This chapter contains sections titled: Introduction Multiplicity How Are Instances of Comics Created? Autographic and Allographic Conclusion Notes References.

This essay draws on two emerging fields—the study of comics or graphic fiction, and disability studies—to demonstrate how graphic fictions articulate the embodied, ethical, and sociopolitical experiences of impairment and disability. Examining David B’s Epileptic and Paul Karasik and Judy Karasik’s The Ride Together, I argue that these graphic novels unsettle conventional notions of normalcy and disability. In so doing, they also challenge our assumed dimensions and possibilities of the comics genre and medium, demonstrating the great potential comics hold for (...) disability studies. (shrink)

This chapter contains sections titled: Illustrated Books: A First Step The Image‐Text Complex in Comics The Image The Text How Comics Work An Objection Conclusion Notes References.

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...) Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

_The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...) comics more generally Responds to the increasing philosophical interest in comic art Includes a preface by the renowned comics author Warren Ellis Many of the chapters are illustrated, and the book carries a stunning cover by the rising young comics star David Heatley. (shrink)

Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...) between text and image in comics, and the connection between comics and cartooning. (shrink)

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

The 9/11 attacks in the USA had profound political consequences at both domestic and international levels. Specific and controversial policy developments were pursued requiring substantial legitimation to find acceptance. A prime example was the USA PATRIOT Act, which was passed in the immediate aftermath of 9/11 and subsequently received considerable critique due to the sweeping nature of its redefinition of what was acceptable in the cause of ‘fighting terror’. The media, and their construal of events and policies, played a significant (...) role in the necessary process of legitimation. In this paper, we explore how one particular area of the media, the superhero comic book, was also active in this regard. By focusing specifically on the multimodal meaning construction within Marvel's Civil War comics series, we suggest how a close multimodal discourse analysis can shed further light on the mechanisms by which particular discourse contexts of public opinion are propagated. (shrink)

This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.

Daga (the Bulgarian word for “rainbow”) was a Bulgarian comic magazine launched in 1979 and regularly published until 1992. Its remarkably westernized aesthetic greatly impacted an entire generation of readers. Included in its variety of stories (history, sci-fi, literary classics) is an action-packed account of Spartacus’ exploits. For ten consecutive issues (1979–1983), the story spanned the hero’s life from a more fanciful narrative of his early years in Thrace to the better-documented events in Italy and his death. The paper explores (...) the plotline, characterization, and visual aspects of “Spartak” to reveal the eponymous hero’s significance for young Bulgarian readers in the 1980s. Drawing on the cultural and historical context, I argue that Spartacus was well suited to serve as a role model and a national hero by embodying the proletarian anti-imperialist struggle and also, notably, because of his supposed place of birth near the river Strimon in modern-day Bulgaria. I also look at examples of contemporary comics, including a new graphic novel based on Daga’s story published in 2020, and consider the transmutations of the hero to suit the post-communist (and anti-communist) ideological agenda, characterized by a departure from the proletarian image of Spartacus in favor of more conservative, aristocratic features. (shrink)

Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker.

Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, respectively, various moral properties (...) to impact negatively on funniness. For example, one species holds as much of the property “manifests attitudes that are morally wrong,” but other species hold as much of different moral properties. Comic moralism, or a species of it, can be unrestricted, or restricted, depending on whether it pertains to all the items that possess the negatively impacting moral property or properties, or to just a subset of these items. (shrink)

A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is widely regarded (...) as patently absurd. I hope to correct this mistake. (shrink)

The core of the study is a critical comparison of Nietzsche’s notion of Übermensch, and its transhumanist rewriting into different variants of the posthuman. The first part contextualizes transhumanist thought, primarily in relation to certain evolutionary ideas that, in their totality, exhibit a fundamental anthropological deficit: they speak of the evolutionary overcoming of human, but the limit of sensibility that attempts to imagine a future human being is only the mere negation of what human has been so far. In this (...) way, the posthuman is not removed from the somewhat vague context of the technological “extension” of previous humanity. In this respect, the whole concept is grossly unaesthetic. The second part shows that Nietzsche’s rethinking of the overhuman was intertwined with other anthropological structures, for example, the idea of Mitfreude (‘shared joy’), which is supposed to creatively (in the manner of art) replace the morally misleading notion of compassion. The Übermensch therefore enabled Nietzsche to propose a different conception of intersubjectivity; one that would no longer be reduced to contempt for the human being. The third section traces the causes of the transhumanist failure in productive imagination. It is based on the hypothesis that this failure is driven by an unconscious preference for the figure of the comic book Superman. It postulates, through a Kantian conception of the sublime, that an adequate elaboration of the image of the posthuman cannot do without an affective component that would allow for Bejahung (‘affirmation’). Only the artificial will always appear, to some degree, as alien, and therefore will never transcend the limits of reactive adaptation. A living posthuman could only emerge if he offered anthropological techniques of the art of living. Therefore, transhumanism continuously raises anthropological questions, especially regarding the problem of the extent to which the artificiality of art can be identified with technology. Without proper answers, it will not achieve the complexity of Nietzsche’s overhuman, and will always only dilute him into technological supplements. The posthuman will come into being when he is conceived as a grandiose work of art. (shrink)

This article argues that Nietzsche's 1888 writings should be understood as a Dionysian comedy that parallels important formal structures of Aristophanes' early plays. Whereas works such as The Twilight of the Idols and The Case of Wagner contain features that resemble the agonal elements of Dionysian comedy, Ecce Homo should be understood as a comic parabasis of self-definition.

This cutting-edge handbook brings together an international roster of scholars to examine many facets of comics and graphic novels. Contributor essays provide authoritative, up-to-date overviewsof the major topics and questions within comic studies, offering readers a truly global approach to understanding the field.

This article examines the comic portrayal of Confucius in the Analects and the Zhuangzi, maintaining that there is a humorous aspect to the character of Confucius that is often overlooked. Conventional interpretations of the Analects downplay the pranks and mocking comments that are sprinkled throughout them. Many of the humorous words Confucius utters are directed at ritualistic behaviour which has become mechanistic, suggesting that in order to take ritual seriously, we must also be prepared to take it in jest. Furthermore, (...) Confucius’s situation is poked fun at in both the Analects and the Zhuangzi, since he wanders around desperately seeking a position of influence that eludes him. But while the Zhuangzi relentlessly mocks Confucius for his ritualized arrogance, it also signals his respect for him by making him the mouthpiece of the very Dao that it accuses him of straying from. (shrink)

We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large sample of (...) 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)

The history of Attic comedy after the fifth century is not simple. The comic fragments are obscure, because they are fragments: and the ancient interpreters, because they are determined to interpret. But the subject still remains interesting and important, especially in so far as it is concerned with Middle Comedy, which filled the gap between Aristophanes and Menander. Formally and materially, Menander was a modern, while Aristophanes was not: and it was during the fourth century that the ground was being (...) prepared for the change. Now one of the most noticeable differences between Old and New Comedy was the altered position of the chorus; and although the very mixed assortment of facts available makes coherent conclusions difficult, I think it worth enquiring how much can be known of the chorus after Aristophanes. (shrink)

ABSTRACT Lucie Olbrechts-Tyteca's 1974 chapter on dissociation in the comic furthers our understanding of the rhetorical possibilities of dissociation, revealing how the concept can dismantle old worldviews and create new ones through laughter. Thanks to issues with translation and the chapter's obscure examples, however, this text has been largely overlooked by scholars. This article grounds the chapter's theories in examples with more contemporary resonance as a necessary first step toward understanding the full scope of Olbrechts-Tyteca's contributions to the concept of (...) dissociation. Considering Olbrechts-Tyteca's chapter in light of other texts from the New Rhetoric Project also calls attention to the ways that translation practices have shaped scholars' reception and use of the Project's concepts. (shrink)

The comic is one of the principal esthetic categories; it unites the multifaceted experience of the social mind as it assimilates and cognizes the world, particularly the social world, on the basis of axioms of common sense, or even of public opinion about these axioms. Boldly violating the laws of logic and the verisimilitude of images, of normal connections and notions, and playing upon these violations, the comic nonetheless remains firmly on the side of common sense. The comic is inexhaustible (...) in its nuances — from light merriment and entertainment to malicious ridicule and satire, from gross farce to subtle forms of irony and humor. (shrink)

In his biography of Polemon, head of the Academy from 313 to 269, Diogenes Laertius comments on Polemon's fondness for Sophocles after detailing Polemon's relationship with his predecessor, Xenocrates : ἐῴκει δὴ ὁ Πολέμων κατὰ πάντα ἐζηλωκέναι τὸν Ξενοκράτην· καὶ ἐρασθῆναι αὐτοῦ φησιν Ἀρίστιππος ἐν τῷ τετάρτῳ Περὶ παλαιᾶς τρυφῆς. ἀεὶ γοῦν ἐμέμνητο ὁ Πολέμων αὐτοῦ, τήν τ' ἀκακίαν καὶ τὸν αὐχμὸν ἐνεδέδυτο τἀνδρὸς καὶ τὸ βάρος οἱονεὶ Δώριός τις οἰκονομία. ἦν δὲ καὶ φιλοσοφοκλῆς, καὶ μάλιστα ἐν ἐκείνοις ὅπου κατὰ (...) τὸν κωμικὸν τὰ ποιήματα αὐτῷκύων τις ἐδόκει συμποιεῖν Μολοττικός,καὶ ἔνθα ἦν κατὰ τὸν Φρύνιχονοὐ γλύξις οὐδ' ὑπόχυτος, ἀλλὰ Πράμνιος.ἔλεγεν οὖν τὸν μὲν Ὅμηρον ἐπικὸν εἶναι Σοφοκλέα, τὸν δὲ Σοφοκλέα Ὅμηρον τραγικόν.It would seem that Polemon imitated Xenocrates in all respects. In the fourth book of On the Luxury of the Ancients, Aristippos says that he loved him. Certainly Polemon kept him in mind and, like him, wore that simple, dry dignity that is proper of the Dorian mode. He also loved Sophocles, particularly in those passages where it seemed as if, in the words of the comic poet, ‘a Molossian dog co-authored’ plays with him and where the poet was, in the words of Phrynichus, ‘neither bland nor doctored but Pramnian’. Thus he would call Homer the epic Sophocles and Sophocles the tragic Homer. The main source of Diogenes Laertius' Life of Polemon is Antigonus of Carystus, who was active in Athens and Pergamon around the mid third century. In addition to being generally considered a reliable author, Antigonus is also chronologically close to Polemon's lifetime. He is also the source of Philodemus' History of Philosophers, a work preserved by two important papyri from Herculaneum. Philodemus, too, mentions Polemon's admiration for Sophocles, although he gives a shorter version than Diogenes Laertius: λέγεται δὲ καὶ φιλοσοφοκλῆς γενέσθαι καὶ μά || λιστα τὸ ΠΑ[.]Α[……….] | τῆς φωνῆς καὶ παρα[….] ἀποδέχεσθαι. In Dorandi's translation, Philodemus records that ‘si dice che [Polemone] fu ammiratore di Sofocle e soprattutto ne apprezzò l'audacia e ciò che suonava duro’. (shrink)

Instead he argues that there is an essence of comedy in the area of spirit rather than form, perspective rather than pattern. He draws upon the rich historical ensemble of types of comic figures, with a chapter devoted to each: the humorist, comedian, comic hero, rogue, trickster, clown, fool, underdog, and simpleton. He shows how each type incarnates a comic heroism in its own unique manner, offering a profound wisdom and philosophy of life.

As to the wearing of a leather phallus by fifth-century comic actors, Pickard- Cambridge wrote: ‘Aristophanes’ resolution to avoid such indecencies does not seem to have lasted long.’ One year would not have beenlong; and Beare, who resumed Thiele's position, and Webster, who supported that of Körte, carried on a controversy on the matter without reference to what I believe is a relevant, if misunderstood, text.

A recent article on ‘The Number of Speaking Actors in Old Comedy’ by D. M. MacDowell has argued that to perform the plays of Aristophanes required the use of four, but never five, speaking actors.1 Systematically argued, MacDowell presents a cogent case against Henderson , who has suggested that at times five actors were permitted. MacDowell also presents some very sensible observations on the nature of any prescription which might limit the number of actors. The final paragraphs, however, express considerable (...) discomfort at the earliest work in the extant corpus: 'Akharnians, however, remains problematic, since it has two scenes which may be thought to require five actors' . A tentative solution is offered by MacDowell, which is that 'these scenes were actually performed without a fifth actor, by making very quick changes in the scene with Amphitheos and the Envoy, and by using dolls for the Megarian's Daughters' . Unspeaking performers for the Megarian's Daughters are more likely than dolls, since they must follow orders for movement . Apart from this, I have no doubt that this is indeed how Akharnians was performed, and an examination of the specific comic techniques employed by Aristophanes in the two problematic scenes in Akharnians demonstrates not only the comic desirability of their use, but their applicability to other plays by Aristophanes. (shrink)

At Apology 33c Socrates explains that "some people enjoy … my company" because "they … enjoy hearing those questioned who think they are wise but are not." At Philebus 48a-50b he makes central to his account of the pleasure of laughing at comedy the exposé of the self-ignorance of those who presume themselves wise. Does the latter passage explain the pleasure of watching Socrates at work? I explore this by tracing the admixture of pain, the causes, and the "natural harmony" (...) that Socrates' general account of pleasure implies for laughing at comedy. These reflections precipitate an aporia about the moral effect of Socrates' elenchtic practice. I suggest a path through the aporia that keys from Socrates' notion of "human wisdom" and the distinctive structure Plato gives the dialogues. (shrink)

ABSTRACT The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the (...) secret source of humor itself is not joy but sorrow,” which has been interpreted through the often-quoted formula: comedy is tragedy plus time. The assumption is that we need some distance emotionally in order to mock or transcend the tragic. While we grant the humor of transcendence can produce some momentary relief through emotional distance, we wonder if there might be another way that humor can deal with suffering? Popular psychology often speaks of five stages of grief, and while that progression seems too linear and simplistic, we find that the now much more inclusive comic stage has something to offer their audiences struggling to make sense of a volatile world. (shrink)

‘The proper treatment of events’ is the title of a recent book [LH04] by M. van Lambalgen and F. Hamm, applying the event calculus from [Sha97] to natural language semantics. Some basic ideas behind that treatment are presented in a technically different form below, shaped by a concrete formulation of events as strings of sets of fluents ([Fer04]). These strings can be read as comic strips that are (I think) easy to grasp and work with, providing a friendly (if not (...) altogether proper) approach to events. (shrink)

Tragedy has traditionally been ranked higher than comedy, and critics often valorize the ‘tragic vision of life’. Using twenty contrasts between tragedy and comedy, I argue that there is a ‘comic vision of life’ which is superior to the tragic vision, especially in the post-heroic era in which we live.

This special issue brings together an interdisciplinary group of scholars to reflect on comics and the anarchist imagination. The curators of the 2014 British Library exhibition, "Comics Unmasked: Art and Anarchy in the UK," noted that "there has always been a certain anarchic streak" in comics. Indeed, since Ralph Chaplin's Black Cat appeared alongside the work of Ernest Riebe and Ern Hanson in the IWW's Industrial Worker in the early twentieth century, comics and cartoons have been prominent fixtures in anarchist (...) publications, while comic books themselves have often featured anarchist heroes. To take a few more examples: in the 1960s and 70s, Donald Rooum's Wildcat comics strips featured... (shrink)

When the world as we know it crumbles to pieces, who does the future belong to? For the survivalist subculture, the answer is typically quite clear—the future belongs to the properly prepared, self-sufficient and autonomous men, who will outlive the majority of humankind in the upcoming global pandemonium. Once considered a fringe movement, survivalist ideas, imagery, and discourse now permeate Anglo-American popular culture and have increasingly made their way into other cultural regions as well. In recent years, there have been (...) numerous doomsday reality programs and shows about extreme survival trials on television. In their unique ways, programs such as Doomsday Preppers, Man vs. Wild, and Survivor have all... (shrink)

In this essay, I take up the question of why so many of the movies made by Hollywood are endless sequels, “prequels,” and remakes of prior blockbuster hits and so many are based on comic books (X-men, Superman, Batman, and so on). I tie the explanation in part to the aforementioned 1950 Supreme Court ruling prohibiting production companies, and in part to broader cultural changes. In particular, I argue that precisely because film producers can no longer make money from the (...) concessions (i.e., the purchases within the theater), but only of the ticket sales, the producers keep producing remakes of known popular movies, rather than make deeply original movies. (shrink)

Aristophanic Comedy falls structurally into marked divisions, episodic and epirrhematic. The first is a very simple method of composition consisting of short iambic scenes, connected by choral stasima which are more or less relevant to the action. As a general rule these episodes occupy the second half of the play between the Parabasis and Exodos, and, since they show the hero enjoying the fruits of his earlier struggles, contribute little to the development of the plot. Many of the Comic Fragments (...) in trimeters are probably taken from episodes, but any attempt to classify them would add nothing to knowledge of a play from the structural viewpoint. The case is otherwise with the epirrhematic parts of Comedy. These are of complicated structure, marked by the use of the syzygy, i.e. the correspondence of odes and epirrhemes on the plan abab and also by the use of the tetrameter, which is confined to these sections. They may be further differentiated among themselves by the metre used. In the Parodos anapaests, iambs and trochees are found, in the Agon iambs and anapaests, in the parabatic syzygy only trochees, in the πλον anapaestic and aeolic tetrameters. Taking the use of the tetrameter as guide it is possible to classify certain of the Comic Fragments, and subject matter and the criterion of metre often give some indication of the particular epirrhematic section from which they are taken. Prologue and Exodos stand outside the scheme of both episodic and epirrhematic composition, being structurally self-contained. The former consists of iambic trimeters, not a simple means of differentiation, but sometimes subject matter affords convincing points of analogy with the Aristophanic Prologue. The Exodos shows a great variety of metres, but here again subject matter and Aristophanic analogy are of great value in classification. (shrink)

Both mainstream and art comics often use various flourishes surrounding characters’ heads. These so-called “pictorial runes” help convey the emotional states of the characters. In this paper, using panels from Western and Indian comic albums as well as neutral emoticons and basic shapes in different colors, we focus on the following two issues: whether runes increase the awareness in comics readers about the emotional state of the character; and whether a correspondence can be found between the types of runes and (...) specific emotions. Our results show that runes help communicate emotion. Although no one-to-one correspondence was found between the tested runes and specific emotions, it was found that droplets and spikes indicate generic emotions, spirals indicate negative emotions, and twirls indicate confusion and dizziness. (shrink)