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  1. Comics and Ethics.Jon Robson - forthcoming - In F. Bramlett, R. Cook & A. Meskin (eds.), Routledge Companion to Comics and Graphic Novels. Routledge.
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  2. Essay Review of Tanya and Jeffrey Bub’s Totally Random: Why Nobody Understands Quantum Mechanics: A Serious Comic on Entanglement: Princeton and Oxford: Princeton University Press (2018), ISBN: 9780691176956, 272 Pp., £18.99 / $22.95. [REVIEW]Michael E. Cuffaro & Emerson P. Doyle - 2021 - Foundations of Physics 51 (1):1-16.
    This is an extended essay review of Tanya and Jeffrey Bub’s Totally Random: Why Nobody Understands Quantum Mechanics: A serious comic on entanglement. We review the philosophical aspects of the book, provide suggestions for instructors on how to use the book in a class setting, and evaluate the authors’ artistic choices in the context of comics theory. Although Totally Random does not defend any particular interpretation of quantum mechanics, we find that, in its mode of presentation, Totally Random is a (...)
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  3. On Superhero Stories: The Marvel Cinematic Universe as Tolkienesque Fantasy.A. G. Holdier - 2018 - Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature 36 (2):Article 6.
    By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual media (...)
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  4. Rorschach Tests and Rorschach Vigilantes: Queering the History of Psychology in Watchmen.Katherine Hubbard & Peter Hegarty - 2017 - History of the Human Sciences 30 (4):75-99.
    One of the clearest signs that Psychology has impacted popular culture is the public’s familiarity with the Rorschach ink-blot test. An excellent example of the Rorschach in popular culture can be found in Watchmen, the comic/graphic novel written by Alan Moore and Dave Gibbons. In the mid-20th century Psychology had an especially contentious relationship with comics; some psychologists were very anxious about the impact comics had on young people, whereas others wrote comics to subvert dominant norms about gender and sexuality. (...)
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  5. Time Frames: Graphic Narrative and Historiography in Richard McGuire’s Here.Laura Moncion - 2017 - Imaginations 7 (2):199-213.
    Visual literacy has long been important as a way of reading images beyond mimetic illustration. It also allows the reader to tap into a logic of representation in order to create different representations and narratives. In this essay I argue that images provide crucial temporal complexity to the study of narrative, with particular resonances for narrative historiography. The complex temporality of the image, especially the graphic narrative or comic, points toward a historical time which may be neither linear nor causal. (...)
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  6. In Defense of Comic Pluralism.Nathaniel Sharadin - 2017 - Ethical Theory and Moral Practice 20 (2):375-392.
    Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.
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  7. Comics & Seriality.Christy Mag Uidhir - 2016 - In Roy T. Cook, Aaron Meskin & Frank Bramlett (eds.), Routledge Companion to Comics. Routledge. pp. 248-256.
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  8. Defining Comics.Aaron Meskin - 2016 - In Aaron Meskin, Frank Bramlett & Roy Cook (eds.), Routledge Companion to Comics. Routledge. pp. 221-229.
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  9. Classics and Comics - G. Kovacs, C.W. Marshall Classics and Comics. Pp. XIV + 265, Ills. New York: Oxford University Press, 2011. Paper, £18.99, Us$29.95 . Isbn: 978-0-19-973419-1. [REVIEW]Anastasia Bakogianni - 2013 - The Classical Review 63 (1):288-290.
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  10. Comics and Genre.Catharine Abell - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. pp. 68--84.
    An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...)
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  11. Drawings of Photographs in Comics.Roy T. Cook - 2012 - Journal of Aesthetics and Art Criticism 70 (1):129-138.
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  12. Comics & Collective Authorship.Christy Mag Uidhir - 2012 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Wiley-Blackwell. pp. 47-67.
    Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...)
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  13. Do Comics Require Pictures? Or Why Batman #663 Is a Comic.Roy T. Cook - 2011 - Journal of Aesthetics and Art Criticism 69 (3):285-296.
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  14. The Philosophy of Comics.Aaron Meskin - 2011 - Philosophy Compass 6 (12):854-864.
    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 (...)
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  15. Comics as Literature?Aaron Meskin - 2009 - British Journal of Aesthetics 49 (3):219-239.
    Not all comics are art. What about the comics that are art? What sort of art are they? In particular, are comics a form of literature? For a variety of reasons it is tempting to think that at least some comics are literature. Nevertheless, many theorists reject the ‘comics as literature’ view. And although some reasons for resisting that view are misguided, I shall argue that there are other good reasons for being hesitant about treating comics as a form of (...)
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  16. The Time It Takes.Patrick Maynard - 2001 - In Jan Baetens (ed.), The Graphic Novel. Leuven University Press.
    Concerns photography and time as duration, sequence, equability, past and present (illus.).
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