Syndicated Comic Strips And Artists 1924 1995

Written in straightforward, jargon-free language, A Concise Dictionary of Comics guides students, researchers, readers, and educators of all ages and at all levels of comics expertise. It provides them with a dictionary that doubles as a compendium of comics scholarship. A Concise Dictionary of Comics provides clear and informative definitions for each term. It includes twenty-five witty illustrations and pairs most defined terms with references to books, articles, book chapters, and other relevant critical sources. All references are dated and listed in an extensive, up-to-date bibliography of comics scholarship. Each term is also categorized according to type in an index of thematic groupings. This organization serves as a pedagogical aid for teachers and students learning about a specific facet of comics studies and as a research tool for scholars who are unfamiliar with a particular term but know what category it falls into. These features make A Concise Dictionary of Comics especially useful for critics, students, teachers, and researchers, and a vital reference to anyone else who wants to learn more about comics.

Short-listed for the 2007 CBA Libris Awards for Book Design of the Year What do Superman, Prince Valiant, Cerebus the Aardvark, and Spawn have in common? Their creators Joe Shuster, Harold Foster, Dave Sim, and Todd McFarlane are Canadians. And while many of the cutting-edge talents of contemporary comix and graphic novels are also from Canada artists such as Chester Brown, Seth, Dave Cooper, and Julie Doucet far too few Canadians realize their country had a remarkable involvement with the "funnies" long before. Invaders from the North profiles past and present comic geniuses, sheds light on unjustly neglected chapters in Canadas pop history, and demonstrates how this nation has vaulted to the forefront of international comic art, successfully challenging the long-established boundaries between high and low culture. Generously illustrated with black-and-white and colour comic covers and panels, Invaders from the North serves up a cheeky, brash cavalcade of flamboyant and outrageous personalities and characters that graphically attest to Canadas verve and invention in the world of visual storytelling.

From Beatniks to Sputnik and from Princess Grace to Peyton Place, this book illuminates the female half of the U.S. population as they entered a "brave new world" that revolutionized women's lives. After World War II, the United States was the strongest, most powerful nation in the world. Life was safe and secure—but many women were unhappy with their lives. What was going on behind the closed doors of America's "picture-perfect" houses? This volume includes chapters on the domestic, economic, intellectual, material, political, recreational, and religious lives of the average American woman after World War II. Chapters examine topics such as the entertainment industry's evolving concept of womanhood; Supreme Court decisions; the shifting idea of women and careers; advertising; rural, urban, and suburban life; issues women of color faced; and child rearing and other domestic responsibilities. A timeline of important events and glossary help to round out the text, along with further readings and a bibliography to point readers to additional resources for their research. Ideal for students in high school and college, this volume provides an important look at the revolutionary transformation of women's lives in the decades following World War II.

This final work in John Lent's series of bibliographies on comic art gathers together an astounding array of citations on American comic books and comic strips. Included in this volume are citations regarding anthologies and reprints; criticism and reviews; exhibitions, festivals, and awards; scholarship and theory; and the business, artistic, cultural, legal, technical, and technological aspects of American comics. Author John Lent has used all manner of methods to gather the citations, searching library and online databases, contacting scholars and other professionals, attending conferences and festivals, and scanning hundreds of periodicals. He has gone to great length to categorize the citations in an easy-to-use, scholarly fashion, and in the process, has helped to establish the field of comic art as an important part of social science and humanities research. The ten volumes in this series, covering all regions of the world, constitute the largest printed bibliography of comic art in the world, and serve as the beacon guiding the burgeoning fields of animation, comics, and cartooning. They are the definitive works on comic art research, and are exhaustive in their inclusiveness, covering all types of publications (academic, trade, popular, fan, etc.) from all over the world. Also included in these books are citations to systematically-researched academic exercises, as well as more ephemeral sources such as fanzines, press articles, and fugitive materials (conference papers, unpublished documents, etc.), attesting to Lent's belief that all pieces of information are vital in a new field of study such as comic art.

Mobile is simultaneously a typical and unique city in the postwar United States. It was a quintessential boomtown during World War II. That prosperity was followed by a period of rapid urban decline and subsequent attempts at revitalizing (or gentrifying) its downtown area. As in many other US cities, urban renewal, integration, and other socioeconomic developments led to white flight, marginalized the African American population, and set the stage for the development of LGBTQ+ community building and subculture. Yet these usually segregated segments of society in Mobile converged once a year to create a common identity, that of a Carnival City. Carnival in Alabama looks not only at the people who participated in Mardi Gras organizations divided by race, gender, and/or sexual orientation, but also investigates the experience of “marked bodies” outside of these organizations, or people involved in Carnival through their labor or as audiences (or publics) of the spectacle. It also expands the definition of Mobile’s Carnival “tradition” beyond the official pageantry by including street maskers and laborers and neighborhood cookouts. Using archival sources and oral history interviews to investigate and analyze the roles assigned, inaccessible to, or claimed and appropriated by straight-identified African American men and women and people who defied gender and sexuality normativity in the festivities (regardless of their racial identity), this book illuminates power dynamics through culture and ritual. By looking at Carnival as an “invented tradition” and as a semiotic system associated with discourses of power, it joins a transnational conversation about the phenomenon.