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The known and unknown world of comics

100%
Biesiadowska B.
Acta Baltico-Slavica
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2007
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vol. 31
45-49
EN
The term comics in the U.S. came to define early newspaper strips, which initially featured humorous narratives. The first successful comics series featuring regular characters was either R. F. Outcault's single-panel cartoon 'The Yellow Kid' (1895). It became so popular as to drive newspaper sales, and in doing so prompted the creation of other strips. Comics are the combination of both word and image placed of images in sequential order. Comics, as sequential art, are a hybrid form of art and literature. In comics, creators transmit expression through arrangement and juxtaposition of either pictures alone, or words and pictures, to build a narrative. Comics are a new and separate art; an integrated whole, of words and images both, where the pictures do not just depict the story, but are part of the telling. Comics start to be one of the genre of art, when Roy Lichtenstein and Andy Warhol incorporated comics into their work in different ways. 'Maus: A Survivor's Tale' by Art Spiegelman attracted an unprecedented amount of critical attention for a work in the form of comics, including an exhibition at the Museum of Modern Art in New York and a special Pulitzer Prize in 1992.
2

Podlasie i Białystok we współczesnym polskim komiksie

100%
Kochanowski M.
Białostockie Studia Literaturoznawcze
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2012
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vol. 3
187-200
EN
The article presents the image of Podlasie and Bialystok in three comic books: Tymczasem by Grzegorz Janusz and Przemysław Truściński, Pocztówki z Białegostoku by Joanna Karpowicz, and Siedem + dwa by Paulina Drobnikowska and Andrzej Bajguz. The spaces analysed are fragmentary in character, while Joanna Karpowicz's comic reveals especially clearly the relationship between metaphorical narrative and fragmentary nature of the comic and the image of Bialystok which is a palimpsest of things, with its contemporary architecture enriched with images from the city's cultural and ethnic past. The comic books analysed represent various means of describing space, while their shared characteristic is the subject matter of multi-culturalism, ethnicity, memory, identity, history and youth
3
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Mezi literárnem a výtvarnem. Komiks jako obrazoslovní amalgám

88%
Foret M.
Česká literatura (Czech Literature)
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2010
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vol. 58
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issue 5
581-607
EN
This article focuses on the defining of comics as an ‘amalgam’ in which the verbal category merges with the pictorial/iconic. The articles first discusses the concepts of the literary and the pictorial and then points out that these are discrete aesthetic categories, independent of the category of artistry. The author then moves on to selected phenomena that occur in the space between these two concepts: the picture book or illustrated book, and the book as artefact or visual poetry, particularly from an historical perspective. Apart from the explicit links with comics, a few phenomena important for defining its limits are highlighted. The author then specifies the opinion held hitherto that there is an opposition between the ‘verbal’ and the ‘pictorial’ in distinguishing between the two, and this opposition is also problematized. The mutual relations between word and picture are outlined in general terms and mainly in comics. In some means of expression the boundary between the two is even eradicated.
4
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Dobrý voják Švejk a komiks

75%
Jareš M., Prokůpek T.
Česká literatura (Czech Literature)
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2010
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vol. 58
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issue 5
607-626
EN
This article is concerned with hitherto neglected endeavours to create a graphic-novel version of Hašek’s The Good Soldier Švejk and His Fortunes in the World War (1921). The harmonious joining of Hašek’s novel with Josef Lada’s illustrations has led to a large number of imitators and followers, but also authors parodying this ‘cult’. Studying these comics also offers much to those interested in the reception of Hašek’s novel. The first part of the article focuses on the history of the illustrations to Švejk (apart from Lada, for example, there are illustrations by Karel Stroff, Petr Urban, and, outside Bohemia, Georg Grosz). The second part of the article is a de- tailed analysis of the graphic-novel versions. It recalls not only Lada’s comics-like conception of Švejk in the daily České slovo, but also, indeed mainly, the foreign comic-book adaptations (for example, Serbian, Polish, Hungarian, and Slovene). Though the foreign adaptations for comics are not burdened with the Lada tradition, they reflect far more strikingly the fixed visualization of the Švejk of Karel Steklý’s film adaptation of 1956–57.
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