ComicsResearch.org's Comics-Related Dissertations & Theses:
Masters Note: The original list has now been
separated into three pages.
See also: Doctoral
Dissertations and Theses || Undergradate
submit additions or corrections, please contact
submitting your own information, you may send as much as you wish.
Suggestions for information include:
Louise. 1996. Getting Beyond the Comic
Strips: The Impact
Hispanic Media Images on Career Choice by Hispanic Newspaper
Journalists. University of North
Aragão, Octavio Carvalho,
Júnior. 2002. A
óptica sócio-política da arte
Angelo Agostini em algumas das páginas de O
- 1867) e d'A REVISTA ILLUSTRADA (1876 - 1898) [The
side of the seqüential art of Angelo Agostini in some pages of
CABRIÃO (1866 - 1867) and A REVISTA ILLUSTRADA (1876 -
1898)]. UNIVERSIDADE FEDERAL DO RIO DE JANEIRO, CENTRO DE
LETRAS E ARTES,
ESCOLA DE BELAS ARTES - EBA, PROGRAMA DE
PÓS-GRADUAÇÃO EM ARTES VISUAIS
of Rio de Janeiro, Center of literature and art, High school of Fine
Arts, Program of post-graduation in Visual Arts]. ORIENTADORA:
Profª Drª Rosza W. Vel Zoladz, Universidade Federal
do Rio de
Janeiro, Escola de Belas Artes. BANCA EXAMINADORA:
Rosza W. Vel Zoladz, Universidade Federal do Rio de Janeiro,
Presidente; Profª Drª Telênia Hill,
Federal do Rio de Janeiro, Escola de Comunicação;
Profª Drª Rosângela de Araújo
Pontifícia Universidade Católica do Rio de
This research studies the illustrated pages by Angelo Agostini in his
Cabrião and Revista Illustrada
in serial form -
would be known later as seqüential art -, tracing basis to
it's influence in the social structure of the Brazilian
and politics in the second half of the XIX century through it's
semiotics structures. Also, we have a based biography pointing his
relations and works alongside or against his contemporaries, artists,
friends or foes. The present work makes a link between the past and
future of the Brazilian comics pointing parallelisms with the pioneer
Angelo Agostini and the contemporary webcomic artists. We also intended
to determinate the artist Agostini as one of the firsts - world wide -
in the making of social-politics sequential art.
Argyris, Vassilios. 2003. The
Art of Comics: A Semiotic Approach to the Medium.
University of Reading.
Barber, John. 2002. The
Phenomenon of Multiple Dialectics in Comics
Layout. London College of
1998. Reaction as
Books and American
1940-1955. University of
Nevada, Las Vegas. DAI. Carter,
Douglas. 1995. Comic
Book Violence and Aggression.
Women's University. DAI. Cormier, Faith Joanne.
traduction de la bande dessinee. The
University Of New
Brunswick (Canada). DAI. Darowski, Joseph
James. 2006. The
American Way: What Superman, Batman,
Spider-Man, and the X-Men Reveal About America. Brigham
Young University, Department of English. on-line information -- complete version (PDF - 29MB)
Daye, Kathleen Ann. 2003. A
Feminist Perspective on the Female Superhero in DC Comics: Soft Porn
Spandex Queens or Real Heroes for a Troubled Universe?
University. WorldCat. de la Iglesia, Martin. 2007. Die Popularität US-amerikanischer Comics in Großbritannien [The popularity of US American comics in Britain]. Humboldt- Universität zu Berlin, Germany. Supervisors: Claudia Rückert, Charlotte Klonk. Contact: firstname.lastname@example.org
Di Menno, Francis. 2005. The rise and fall of EC comics, 1950-1956 : Cold War or cultural war casualty? University of Rhode Island, English. WorldCat.
Narration in Comics. New Media and
Faculty of Arts, University of Utrecht in the Netherlands. Supervisor:
Dr. Ann Rigney.dowload
complete thesis in PDF format -
Mankind has always told stories, and developed different strategies to
tell them. This thesis will regard one such strategy, called subjective
narration. Subjective narration consists of several strategies that aim
to bring characters closer to the reader. The last century saw the
emergence of new media in which stories can be told. The techniques of
subjective narration can be used in all those media – with
results. What works in one medium, does not in another. In this thesis,
we will compare comics to writing and film, with subjective narration
as our guideline. We analyse how comic stories differ, but also overlap
with stories in writing and film. The main question will subsequently
be whether we need new academic methods to study comics – can
done within the confines of literary- or cinema studies, or do comics
require another approach?
Drummond, William H.
Book Reading in the Secondary Schools of a Rural
University, School of Education.
Keith. 1995. Social
and Political Commentary in
Comic Books: A Critical History. California
State Universtiy, Fresno. DAI.
Figueiredo, Camila Augusta Pires de. 2010. Hollywood Goes Graphic: The Intermedial Transposition of Graphic Novels to Films.
Universidade Federal de Minas Gerais (UFMG), Brazil; English. Committee
members: Prof. Thaïs Flores Nogueira Diniz (advisor), Prof. Maria do
Carmo Freitas Veneroso (College of Arts, UFMG) and Prof. Álvaro
Hattnher (UNESP). Online (pdf). Amazon.com.
Comic books have always been consigned to the children's shelves
at libraries and bookstores. Recently, however, a massive publishing of
comic books designed for the adult audience – called graphic novels –
has caught the attention of academics, critics and the film industry.
Despite the existence of a vast theoretical bibliography of screen
adaptations based on novels, those theories can not be satisfactorily
applied to the analysis of films based on comics and graphic
novels, since they do not conceive, among other aspects, the
translation of the drawings in comics to the photography of film. In
this sense, this thesis focuses on an area that has not received enough
critical attention: the specific case of the translation of comics and
particularly of graphic novels into films. In light of this,
I discuss Alan Moore's Watchmen and Frank Miller's Sin City
and their respective film versions. In order to support this debate, I
will draw upon Irina Rajewsky's categories of intermedial relations as
well as Pascal Lefèvre's considerations about film adaptations of
Flynn, Julie S. 2006.
"We Owe It to
Each Other to Tell Stories:" Neil Gaiman and the
Polyphonic Narrative. Drew University.
Frail, James Howthorn. Jr.
Powers and Abilities Far Behind Those of Mortal Men: An Examination of
the Comic Book Industry and Subculture through a Feminist Sociological
University, Sociology. On-line
Fulford, Jennifer Ann. 1993. Feeling
Unique or Similar to the Group: An Investigation of the Processes
in Temporary Self-Concept Activation. Msc.
Gagnon, Michel. 1999. Elements
de parole dans les BD. Macgill
Gale, Carole Francis.
Annotated Bibliography of Books and Articles on the Modern American
comic book, 1940-Spring, 1972.unpublished
Research Paper, Library Science, Kent State University.
caracteristiques de l'esthetique de la bande
leur application a 'Chlorophylle.' Universite
K. 1992. Sex
Comics in the 1930s-1950s: A Genre
of Washington. Author's
website / contact.
Mel. 1996. Wonder
Women and Invisible Girls. Female lead
characters and feminism in American mainstream superhero comics of the
1970s and 1980s.
University of Sunderland, Cultural and Textual Theory.
Gipson, Grace Deniece. 2013. "Who Says Storm Is The Only Black Superheroine?": An Interpretative Textual Analysis of the Black Superheroine. Georgia State University, African-American Studies. Advisors: Dr. Jonathan Gayles, Dr. Sarita Davis, and Dr. Osizwe Raena Harwell. On-line information.
Abstract: The study examines how race and gender stereotypes in popular culture shape the perception of the Black superheroine. This study also explores stereotypes and gender roles and how they impact Black female and male college students’ ages 18-38 and their imagination of the Black superheroine. As the status of popular culture grows, the generation of today’s college student still remains regular consumers. Thus it was necessary to use a convenience sample of thirty-two African American male and female college-age students from four African American Studies undergraduate courses at Georgia State University that took part in a Superheroine questionnaire, in which they designed their own Black superheroine. This research employs an interpretative textual analysis research design to collect and analyze the data in which significant themes, phrases, and sentences are extracted.
Gorni, Elettra. 1996. L’Illustrazione
Satirica in Italia nel
1848. Università di
Facoltà di Lettere.
Margaret. 2005. Cold
War Superheroes: U.S. Comics as Sites of
Ideological Struggle. MA
History of Art. University College London. contact
examination of the correspondences between Golden Age
ideology of American global nationalism that emerged after 1945, and
the discourses of
containment, conformity, radiation, anti-communism and domesticity that
it mobilised. Analysing the narrative and semiotic conventions that
developed in comics of this period, which were concretised by
increasingly conservative editorial policies in response to the various
anti-comics crusades, exposes the contradictions inherent in Cold War
ideology and the traditions and discourses it drew from. This
dissertation challenges notions of uniformly affirmative culture, and
characterisations of the
fifties, in particular, as a period of
affluent tranquility in which dissenting voices were marginalised, by
reading the rapid decline in the popularity of superheroes as a failure
ofthe rhetoric of American nationalism to forge overwhelming consensus
in support of the domestic and foreign policies of the early Cold War,
as audiences turned to genres which more adequately addressed the
contradictions and anxieties of that era.
2007. Where Do the
Pictures Fit in the Overall Picture? Graphic Novels
as Literature. McGill University [Canada],
English. Director: Professor Trevor Ponech.
Numerous artists and scholars advocate a literary consideration of
graphic novels. However, their arguments seldom present a clear
analysis of what makes graphic novels literary, let alone a clear
definition of literature. This thesis seeks to fill in these
explanatory gaps by arguing for the literary consideration of graphic
novels, understood as a genre within comics, on the basis of an
institutional theory of literature. As this theory posits a shared
practice of production and appreciation of artistic value, the value of
a literary work is not exclusively tied to the linguistic medium. On
the contrary, pictures can significantly contribute to the particular
value that literature affords. Nevertheless, the particular use of
pictures in graphic novels exemplifies artistic conventions that are
conceptually distinct from those of literature. A literary analysis can
therefore explain partially, but not exhaustively, the artistic value
of graphic novels.
De nombreux artistes et acteurs du milieu académique
défendent une considération littéraire
graphique. Cependant, leurs arguments offrent rarement une analyse
précise de ce qui rend le roman graphique
encore moins une définition claire de la
présent mémoire vise à combler ces
justifiant la considération littéraire du roman
graphique, défini comme un genre de la bande
sur la base d’une théorie institutionnelle de la
littérature. Comme cette dernière postule une
partagée entre artistes et audiences de production et
d’appréciation d’une valeur artistique,
la valeur de l’oeuvre
littéraire n’est pas exclusivement
son texte. Néanmoins, l’usage particulier des
images dans un
roman graphique démontre la présence de
artistiques qui sont conceptuellement distinctes de celles qui
gouvernent la littérature. Une analyse littéraire
roman graphique peut donc expliquer partiellement, mais non pas
totalement, sa valeur artistique.
The Wheel: A Multi-Perspective Analysis of Alan Moore and Dave Gibbons'
Novel 'Watchmen.' University
of Georgia. DAI. Holmes, Eric. 2004. Atomic
World or None" as Rhetorical Narrative.
University of South
the completion of the second
World War, a rhetorical narrative of the new atomic age began to
emerge: One World or None. Popular periodicals such as The
Reader's Digest and The Ladies Home Journal, as well as a
collection of essays titled One
World or None argued to the
American public that the atomic bomb
was the gravest threat that mankind had ever faced, and that
international control of the bomb was the only way to ensure
safety. This sentiment chained out through the world of
and activism and landed within the realm of popular culture. This
thesis argues that EC's "New Trend" horror comics (Tales from the Crypt,
Vault of Horror and The
sentiment metaphorically within their tales of monsters and mayhem.
Hughes, Mary. 1992. What's so Funny?: Families in the Comics. Master of Liberal Studies in American Culture, University of Michigan-Flint.
Hung, Shuen-shuen. 1986. Feng Tzu-k'ai: His Art and Thoughts. Michigan State University.
Hutchings, Martina. 1997. Super-Heroines
of Manga and Anime. Swinburne,
Jedlinski, Beverly Ann. 1999. 'Dilbert': A Rhetorical
Organizational Communication. University
of Nevada, Las
DAI. Keong, Fan Kok.
1996. The Use
Comics in the Teaching of English as a Second Language. The
University of Reading. Khordoc,
Catherine. 1993. Noms,
ballons, allusions: Quelques aspects du comique dans la bande dessinee
'Asterix Le Gaulois.' Carleton
University (Canada). DAI.
Kruse, Roland. 1995. Wie
Comics funktionieren - Eine Untersuchung zur
und Lesepsychologie. [German
master's thesis: How
Comics Work - A
in Semiotics and Reading Psychology].
Ronan. 1998.Vues d'ici,
New York dans
Mémoire de DEA "Relations
anglophones et francophones." Université Paris
Lewis, Dylan. 2004. "The
Myth, and Intertextuality.
California State University,
Dominguez Hills. UMI.
Lippert, David L. 1991. Alienation and Comic Books: The
Construction of Good and Evil in The Fantastic Four.
University of Wyoming. WorldCat.
Writing and Rendering the World in Neil Gaiman's Sandman.
Christine. 1997. A Content Analysis of
Six Superhero Comic Book Series. (Batman,
Wolverine, Punisher) Michigan State University. DAI.
Mandel, Susanah. 2003. Mask and Closet, or "Under the Hood": Metaphors and Representations of Homosexuality in American Superhero Comics after 1985.Massachusetts
Technology, Comparative Media Studies. M.S. download PDF
Marshall, Scott. 1992. Toward
Treatment of Comic Books.
(Canada). DAI. Martin, Todd Gregory. 2008. The Language of Memín
Pinguín: Idiolect and Equivalence in
the English Translation of a Mexican Historieta.
Universidad Autónoma de Guadalajara, México.
Degree: Traducción e Interpretación
Español-Inglés. (Abstract and On-line version
Doris. 1998. Shojo
and Beyond: Depiction of the World of Women in Fictional Works of
Banana Yoshimoto. The University of
Miller, Jeffrey Alan. 1994. Inside the Creative
the Process of Creating Comic Books. University
of Buffalo. Miller,
Matthew. 2002. Secret
Identity: Biographical Legend
Dueling Personas of Writer/Director Kevin Smith.
University, Film Studies Department. Published as The
Dueling Personas of
(View Askew Books, 2003).
Kate. 1997. From Minnie
to Minx: The History and
of Comics and 'Teen' Magazines for Girls.
Centre for Research in Children's Literature (UK). On-line
Steven E. 1982. Evil
Investigating the Comic Book, 1948-1955.
Nasirov, Michael Stephan.
and Tuxedos: An Analysis of Political Cartoons About Indian Gaming.
Louisiana State University, Geography and Anthropology. Committee
members: Mary Jill Brody - Chair, Helen Regis, and Miles Richardson. download
PDF version here.
"Feathers and Tuxedos: An Analysis of Political Cartoons About Indian
Gaming" is an examination of changing stereotypes of Indians in
illustrated media. Beginning with general issues such as poverty and
media coverage, this thesis continues to cover chronologically the
origins of modern Indian gaming and the resulting expenditure of
profits into social welfare of the tribes and the continuous three-way
battle between state, federal, and Indian sovereign rights. Normative
U.S. societal reactions to Indian gaming are contrasted with their
Indian counterpoints. Cartoons allow for a visual representation of
contested relationships, including recent imagery of well-to-do
entrepreneurs profiting at the expense of the surrounding communities.
Mainstream media cartoon illustrations of wealthy Indians reveal a
threatened counterimage of whiteness. Cartoons released through Indian
media, on the other hand, present as rebuttal, images of white anxiety
as a continuation of past injustices. The issues of power underlying
white aggression represent the latest tactic in the undermining of
Indian sovereignty. The ensuing Indian defense involves negotiations of
Nhu-Hoa. 2000. La
de la parodie dans Le
de Monique de Claire
Bretécher. University of Ottawa, Canada;
Département des lettres françaises, Faculty of
Supervisor: Dr. Christian Vandendorpe. Published
Rhetoric of Parody in Claire Bretécher’s Le
of Comic Art 3.2 [Fall 2001]: 162-174); and
« L’Onomastique chez Claire Bretécher
sur la bande dessinée, L’acte du premier colloque
dessinée, de l’Université du
Montréal, Les 400 Coups), forthcoming 2004.
l’objet de plusieurs analyses de fond, tant au plan de ses
que de ses significations et implications idéologiques. Les
quatre-vingt en France voient éclore une
de bédéistes doués qui couvrent
de l'humour, allant de la simple observation de Sempé ou
la satire sociale de Wolinski ou Bretécher, la
et cruelle de Reiser ou Binet, et allant jusqu'au pur non-sens de
Gotlib et F'Murrr, pour ne citer que ceux-là.
Cette thèse étudie
mécanismes de la rhétorique parodique
Bretécher dans son album Le
destin de Monique
seul album de ses oeuvres consacré entièrement
unique diégèse, contrairement à sa
de gags d'une page ou d'une double-page.
À première vue, Le destin de
dresse un procès hilarant d'un mode de vie hollywoodien
où l'on fait un usage abusif et désinvolte de la
manipulation des gènes. Importé en France, ce
mode de vie
s'intègre dans les moeurs et les valeurs sociales de la
des années quatre-vingt.
Une première section étudie
dont est mise en place une rhétorique de la parodie
Recourant abondamment à la technique du
récit-parenthèse, Bretécher met en
des personnages dotés chacun d'un registre de langue
particulier, issu non pas tellement d'une réalité
linguistique que d'une composition créative de l'auteur. Une
autre section analyse les procédés de
iconique et s'intéresse à la façon
Bretécher exploite le langage visuel propre à la
dessinée, soit les rapports entre planches, cases et
Une attention particulière est apportée
technique de la citation composite au moyen de laquelle sont
détournées de façon iconoclaste de
peintures religieuses de la tradition classique.
À la lumière de ces
apparaît que Le
destin de Monique
fournit un bel
de transmission d'un message paralittéraire et humoristique,
jouant habilement sur la connivence entre l'auteur et son lecteur.
in Comic Books: Neil Gaiman's The
University, Department of English, Cincinnati, OH, USA.
by: Dr. Tyrone Williams - Faculty Thesis Advisor Dr. Norman Finkelstein
- English Department Chair. On-line at http://www.holycow.com/dreaming/academia/thesis.txt
Olson, Valerie Voight. 1979. Garry Trudeau's Treatment of Women's Liberation in Doonesbury. Michigan State University.
M. [date?] I Couldn't Make This Up If
I Tried. MFA in Visual
Studies. Minneapolis College of Art and Design,
Graduate Program. Committee
Dr. Frenchy Lunning, MCAD Liberal Arts Professor and degree mentor
Vesna Kittelson, MCAD Fine Arts Professor Greg Ketter, Vice-President
of the Comic Book Legal Defense Fund and owner of DreamHaven
from thesis exhibition, along with direct link to
body of work
developed for the thesis has been published as two graphic novels to
date: "Stylish Vittles: I Met a Girl" 2002, ISBN 0972080104; "Stylish
Vittles: All the Way" 2003, ISBN 0972080112.
This paper examines the differences between
corporate comics creators and independent comics creators and how those
differences lead to an inherent disparity in the quality and type of
the comics they produce.
It is my contention that in order to advance comics as an artform, to
comics which are progressive and original, the true comics creator must
outside of the current, dominant corporate comics industry
Independent creators are able to explore non-formulae genres and truly
with story and form due to lack of editorial and budgetary
In support of this, I will examine comics works which stand apart with
artistic or literary merit, and how those works could have only been
as independents. Similarly, I will show how my own work fits
in to the independent comics movement,and how it could only have been
produced outside of the corporate comics world.
Stephanie. 1991. Situational
Humor, Personality and Key Demographic Variables as Factors
the Appreciation of Family-Context Cartoons. University
(Canada). DAI. Pittman, Carolyn S. 1996. The Closet's Revolving Door: Doonesbury and Homophobia in the 90's. University of North Carolina at Wilmington.
Polsky, Jude. 2002. Laughing
Matters: The Holocaust
of Art Spiegelman, Tadeusz Borowski, and Aleksander Kulisiewicz.
of Calgary (Canada). DAI. Prusik, Krystyna
H. 1974. Les
effets stylistiques des onomatopees de choc dans la bande dessinee. McMaster
University (Canada). DAI. Reynolds, David. 2011. Superheroes: An Analysis of Popular Culture's Modern Myths. Memorial University of Newfoundland, Humanities (M.Phil), under the supervision of Dr. Christopher Lockett (MUN). Available for purchase through Smashwords.com; a descriptive synopsis of the content is available on YouTube.
A semiotic and
cultural anthropological interrogation of popular North American
superhero narratives, such as those of Superman, Spider-Man, and
Batman, provides insight into how media’s messages influence the
culture’s ethical values. Since emerging in the late 1930s, the
superhero has become a pervasive figure in North American popular
culture. As an extension of ideas presented by Friedrich Nietzsche,
Joseph Campbell, and Umberto Eco, this dissertation argues that
superhero tales must be regarded as modern mythology. It follows that
people observe and learn social norms of justice from such narratives,
since these ideals are intrinsic to the tales. In investigating the
superhero’s role as a contemporary figure of myth, this project focuses
primarily on three areas: an account of the history of the superhero
from 1938 to present; an examination of the cultural functions of
contemporary superhero narratives; and, an interrogation of
vigilantism, responsibility, and justice in these narratives and how
those concerns further relate to ideologies and practices in North
Rifas, Leonard. 1991. The
Forgotten War Comics: The Korean War and
Comic Books. University of Washington, School of Communications.
Good and Evil in the Ashes: The Search for a New Aesthetic and a New
Morality in Post-WWII Japan, as Revealed in Keiji Nakazawa's 'Barefoot
Gen' and Selected Late-20th-century Japanese Literature.
California State University, Dominguez Hills. Advisor: Abe
Schmidt, Peter A., Jr. 2002. The History of
Atomic Power and the
Rise of the American Comic Book Superhero.
University, Interdisciplinary Humanities.
Schwartzhoff, Kim Marie.
2001. Collaboration and
in Art Education.
University of Iowa. [library
Selden, Arthur Frank. [date?] The
of R. Crumb and Gilbert Shelton: Criticism of the 1960s social and
University of Virginia. FirstSearch.
Short, Don M. 1984. The
and Organization of Sexuality and Gender Difference in Western Popular
A Genre Study of Classical Hollywood Narrative.
M.F.A. York University (Canada). DAI. Skilling,
Pierre. 1994. Le
du recit de fiction dans la socialisaton politique: Une analyse des
representations du politique dans 'Les Aventures De Tintin.'
Universite Laval (Canada). DAI.
Soledad Souza e Paula,
Leonora. 2004. Intertextual
Negotiations in Sandman: An Orbital Movement.
Programa de Pós-Graduação em Estudos
Literários - Faculdade de Letras - Universidade Federal de
Gerais - Belo Horizonte - Brasil. Committee: Prof. Eliana
Lourenço de Lima Reis (adviser), Prof. Waldomiro Vergueiro
Prof. Thomas Burns. E-mail: email@example.com
This work intends to analyze Sandman,
by Neil Gaiman, as a graphic novel belonging to the contemporary
production of comics, characterized by the creative transportation of
cultural productions. The reading of Sandman
allows the audience to
observe how the contemporary artistic production is affected by the
reelaboration of cultural manifestations in its process of
construction, which is characterized by a constant communication among
means of expression. In this process, the work of art
dialogues with cultural productions of different time and space,
generating interesting hybrid experiences. The intertextual
negotiation among means of expression occurring in Sandman
results from practices of
appropriation via pastiche placed in a space of orbital circulation.
Dhruti. 1997. Motivations Behind the
Public Display of Comic Strips. Michigan
State University. DAI. Twomey,
John E. 1955. The
Book Crusade. University
Lee Ann. 1994. Reflections
of Cold War Policies in
of Houston. DAI.
Jacques. 1990. La
propagande de guerre dans les albums de 'Becassine' (1914-1918) et dans
les episodes de 'Superman' (1942-1943).
Vermette, Stephane. 2000. Au-dela des cliches. Le
porte sur le Zaire par la bande dessinee
aux Xxe siecle. Universite Laval
Paula. 2002. Carlos
cronista do traço:
críticos do cotidiano familiar [Carlos
pictorial cronist: critical portraits of the family daily life].
Master Degree on Visual Arts at the Escola de Belas-Artes (EBA) (School
of Fine Arts) from the Federal University of Rio de Janeiro,
Brazil. Committee members: Prof. Rosza W. Vel Zoladz, PhD,
Federal University of Rio de Janeiro; Prof. Angela Martins, PhD,
Federal University of Rio de Janeiro; Prof. Mohammed El Hajji, PhD,
Federal University of Rio de Janeiro.
This research focus on the life-work of Carlos
social cartoonist that published on O
Cruzeiro, a magazine from Rio
de Janeiro (Brazil), during the
'50s and '60s. Considering how the cartoon may be seen as a record of
the daily life and transactions in the city, this work will complete an
etnographic study of chosen images - where the characters are in the
presence of mass communication media vehicles of the time -, starting
from the cartoonist's mind-set and life-work and how it is arranged in
relation to his social and cultural context. The proposed goal in the
research is to prove the feasibility of realizing these analysis
through the application of an array of epistemological procedures
previously selected in order to achieve the interpretations of these
Wilson, Jack C. 2009. A Causal Comparative Study of Students' Reading Motivation After Reading Comics in the Classroom. Master of Science in Education - Elementary Education. Missouri State University, Childhood Education and Family Studies. [read online]
Abstract: This study determined the change in fifth graders’ attitudes toward reading after exposure to
comics and graphic novels. The study was conducted in an urban
Midwestern school comprised of middle to lower class families. A
volunteer group of 10 students from an intact fifth grade class was
used. The sample included 8 girls and 2 boys. All of the students were
Caucasian except one who was Hispanic. The levels of ability were
varied, with one gifted student, three above average learners, five
average learners, and one who utilized special education services. The
students took a pre-survey then were given access to comics and graphic
novels during a lunchtime reading program for a period of four weeks.
At the end they each took a post-survey. Data, frequencies and
percentages from the surveys, were compared. There was not a
significant change in the children’s attitudes toward reading
after the study. The findings would suggest that more research is
Winchester, Mark David. 1990. George
McManus, comic strip theatricals
and vaudeville. Ohio State