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Tinker, Emma: Identity and Form in Alternative Comics, 1967–2007. PhD (Thesis), University College London 2008 (292 S.). 
Added by: joachim (04 Oct 2009 20:43:30 UTC)   Last edited by: joachim (24 Sep 2013 09:36:41 UTC)
Resource type: Thesis/Dissertation
Languages: englisch
BibTeX citation key: Tinker2008a
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Categories: General
Keywords: Alternative Comics, Barry. Lynda, Crumb. Robert, Doucet. Julie, Gaiman. Neil, Gender, Großbritannien, Kanada, McKean. Dave, Memoria, Moore. Alan, Sexualität, Sim. Dave, USA, Ware. Chris
Creators: Tinker
Publisher: University College London (London)
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Attachments   URLs   http://eprints.ucl ... /17599/1/17599.pdf, http://emmatinker.oxalto.co.uk/
Abstract
In the late 1960s, underground cartoonists established the comic book form as a space for the exploration of personal identity. “Alternative” comics grew out of this tradition as subsequent writers produced work independently of the major comics publishers, aimed at an adult audience and encompassing a broad range of visual styles and narrative content. Throughout the past forty years, British, US and Canadian writers and artists have used this medium to explore questions of selfhood and perception, often implicitly or overtly relating these issues to the form, history and conventions of the comic book itself.
Two main threads run through this discussion of the representation of selfhood: childhood and memory on the one hand and sexuality and gender on the other. This thesis argues that for many creators there exists a useful analogy between the comic book form and mental processes, specifically between the fractured, verbal-visual blend of the comics page and the organisation of human memory. It further suggests that the historical association of comics first with childhood, and subsequently with male adolescence, has conditioned the representation of selfhood in adult comics. Comic book consumption has often centred on a community of predominantly young, white, male, socially marginal readers, buying and collecting serialised narratives. Comics creators’ awareness of this audience (either in response or resistance) has affected the content of their work.
Although presented as a chronological narrative, this thesis is not a comprehensive history of Anglophone alternative comics, but centres on eight prominent authors/artists: Robert Crumb; Dave Sim; Lynda Barry; Julie Doucet; Alan Moore; the collaborative partnership of Neil Gaiman and Dave McKean; and Chris Ware. Whilst spanning a wide range of genres and themes (autobiography, fantasy, gothic horror, parody, soap opera, the grotesque and others) each confronts and negotiates with conventions regarding the representation of selfhood.

Table of Contents

Abstract (3)
Acknowledgements (4)
Contents (5)
List of Illustrations (6)
A Note on Texts and Sources (9)

Introduction (10)

1 Robert Crumb’s carnival subjectivity (28)
2 The aardvark hero: Dave Sim’s Cerebus (62)
3 Selfhood and trauma in Lynda Barry’s “autobifictionalography” (106)
4 From Riot Grrrl to fine artist: transformations in the work of Julie Doucet (136)
5 Romantic selfhood in the comics of Alan Moore (174)
6 Childhood and memory in the comics of Neil Gaiman and Dave McKean (206)
7 Nostalgia, collection and identity in the comics of Chris Ware (237)

Conclusion (269)
Works Cited (273)


Added by: joachim  Last edited by: joachim
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