LEADER 04175nam 2200505 450 001 9910816970803321 005 20230731132844.0 010 $a1-4438-8199-6 035 $a(CKB)3710000000473545 035 $a(EBL)4534739 035 $a(Au-PeEL)EBL4534739 035 $a(CaPaEBR)ebr11215759 035 $a(CaONFJC)MIL830954 035 $a(OCoLC)921216993 035 $a(MiAaPQ)EBC4534739 035 $a(EXLCZ)993710000000473545 100 $a20160620h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 00$aOn the edge of the panel $eessays on comics criticism /$fedited by Julio Can?ero and Esther Claudio 210 1$aNewcastle upon Tyne, England :$cCambridge Scholars Publishing,$d2015. 210 4$dİ2015 215 $a1 online resource (329 p.) 300 $aDescription based upon print version of record. 311 $a1-4438-7787-5 320 $aIncludes bibliographical references at the end of each chapters. 327 $aMachine generated contents note:$gpt. 1$tWhat is a Comic? Origins and Definitions --$tOrigenes, definiciones y controversias. El debate teorico sobre el nacimiento del comic /$rJordi Canyissa --$tThe Origins of Graphic Narrative in Popular Culture /$rRoberto Bartual Moreno --$tLuis Mariani and the First Comic Strips in Spain /$rManuel Barrero --$tThe Order of Comics: Dynamics of the Ninth's Art Devices /$rBreixo Harguindey --$tDo you Read a Comic? /$rNicholas A. Theisen --$gpt. 2$tFormal Tools of Comics --$tThe Drama of Caricature: Simplification and Deformation as Avant-garde Rhetorical Devices /$rJosep Rom Rodriguez --$tLa(s) aventura(s) de la forma: La heterogeneidad grafica como via de experimentacion en el comic /$rAlvaro Nofuentes --$tDream and History, the Cartoon Mirror: The Incorporation of History into the Comic Book /$rIvan Pintor --$tThe Convergence of Graphic-Narrative Discourses: The Picture Book and the Graphic Novel /$rJose Manuel Trabado --$tBorder Dwellers in Boy's Love Manga /$rMark McHarry --$tValentine, Comics for Mobile Devices, and the Limits of Empowerment /$rJoe Sutliff-Sanders --$gpt. 3$tAuthors and their Works --$tThe Many Facets of Boredom in the Work of Daniel Clowes /$rGreice Schneider --$tThe Confrontation between the Classic and the Modern Gothic in The Swamp Thing by Len Wein and Alan Moore /$rFrancisco Saez de Adana --$tLa memoria como narracion en la obra de Seth /$rIrene Costa Mendia --$tThe (Re)construction of Memory in Antonio Altarriba's El Arte de Volar /$rDiego Espina Barros --$tSequencing the History of the Third Reich: Art Spiegelman's Selection of Holocaust Images and Moments /$rMaria Jesus Fernandez Gil --$tThe "Ontological Indeterminacy" in Comics: El Resentido by Juaco Vizuete /$rMihai Iacob --$tFrank Miller and Lynn Varley's The Dark Knight Strikes Again: DK2 or How to Make the Revolution within the Palace /$rJuan Carlos Perez --$tAndrea Pazienza and Lorenzo Mattotti: How the Student Riots of 1977 Shaped Italian Comics /$rBarbara Uhlig. 330 $aTo create a comic is not to illustrate words, but to create narrative diagrams and transform strokes into imaging words. The infinite array of possibilities that the merging of text and pictures provides is a garden of forking paths that critics have just started to explore. This is an art that operates as the crossroads of various disciplines, but whose specifications require a thorough understanding of its unique mechanisms. The explosion of experimental works and the incorporation of previously marginal (or nonexistent) genres and themes in comics have enriched an already fruitful art in w 606 $aComic books, strips, etc$xHistory and criticism 606 $aComic books, strips, etc 615 0$aComic books, strips, etc.$xHistory and criticism. 615 0$aComic books, strips, etc. 676 $a741.509 702 $aCan?ero$b Julio 702 $aClaudio$b Esther 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910816970803321 996 $aOn the edge of the panel$93975361 997 $aUNINA