ComicsResearch.org's Comics-Related Dissertations &
Theses: Undergraduate Note: The original list has now been
separated into three pages.
See also: Doctoral
Dissertations and Theses || Masters
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Degrees awarded are B.A.
Charles. 1977. Appreciating
major with High Honors; Thesis Committee Head: David Swanger. University of California, Santa
A personal review of the unique appeals of comic books, followed by an
early stab at evaluating how the medium tells its stories. Most
of the examples are from 60s and 70s DCs and Marvels. Includes
visual analysis of two specific titles.
Vanessa. 2003. Kabuki:
The Myth of Face.
College, English. Thesis
Mark. 1978. Understanding
Comics Art with Honors. University of California, Santa Cruz.
"It [...] examined the
medium of comics to
fundamental processes of how it works to communicate from creator to
consumer. Projection is uncovered to be the underlying principle. It
has not been published, but
it was circulated in a professionals-only amateur press alliance in the
late '80's. Scott McCloud was one of the founding members of that apa."
Neil. 2002. A
Time Frame of Mind: Visual Language and Buddhist
Undergraduate Honors Thesis. University of
California, Berkeley. Published version appears in Berkeley
Undergraduate Journal 31
(Spring 2003): 1-34. On-line
version linked from this page.
Samuel Asher. 1996. Taking Off the Mask. Invocation
Presentation of the Superhero Comic in Moore
and Gibbons’ Watchmen.
B.A., awarded High
Honors from the Honors College. Wesleyan University,
Studies. Advisor: Richard Slotkin. On-line version containing the final
two chapters (out
of four). Gordon, Ian. 1986. Stop Laughing This is Serious: The Comic Art Form and Australian Identity 1880-1960. University of Sydney.
Margaret. 2004. Neil
Gaiman's 'The Sandman': 'Comic' or 'Graphic
Novel'? A Study of the 'Adult Revolution' of the 1980s and the
Resultant Terminological Debate. BA
(bridge essay); BA Combined History of Art and English
Related Literature(EQ). University of York. contact
the advent of the term 'graphic novel' in the context of postmodernism
and the so-called 'adult revolution' of the 1980s. Reading 'Sandman's'
innovation in terms of breaking the traditional genre and publication
conventions of comics, but not transcending the medium itself but
rather exposing its unique narrative and semiotic potential. As a
'bridge essay' between the history of art and english literature, this
dissertation questions the ability of either discipline to adequately
address comics as an autonomous rather than hybrid medium. It also
questions the motives behind scholarly and industry attempts to give
comics cultural legitimacy by mobilising the term 'graphic novel'.
Hague, Ian. 2007. Historiographic
Metafiction in From
Hell and The
League of Extraordinary Gentlemen. University
of Hull, English. BA (hons). Supervisor:
Dr. Jane Thomas.
An application of Patricia Waugh’s concept of Historiographic
Metafiction (see A Poetics
of Postmodernism) to Alan Moore & Eddie
Hell and Alan Moore & Kevin
O’Neill’s The League of
Extraordinary Gentlemen (Volumes 1
Hernández, Alvaro David Hernández. 2009. El impacto de la animación japonesa en México. [The impact of the Japanese animation in Mexico.]
Escuela Nacional de Antropología e Historia, licenciatura en Etnología,
México. [National school of Anthropology and History, Ethnology.]
Bachelor of Ethnology.
Huitula, Kristian. 2000. Comic
Relation to Sound and Multimedia.
Tampere Polytechnic, Finland;
Medianomi AMK/ BA in Media. Author's
Martina. 1996. The
in Japanese Comics. Honors,
Jones, Jessica Eleri. 2009. The Representation of Gender and Sexuality in Alan Moore's Watchmen. BA (hons) English, Liverpool John Moores University. Contact: firstname.lastname@example.org.
Kraemer, Christine Hoff. 2000. The Creative Apocalypse: Post-WWII Representations of Death, Rebirth, and Transformation. Supervised by Dr. Betty Sue Flowers; second reader, Dr. Susan Napier. Online information.
The existence of the atomic bomb has made humanity keenly aware of its
own ability to shape its destiny – or at least to choose its end. This
has problematized traditional apocalyptic narratives, which often focus
on the subjugation of humanity to forces beyond its control. In
response, poet Gregory Corso ("Bomb"), animation director Hideaki Anno
(Neon Genesis Evangelion), and comics writer Alan Moore (Watchmen) have
co-opted the apocalyptic narrative to explore the existential
consequences of humanity as a self-defining, self-destroying entity. In
all three works, apocalypse serves to rip away existing structures and
identities. Unlike the Revelation of St. John, where ultimate
destruction reveals the divine order beneath, however, apocalypse in
these works reveals only a yawning emptiness, an absence of meaning and
order. Rather than dissolving into nihilism, however, these works offer
strategies for living a fulfilling life in a universe where there is no
underlying metaphysical structure. Through taking responsibility for
our role in creating meaning and structure in our lives, our ability to
collectively and individually self-define becomes empowering. In this
sense, apocalypse becomes a creative process, a metaphor for the
constant destruction and new birth of our identities and
self-narratives. Finally, apocalypse serves to dramatize and exaggerate
this process, helping us to become aware of the cycle of
self-definition so that we can more deliberately take part in it.
Kuechenmeister, Bobby James. 2005
Anti-Christ, or Super-Hero: Green Lantern Through the Looking Glass.
of Wisconsin-Eau Claire, Literature. Mentor:
Dr. Joel Pace, Assistant
Professor of English. Published version appears in Prism: A Student Journal
of the Department
of Philosophy and Religious Studies,
Wisconsin-Eau Claire, Vol. 7 (2004). E-mail:
Analysis of religious values found in Green Lantern comics. Focuses on
presenting Green Lantern / Hal Jordan as Christ and Anti-Christ
personae in the "Emerald Twilight," "Zero Hour," and "Final Night"
Kim, Hak Joon. 1997. Sports Manga: A
Contemporary Expression of
Japanese Spirit. Honors
dissertation. Monash University, Japanese Studies.
King, Terry. 1973. Social and Historical Aspects of the Australian Comic Strip. B.A. Hons.
Ronan. 1997. "Hot Dang, look at them
Communism through mainstream super hero comic books, 1945-1997.
d'Etudes Politiques de Grenoble. Li,
Rosanna. 1996. Images of the Family in
Honors dissertation. Monash University, Japanese Studies.
Muskat, Etan. 2003. Cartooning Truth:
Towards a Documentary
Thesis Project, Bachelor of Arts, English (Cultural
Studies). McGill University, 2003. Montreal, Canada. Thesis advisor:
Professor Michael Bristol.
This paper discusses comix as a potential site for documentary and will
focus on three artists, each coming to the fore during various periods
over the last thirty-odd years: Robert Crumb, the artist responsible
for popularizing underground comix, Art Spiegelman, the first artist to
win mainstream critical acclaim for a comic book, and Joe Sacco,
currently redefining the potential of the form to engage with
contemporary historical narratives.
What distinguishes these three artists
is not merely
their concern with history and current events, but their willingness to
‘call a spade a spade’. While comics have always in
represented the psychological subconscious of the society that produces
them, there has always been an impetus to submerge these concerns in
the conventions of genre. Its was not until Crumb began actually
describing his own experiences with the Haight-Ashbury counterculture
of the late 1960’s that comix began to engage directly with
to which they had always been referring.
All three of these artists are
characters in their
own narratives: they call attention to themselves as the conduit for
history. This point is extremely important when defining the concept of
‘documentary’. In film, the definition of this
extremely problematic. However, film is the only medium that possesses
such a category and has received academic attention for it. Therefore,
for the purpose of this argument, the cinematic concept of documentary
will be used as a starting point. In as much, it is essential to
determine what documentary is, what the label entails, and how the
artist, author or filmmaker’s own experiences and personality
to occupy a very central position in the creation of documentary
Kevin John. 2009.Comic Books, Australian Society
and Cultural Anxiety: 1956-1986. Bachelor
of Arts with Honours in Communications. Monash Univ rsity
(Clayton, Victoria, Australia); Arts Faculty - School of English,
Communications & Perofrmance Studies. Contact - Blog
Recent media coverage of the new wave of Australian
graphic novels frequently infers that such works are the first of their
kind to be published in Australia. Yet, such reports overlook the fact
that Australia once boasted a thriving comic book industry, which
easily surpassed the modest output of present-day graphic novel
publishing in Australia.
This thesis explores how comic books
created between 1956 and
1986 emblematise a period of commercial upheaval and creative
experimentation within the Australian comic book industry. The comic
books produced during this era both instigated and reflected a range of
deeply-felt cultural anxieties evident within Australian society, and
hence provide a fascinating and little analysed window onto the social
history of this period.
This thesis focuses on the largely
overlooked western, horror
and romance comic book genres, which were amongst the most popular with
Australian audiences between 1956 and 1986, thereby redressing the
disproportionate emphasis on superheroes evident in much scholarly
writing about comic books.
This thesis adopts a multi-dimensional
which evaluates its subject from a variety of perspectives,
incorporating elements of political economy, cultural policy and
textual analysis. The analysis also privileges media theory s concept
of glocalisation as a means of analysing both the practice of
repackaging overseas comics for the Australian market, as well as the
efforts of domestic publishers to develop distinctively Australian
variations on foreign comic book idioms.
examining a unique constellation of textual production
strategies, government policies, and audience preferences that shaped
the Australian comic book industry during this period, this thesis
demonstrates how the seemingly ephemeral comic book has become a key
resource for reconstructing broader social concerns about such
significant issues as national identity, gender roles, sexuality and
Adam. 1996. Manga and Pornography
after the Harmful
dissertation. Monash University, Japanese Studies