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Grennan, Simon: A Theory of Narrative Drawing. (Palgrave Studies in Comics and Graphic Novels.) New York [etc.]: Palgrave Macmillan, 2017. (277 S.) 
Resource type: Book
Languages: englisch
DOI: 10.1057/978-1-137-51844-6
ID no. (ISBN etc.): 978-1-137-52165-1
BibTeX citation key: Grennan2017
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Categories: General
Keywords: Körper, Narratologie, Produktion, Schaffensprozess, Stil
Creators: Grennan
Publisher: Palgrave Macmillan (New York [etc.])
This book offers an original new conception of visual story telling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior. It refigures the existing descriptions of visual story-telling that pause with theorizations of perception and the articulation of form. The book identifies and examines key issues in the field, including: the relationships between vision, visualization and imagination; the theoretical remediation of linguistic and narratological concepts; the systematization of discourse; the production of the subject; idea and institution; and the significance of resources of the body in depiction, representation and narrative. It then tests this new conception in practice: two original visual demonstrations clarify the particular dialectic relationships between subjects and media, in an examination of drawing style and genre, social consensus and self-conscious constraint. The book’s originality derives from its clear articulation of a wide range of sources in proposing a conception of narrative drawing, and the extrapolation of this new conception in two new visual demonstrations.

Table of Contents

1 Drawing, Depicting and Imagining (1)
1.1 Drawing’s Devices (1)
1.1.1 Causes and Consequences: An Aetiological Characterisation of Drawing (1)
1.1.2 Generalising Some Potential Resources of the Human Body (14)
1.1.3 Generalising the Role of Environmental and Social Modulations (24)
1.2 Drawing’s Affordances (28)
1.2.1 Graphiotactic Realisation of the General Potential Resources of the Body (28)
1.2.2 Visual Language (37)
1.2.3 Depiction (48)
1.3 Drawing’s Institution (61)
1.3.1 An Institutional Description of the General Potential Resources of the Body (62)
1.3.2 Affect (64)
1.3.3 The Body as Cause and Consequence (66)
1.3.4 Propositional Realisations of Non-propositional Structures (70)
1.3.5 Examples of the Visible Representations of Emotional Sensations (74)
1.4 Imagining (88)
1.4.1 Theorising Perception and Visualisation (88)
1.4.2 Properties and Categories (94)
1.4.3 Fiction (98)
1.5 Conventional Imagining (102)
Notes (106)

2 Narrative (121)
2.1 The Intersubjective Basis of Discourse (121)
2.2 Narrative Realisation of Intersubjects (135)
2.2.1 Further Implications of an Aetiological Characterisation of Representations (142)
2.3 An Epistemological System of Discourse Characterised as Narrative (146)
Notes (156)

3 Drawing Demonstration One: Expounding Another’s Thought in the Style of That Thought (161)
3.1 ‘Mediagenius’ and the Comic Strip Register (162)
3.1.1 The Comic Strip Register’s ‘Mediagenius’ and Intersubjectivity (166)
3.2 Self and Self-perception (172)
3.3 The Theoretically Neutral Subject (173)
3.4 Terms of Drawing Demonstration One (174)
3.4.1 Drawing Demonstration One (178)
3.4.2 Drawing Demonstration One (a) Method (180)
3.4.3 Drawing Demonstration One (a) Analysis (189)
3.4.4 Drawing Demonstration One (b) Method and Analysis (193)
3.4.5 Demonstration One (c) Method and Analysis (200)
3.4.6 Drawing Demonstration One Conclusion (212)
Notes (215)

4 Drawing Demonstration Two: Time and Self-Observation (217)
4.1 Pierre Menard’s Project (218)
4.2 Seth, Arno and Brown (222)
4.3 Appropriation (224)
4.3.1 Levine and Evans (226)
4.4 Self-Observation and Social Consensus (229)
4.5 Madden’s Exercises with Drawing Style (230)
4.6 Drawing Demonstration Two (239)
4.6.1 Drawing Demonstration Two Method (240)
4.6.2 Drawing Demonstration Two Analysis (243)
Notes (248)

Bibliography (251)
Index (263)

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