- New
-
Topics
- All Categories
- Metaphysics and Epistemology
- Value Theory
- Science, Logic, and Mathematics
- Science, Logic, and Mathematics
- Logic and Philosophy of Logic
- Philosophy of Biology
- Philosophy of Cognitive Science
- Philosophy of Computing and Information
- Philosophy of Mathematics
- Philosophy of Physical Science
- Philosophy of Social Science
- Philosophy of Probability
- General Philosophy of Science
- Philosophy of Science, Misc
- History of Western Philosophy
- Philosophical Traditions
- Philosophy, Misc
- Other Academic Areas
- Journals
- Submit material
- More
The Language of Comics1
In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 125–144 (2012-01-27)
Abstract
This chapter contains sections titled: Introduction A Pre‐Emptive Strike How Comics Mean The Unified Comic Conclusion Notes References.Author's Profile
the language of comics, serving partly‐conventional, meaning‐bearing comics as constituting a language, as project of the “language of film” analytic philosophers of language, concerned with the natural language comics as a language, being an anathema Currie, undermining the semiotic notion of a language of film Currie's target on cinesemiotics, natural languages, productive/conventional cinematic image, as entirely nonconventional comics and drawings, developing a complex symbol system semantic meaning and utterance meaning, a line difficult to draw semantic distinction and sense/reference, text in comics as images
My notes
Similar books and articles
Proust's In Search of Lost Time: The Comics Version.David Carrier - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 188–202.
Wordy Pictures: Theorizing the Relationship Between Image and Text in Comics.Thomas E. Wartenberg - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 85–104.
Making Comics into Film.Henry John Pratt - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 145–164.
Why Comics are not Films: Metacomics and Medium‐Specific Conventions1.Roy T. Cook - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 165–187.
Comics and Genre.Catharine Abell - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 68–84.
The Ontology of Comics.Aaron Meskin - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 31–46.
Redefining Comics.John Holbo - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 1–30.
Comics and Collective Authorship.Christy Mag Uidhir - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 47–67.
The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images.[author unknown] - 2013
Your Brain on Comics: A Cognitive Model of Visual Narrative Comprehension.Neil Cohn - 2020 - Topics in Cognitive Science 12 (1):352-386.
Analytics
Added to PP
2023-06-15
Downloads
7 (#603,698)
6 months
7 (#1,397,300)
2023-06-15
Downloads
7 (#603,698)
6 months
7 (#1,397,300)
Historical graph of downloads
Sorry, there are not enough data points to plot this chart.
Author's Profile
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
This site uses cookies and Google Analytics (see our terms & conditions for details regarding the privacy implications). Use of this site is subject to terms & conditions.
All rights reserved by The PhilPapers Foundation
Server: philpapers-web-594f89468-lbkg4 uwo