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Studies in Comics 1.1

Studies in Comics 1.1

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Published by Intellect Books
With the aim of identifying the medium as a
distinct art form, and addressing its formal
properties, Studies in Comics also strives to
expand the relationship between comics and
theory, and seeks to articulate a ‘theory of
comics’. The journal includes reviews of new
comics, criticism and exhibitions, and provides
a dedicated online space for cutting edge and
emergent creative work.
With the aim of identifying the medium as a
distinct art form, and addressing its formal
properties, Studies in Comics also strives to
expand the relationship between comics and
theory, and seeks to articulate a ‘theory of
comics’. The journal includes reviews of new
comics, criticism and exhibitions, and provides
a dedicated online space for cutting edge and
emergent creative work.

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Published by: Intellect Books on Jul 09, 2010
Copyright:Attribution Non-commercial

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07/02/2013

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1
CONTENTS
Editorial
3–5
Articles
7–33 The winding, pot-holedroad of comic artscholarship
 
JOHN A. LENT35–52 Intertwining verbal andvisual elements in printednarratives for adultsPASCAL LEFÈVRE53–70 Discerning pictures: howwe look at and understandimages in comicsSTUART MEDLEY71–81 The shape of comic bookreadingA. DAVID LEWIS83–105 William Hogarth’s
 A
 
Harlot’s Progress
: thebeginnings of a purely pictographic sequentiallanguageROBERTO BARTUAL107–125 The graphic novel asmetafictionPAUL ATKINSON127–147 The limits of time andtransitions: challengesto theories of sequentialimage comprehensionNEIL COHN
Interview
149–158 Harry Morgan: thetwenty-first centuryRenaissance man ofgraphic novelsLAURENCE GROVE
Reviews
159–168
Diary Drawings
by BobbyBaker169–172 ‘
Yellow Series
’ Christian A.Bachmann (ed.), Bochumand Essen: ChristianA. Bachmann Verlag.Academic publishing oncomics in Germany173–175
Underground Classics:The Transformationof Comics into Comix
 ,edited by James Dankyand Denis Kitchen;introduction by Jay Lynch;essays by James Dankyand Dennis Kitchen;Patrick Rosenkranz; TrinaRobbins; Paul Buhle (2009)176–178
 Alan Moore: Comics asPerformance, Fiction asScalpel
 , Annalisa Di Liddo(2009)179–181
The Power of Comics:History, Form and Culture
 ,Randy Duncan andMatthew J. Smith (2009)182–183
Reading Comics: HowThey Work and WhatThey Mean
 , Douglas Wolk(2008)
 
3
Studies in ComicsVolume 1 Number 1
© 2010 Intellect Ltd Editorial. English language. doi: 10.1386/stic.1.1.3/2
STIC 1 (1) pp. 3–5 Intellect Limited 2010
EDITORIAL
These are exciting times in comics scholarship. A year ago the critical mass that many felt had beenslowly building for years finally reached a peak with the announcement of three new internationalpeer-reviewed journals dedicated to comics:
European Comic Art 
(Liverpool University Press) hit theground running in Spring 2008, and
The Journal of Graphic Novels and Comics
(Routledge) is set toappear in 2010. With
Studies in Comics
we are excited to be a part of this revolution, and leading the way in this new era of academic debate about sequential art. Our aim is to make available articles of an exceptional academic standard with a strong theoretical focus.In
Studies in Comics
we want to promote research that describes the nature of comics, to identify the medium as a distinct art form, and to address the medium’s formal properties. Of course, therehave been forerunners, notably 
The Comics Journal
(Fantagraphics Books), a magazine dedicated tothe criticism of comics, as well as the more academically orientated
 International Journal of Comic Art 
 ,published by John Lent. However, the emergence of peer-reviewed journals dedicated to comicsindicates that research in comics is becoming increasingly recognized as an important emerging fieldof academia.This recognition has been a long time coming. In the twentieth century, while European comicsgained respect, and Asian comics enjoyed ongoing popularity, western comics endured censorship, witch-hunts, mockery and ridicule. Grudging acceptance led to what could be described as a com-plete rebranding in Britain and North America in the 1980s, when ‘graphic novel’ quickly became abuzzword for booksellers, film-makers, writers, artists and adaptors of all types. Of course, we alwaysknew that sophisticated comics and graphic novels existed, and that there was great cultural andcreative capital in comics of all types, but now the rest of the world seems to be catching on, andcomics are appearing everywhere.

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