Bonner Online-Bibliographie zur Comicforschung
Magnusson, Helena: Berättande bilder. Svenska tecknade serier för barn. (Skrifter utgivna av Svenska barnboksinstitutet, 89.) Göteborg: Makadam, 2005. (383 S.)
|Resource type: Book
ID no. (ISBN etc.): 91-7061-021-5
BibTeX citation key: Magnusson2005a
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Keywords: "Bamse", "Kajsa och Snurran", "Vimmelgrind", Adelborg. Ottilia, Andréasson. Rune, Billow. Eva, Hemmel. Sven, Holmberg. Åke, Källblad. Mats, Kinder- und Jugendcomics, Narratologie, Schweden, Sventon. Ture
Publisher: Makadam (Göteborg)
This thesis examines the history of Swedish children's comics and their narrative characteristics. The history is presented as five chronological periods from ca. 1890 to the present day (2005). The contents of the comics are compared to contemporary Swedish children's literature and are discussed in terms of recurring motifs and genres. Apart from a general characterization of the period, each chapter also includes a close reading of a representative comic: Ottilia Adelborg's page-long comics in Christmas magazines around 1900; Eva Billow's episodic “Kajsa och Snurran” published in a weekly magazine and a children's magazine 1925–1961; Åke Holmberg's and Sven Hemmel's “Ture Sventon” from 1968–76, based on children's book by the same creators; Rune Andréasson's comic magazine Bamse (1973–) and Mats Källblad's “Vimmelgrind” (three stories published 1999–2001).
In this study, comics are defined as a juxtaposed sequence of fixed narrative images, with related text and images in direct contact. The main components of the comis medium are text, image and space, and their intermediate relations. In the narratological analysis, the focus of interest is the role of the narrating (the narraton, the perspective and the relation to the reader), the relation between text and image, and the layout and its function in the narrative. The thesis shows how Swedish children's comics have a strong affinity with children's literature. Another recurrent tendency is to treat the medium in a theatrical way. It is often combined with a self-conscious, meta-fictive attitude. Most children's comics are very dependent on text, partly because of existing conventions, partly as a guarantee of the reader's narrative understanding. It is primarily during the first and the last decades of the studied period that the children's comics show any real faith in the audience's image-reading abilities. The comics generally aim for visual and narrative clarity and ambiguity, and considering the child reader's narrative experience, stories told in pictures and words – comics – have a great potential. In many of the Swedish comics for children you will also find the spatial and graphic awareness that can be seen as the essence of the comics medium.
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