Comics and Graphic Novels

Abstract

There are strong thematic, structural, aesthetic, cultural, and historical links between the Gothic and comics in Britain and America. These include themes such as appropriation, absorption, and inversion; the use of psychoanalytic and Gothic/horror motifs; structural devices such as embedded narratives, overwriting strategies (“retroactive continuity”), and the problematizing of the texts' own (non)fictional status; textual parallels such as comics' aesthetic of excess and ability to visually shock and horrify; and shared cultural factors such as a strong subcultural status and sense of delegitimacy, which has nonetheless allowed for the construction of a canon and reclassification as “literature.”

‘Keep it Gothic, Man’: Gothic and Graphic Medicine in Ian Williams’s The Bad Doctor

“…Drawing on Groensteen's discussion of the interdependence of images on the page ('iconic solidarity') and of the use of visual repetition to create non-linear connections across a textual network ('braiding'), Round describes the panel as a 'gothic "place"' and the comics page as 'a (haunted) architecture that contains within it echoes and allusions'. 25 Moreover, in a section provocatively entitled 'the pregnancy of the panel', Groensteen himself notes that because the panels on the page -'framed, isolated by empty space… and generally of small dimensions' -appear before the reader altogether and because the reader can linger longer on some than on others, the individual panel 'is offered, in certain cases, to the affective investment of the reader, so that it is transformed into some sort of fetish'. 26 Thus fetishized, 'the panel has the power to hail the reader, momentarily frustrating the "passion to read" that drives the images so as always to be in the lead'.…”

Chapeuzinho Vermelho Adentra O Castelo De Otranto

“…A criatura de Mary Shelley, em determinadas leituras, é entendida como uma possível representação dos limites da ética científica. É comum do gótico a revitalização e a recontagem de histórias antigas (ROUND, 2014). Mary Shelley, por exemplo, utiliza de mitos como o de Prometeu e do golem para criar seu Frankenstein (o subtítulo da obra é justamente "O moderno Prometeu").…”

O Potencial de Representação da Narrativa Gráfica: Nódoa Negra e a Dor no Feminino

“…Essa caracterização das narrativas gráficas, por si só, realça o potencial comunicativo do género, mas não o esgota. Na perspetiva dos estudos de cultura e comunicação, tais objetos mediáticos são fortemente associados ao campo do entretimento e da cultura popular ou de massas, mas sem deixar de lado a perspetiva do humor, da sátira, da crítica e da intervenção social, uma vez que se popularizaram nas páginas dos jornais (Round, 2014).…”