watercolour competition, bankside gallery; 2018 – sunderland, uk, sunderland museum un winter gardens; 2018 – edinburgh, uk, scottish national portrait gallery, bp portrait award; 2017 – vatican, vatican museums, “antico presente” exhibition; 2017 – london, uk, sunny art award exhibition, sunny art center; 2017 – exeter, uk, royal albert memorial museum and art gallery, bp portrait award; 2017 – london, uk, national portrait gallery, bp portrait award; 2017 – london, works on paper art fair, royal geographic society; 2016 – sardinia, live painting at il novecento gallery; 2016 – rome, live painting at brasilian embassy at simone ghera’s “dance inside brasil” exhibition; 2016 – oxford, uk, oxford international art fair; 2015 – mexico, mumedi mexican museum of design; 2015 – cambridge, uk, cambridge international art fair; 2015 – rome, museum of contemporary art macro; 2013 – los angeles, la luz de jesus gallery; 2013 – shanghai, international art fair of contemporary art; 2013 – rome, embassy of iraq, embassy of egypt; 2013 – venice, arte laguna prize’s exhibition at venice’s arsenal; 2012 – rome, «green blood» at dorothy circus gallery; 2011 – museum of roman cilvilization in rome; 2010 – naples, “biennial of the artist’s book”; 2009 – la paz, bolivia, 4° bienal internacional siart; 2008 – bari, 28th international fair of modern and contemporary art; 2008 – moscow, “art manezh 2008”, central exhibitions hall manege. Collections: vatican museums; nina lobanova-rostovskaya (london); national museum of sacred art of nonantola (italy); marchese sacchetti (rome); national centre for manzoni’s studies (milan). (private collections in italy, uk, russia, germany) less
Hello! Time to get back to the roots of this blog and talk about planning. My current set up? Bullet journal. I still sell sweet planners online (found here) but the filofax life was getting a litt…
This book explores the so-called British Invasion of DC Comics' Vertigo imprint, which played an important role in redefining the mainstream comics industry in the US during the early 1990s. Focusing on British creators within Vertigo, this study traces the evolution of the line from its creation in 1993 to its demise in 2019. Through an approach grounded in cultural history, the book disentangles the imprint's complex roots, showing how editors channelled the potential of its British writers at a time of deep-seated economic and cultural change within the comics industry, and promoted a sense of cohesion across titles that defied categories. The author also delves into lesser-known aspects of the Invasion, exploring less-canonical periods and creators that are often eclipsed by Vertigo's early star writers. An innovative contribution on a key element of comic book history, this volume will appeal both to researchers of Vertigo scholarship and to fans of the imprint. It will also be an essential read for those interested in transatlantic collaborations and exchanges in the entertainment industry, processes of cultural legitimation and cultural hierarchies, and to anyone working on the representation of national and social identities. | Author: ISABELLE. LICARI-GUILLAUME | Publisher: Routledge | Publication Date: Aug 30, 2022 | Number of Pages: 174 pages | Language: English | Binding: Hardcover | ISBN-10: 0367672774 | ISBN-13: 9780367672775
"We’re not awful parents. I don’t think [so]!"
What is the difference between Phytoplankton and Zooplankton? Phytoplanktons are plant-like aquatic microorganisms; zooplanktons are aquatic animal-like ..
Like the sequence of words in written language, comic book page layouts direct images into a deliberate reading sequence. Conventional wisdom would expect th...
