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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2010.3
- 수록면
- 102 - 120 (19page)
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A globally popular publishing format in the inaugural decade of the 21st Century, the graphic novel emerged over the course of the previous one, evolving from comic book pulp to auteur sequential art - from ephemeral to archival object.
Innovations in the cartooning idiom have accompanied the graphic novel tsunami and an accelerating visual-verbal semiotics surged around its sign, resulting in rededicated critical interest in reading and writing about comics.
A neo-comics formalism that seeks to illuminate this semiotic matrix in 21st Century cartooning spaces requires extended application of binomial rhetoric to identify and interpret multiple potentialities of its images and words. As a demonstration I will decode Satrapi's Persepolis, then briefly compare examples of its comics patterning to examples found in recent North American graphic narratives.
A globally popular publishing format in the inaugural decade of the 21st Century, the graphic novel emerged over the course of the previous one, evolving from comic book pulp to auteur sequential art - from ephemeral to archival object. Three decades after Will Eisner re-coined the term "graphic novel" (attributed to Richard Kyle in Chute, 2008:453) to market his illustrated chronicle of tenement life, A Contract with God (1978), and subsequently owing to conferment of a 1992 Pulitzer Prize to Art Spiegelman for his pictorial Holocaust account, Maus (1986-1991), widespread re-branding of comics under the graphic novel logo has redirected both product commodification in the marketplace and genre identification in the academy. According to Mark Siegel, editorial director at New York City's avant-garde comic book press First Second, who spoke in a telephone interview, "More and more styles and possibilities are now available for graphic illustrators and writers whose works blur categories and span readership."
Alongside fiction of all kinds, the graphic-lit expanse presently includes memoirs, biographies, history, how-to guides, comics journalism, genre theory, and visual essays. A worldwide convergence of comics-lit supporters - booksellers, newspaper and magazine editors, film directors, museum curators, librarians, and academics - likewise has encouraged the medium's legitimation and mainstream acceptance (Wiener, 2004:54.). Globalization meanwhile is enabling the graphic format's migration across the geopolitical literary landscape, as exemplified by Qajar dynasty-descended Marjane Satrapi's two-volume graphic memoir Persepolis, an Iranian-girlhood portrait originally written and published in French and widely translated in 2003-2004. "All this activity means that every major publishing house is jumping on the bandwagon. In the next couple of years there will be wave after wave of illustrated stories flooding the world," predicts editor Siegel.
Innovations in the cartooning idiom have accompanied the graphic novel tsunami and an accelerating visual-verbal semiotics surged around its sign, resulting in rededicated critical interest in reading and writing about comics. Once mainly undertaken on the fringes of popular culture by practicing cartoonists and comic book fans (Buhle, 2003), comics scholarship in North America has undergone significant development since the late 1960s, when Arthur Asa Berger unsettled the academic community by choosing "Li'l Abner" as the theme of his doctoral dissertation, next pioneering quantitative methodology in his monograph The Comic-Stripped American, published in 1973. To date, a grand narrative of the comic book-cum-graphic novel's history of proliferation has emerged, necessary for rationalizing its speculative position and relative significance in the enlarged narrative of literary studies. Other comics scholarship has tended to focus on the medium's sociological and aesthetic aspects, with comics pedagogy lately another burgeoning strand. Comics form has received less attention, Eisner's landmark Comics and Sequential Art (1985) and fellow cartoonist Scott McCloud's Understanding Comics (1993) notwithstanding. But both works "lack theoretical sophistication" and exist somewhat "removed from the scholarly traditions with which [either] might intersect," as Bart Beaty and Nick Nguyen comment in introducing their recent English translation of French theorist Thierry Groensteen's The System of Comics (2007 [1999]:vii), an essential formalist study that adopts what I call binomial rhetoric to identify and describe the genre's visual-verbal multi-valences. Considerations of graphic novels appearing in the Untied States by Brad Prager (2003), Jeanne Ewert (2004), and Martha Kuhlman (2004) also have adopted formalist language that recognizes the graphic system's rhetorical complexity. Still in an inaugural phase relative to iteration of its disciplinary genesis, advancement of a comics poetics remains essential for acclimating the graphic novel's neo-formation and critical predication, and for mapping and sustaining the genre's position on the literary globe, a cause I will advance below, beginning in the second section.
That the graphic-logo's pivot into the new century appears incumbent upon understanding both its history and form warrants consideration in light of current debates in literary studies about the competing status of the two interpretive positions over the past 100 years. Put briefly, New Historicism and other interdisciplinary methods (steeped in identity politics and concerned with material conditions and power relations out of which texts arise) largely have displaced New Criticism (characterized as archaic, positivist formalism predicated upon textual aesthetics). Cataloguing parameters of this antagonism by conceding that knowledge of historical contexts is necessary to conduct formalist readings, Marjorie Levinson classifies strands of neo-formalism that either enable "continuum with new historicism" (activist formalism) or comprise a "backlash" against it (normative formalism) (2007:559). Marjorie Perloff, seeking to resuscitate the role of evaluation in literary studies, more directly critiques the predominance of hybrid methodologies divorced from considerations of form, positioning her remarks with an eye to growing "global literary activity," including the social function of the author worldwide (2007:653). Stephen Cohen, who favors reconciliation between "agonistic oscillations" through theoretical hybridization that retains "sight of the object of study," posits "historical formalism," which emphasizes mutual interactions that "illuminate at once text, form, and history" (2007:1, 5). According to Cohen, historical formalism "entails consideration not only of what literature says, means, and does, but of how," and "insists on attention to the shape and composition of the text-as-container and the impact they may have on the meaning and functions of [historical] content" (2007: emphasis in original, 14; emphasis added, 15).
In The System of Comics, Groensteen's methodology in some ways matches the criteria of historical formalism. Interpreting comics as a hybrid form, he applies "neo-semiotic criticism" in presenting "grand articulations" of textual examples from both Franco-Belgian and North American comics movements, guided by three concepts that help explain relations between what he conceives as "solidarity" of the iconic comics system as determined by ultimate signification of the panel (text-as-container) in totality with other components: spatio-topia (designating "precedence" of spatial and topological apparatus), his neologism arthrology (from the Greek arthron: articulation), and braiding (tressage in French, or the interaction of dialogic and recursive modalities) (2007 [1999]: passim). Exploring both what and how signs mean within the visual-verbal cartooning system (2007 [1999]: emphasis in original, viii), the author enunciates how comics are historically homologous and structurally normative across cultural frontiers. Chiefly an elaboration of the medium's spatial narratology (as executed through panel, page, and word-balloon layout, composition, size, function, and rhythm) that defends the primacy of image over word, The System of Comics may be likened to elucidation of both poetic architecture (as in stanzaic structure and arrangement or line placement) and prosody (as in recognition of "variation" and "substitution" in meter scansion, analogous to Groensteen's designation of rhythmic "aberration" and "irregularity" in structural progression otherwise homogenized by panel uniformity). Less emphasis is given to the formal functioning of imagistic-discursive figures and tropes that transmit historical, geographical, and sociopolitical signification, producing aesthetic meanings, or what I call the pattern of comics - the why of graphic literature.
In mechanistic design the pattern of comics may be described as post-cosmopolitan, a concept reformulated from Andrew Dobson's articulation of global sustainability (2003). Configured out of the dialogic community of images and signs that proliferates through multimodal networks and across transnational frontiers, the pattern of comics frequently exposes what Dobson calls "daily life in an unequal and asymmetrically globalizing world" (2003:30). A neo-comics formalism that seeks to illuminate this semiotic matrix in 21st Century cartooning spaces requires extended application of binomial rhetoric to identify and interpret multiple potentialities of its images and words. As a demonstration I will decode Satrapi's Persepolis, then briefly compare examples of its comics patterning to examples found in recent North American graphic narratives.
Innovations in the cartooning idiom have accompanied the graphic novel tsunami and an accelerating visual-verbal semiotics surged around its sign, resulting in rededicated critical interest in reading and writing about comics.
A neo-comics formalism that seeks to illuminate this semiotic matrix in 21st Century cartooning spaces requires extended application of binomial rhetoric to identify and interpret multiple potentialities of its images and words. As a demonstration I will decode Satrapi's Persepolis, then briefly compare examples of its comics patterning to examples found in recent North American graphic narratives.
A globally popular publishing format in the inaugural decade of the 21st Century, the graphic novel emerged over the course of the previous one, evolving from comic book pulp to auteur sequential art - from ephemeral to archival object. Three decades after Will Eisner re-coined the term "graphic novel" (attributed to Richard Kyle in Chute, 2008:453) to market his illustrated chronicle of tenement life, A Contract with God (1978), and subsequently owing to conferment of a 1992 Pulitzer Prize to Art Spiegelman for his pictorial Holocaust account, Maus (1986-1991), widespread re-branding of comics under the graphic novel logo has redirected both product commodification in the marketplace and genre identification in the academy. According to Mark Siegel, editorial director at New York City's avant-garde comic book press First Second, who spoke in a telephone interview, "More and more styles and possibilities are now available for graphic illustrators and writers whose works blur categories and span readership."
Alongside fiction of all kinds, the graphic-lit expanse presently includes memoirs, biographies, history, how-to guides, comics journalism, genre theory, and visual essays. A worldwide convergence of comics-lit supporters - booksellers, newspaper and magazine editors, film directors, museum curators, librarians, and academics - likewise has encouraged the medium's legitimation and mainstream acceptance (Wiener, 2004:54.). Globalization meanwhile is enabling the graphic format's migration across the geopolitical literary landscape, as exemplified by Qajar dynasty-descended Marjane Satrapi's two-volume graphic memoir Persepolis, an Iranian-girlhood portrait originally written and published in French and widely translated in 2003-2004. "All this activity means that every major publishing house is jumping on the bandwagon. In the next couple of years there will be wave after wave of illustrated stories flooding the world," predicts editor Siegel.
Innovations in the cartooning idiom have accompanied the graphic novel tsunami and an accelerating visual-verbal semiotics surged around its sign, resulting in rededicated critical interest in reading and writing about comics. Once mainly undertaken on the fringes of popular culture by practicing cartoonists and comic book fans (Buhle, 2003), comics scholarship in North America has undergone significant development since the late 1960s, when Arthur Asa Berger unsettled the academic community by choosing "Li'l Abner" as the theme of his doctoral dissertation, next pioneering quantitative methodology in his monograph The Comic-Stripped American, published in 1973. To date, a grand narrative of the comic book-cum-graphic novel's history of proliferation has emerged, necessary for rationalizing its speculative position and relative significance in the enlarged narrative of literary studies. Other comics scholarship has tended to focus on the medium's sociological and aesthetic aspects, with comics pedagogy lately another burgeoning strand. Comics form has received less attention, Eisner's landmark Comics and Sequential Art (1985) and fellow cartoonist Scott McCloud's Understanding Comics (1993) notwithstanding. But both works "lack theoretical sophistication" and exist somewhat "removed from the scholarly traditions with which [either] might intersect," as Bart Beaty and Nick Nguyen comment in introducing their recent English translation of French theorist Thierry Groensteen's The System of Comics (2007 [1999]:vii), an essential formalist study that adopts what I call binomial rhetoric to identify and describe the genre's visual-verbal multi-valences. Considerations of graphic novels appearing in the Untied States by Brad Prager (2003), Jeanne Ewert (2004), and Martha Kuhlman (2004) also have adopted formalist language that recognizes the graphic system's rhetorical complexity. Still in an inaugural phase relative to iteration of its disciplinary genesis, advancement of a comics poetics remains essential for acclimating the graphic novel's neo-formation and critical predication, and for mapping and sustaining the genre's position on the literary globe, a cause I will advance below, beginning in the second section.
That the graphic-logo's pivot into the new century appears incumbent upon understanding both its history and form warrants consideration in light of current debates in literary studies about the competing status of the two interpretive positions over the past 100 years. Put briefly, New Historicism and other interdisciplinary methods (steeped in identity politics and concerned with material conditions and power relations out of which texts arise) largely have displaced New Criticism (characterized as archaic, positivist formalism predicated upon textual aesthetics). Cataloguing parameters of this antagonism by conceding that knowledge of historical contexts is necessary to conduct formalist readings, Marjorie Levinson classifies strands of neo-formalism that either enable "continuum with new historicism" (activist formalism) or comprise a "backlash" against it (normative formalism) (2007:559). Marjorie Perloff, seeking to resuscitate the role of evaluation in literary studies, more directly critiques the predominance of hybrid methodologies divorced from considerations of form, positioning her remarks with an eye to growing "global literary activity," including the social function of the author worldwide (2007:653). Stephen Cohen, who favors reconciliation between "agonistic oscillations" through theoretical hybridization that retains "sight of the object of study," posits "historical formalism," which emphasizes mutual interactions that "illuminate at once text, form, and history" (2007:1, 5). According to Cohen, historical formalism "entails consideration not only of what literature says, means, and does, but of how," and "insists on attention to the shape and composition of the text-as-container and the impact they may have on the meaning and functions of [historical] content" (2007: emphasis in original, 14; emphasis added, 15).
In The System of Comics, Groensteen's methodology in some ways matches the criteria of historical formalism. Interpreting comics as a hybrid form, he applies "neo-semiotic criticism" in presenting "grand articulations" of textual examples from both Franco-Belgian and North American comics movements, guided by three concepts that help explain relations between what he conceives as "solidarity" of the iconic comics system as determined by ultimate signification of the panel (text-as-container) in totality with other components: spatio-topia (designating "precedence" of spatial and topological apparatus), his neologism arthrology (from the Greek arthron: articulation), and braiding (tressage in French, or the interaction of dialogic and recursive modalities) (2007 [1999]: passim). Exploring both what and how signs mean within the visual-verbal cartooning system (2007 [1999]: emphasis in original, viii), the author enunciates how comics are historically homologous and structurally normative across cultural frontiers. Chiefly an elaboration of the medium's spatial narratology (as executed through panel, page, and word-balloon layout, composition, size, function, and rhythm) that defends the primacy of image over word, The System of Comics may be likened to elucidation of both poetic architecture (as in stanzaic structure and arrangement or line placement) and prosody (as in recognition of "variation" and "substitution" in meter scansion, analogous to Groensteen's designation of rhythmic "aberration" and "irregularity" in structural progression otherwise homogenized by panel uniformity). Less emphasis is given to the formal functioning of imagistic-discursive figures and tropes that transmit historical, geographical, and sociopolitical signification, producing aesthetic meanings, or what I call the pattern of comics - the why of graphic literature.
In mechanistic design the pattern of comics may be described as post-cosmopolitan, a concept reformulated from Andrew Dobson's articulation of global sustainability (2003). Configured out of the dialogic community of images and signs that proliferates through multimodal networks and across transnational frontiers, the pattern of comics frequently exposes what Dobson calls "daily life in an unequal and asymmetrically globalizing world" (2003:30). A neo-comics formalism that seeks to illuminate this semiotic matrix in 21st Century cartooning spaces requires extended application of binomial rhetoric to identify and interpret multiple potentialities of its images and words. As a demonstration I will decode Satrapi's Persepolis, then briefly compare examples of its comics patterning to examples found in recent North American graphic narratives.
목차
Abstract
Ⅰ. Pattern Recognition
Ⅱ. Polyphonic Epigraph
Ⅲ. Pattern Reversal
Ⅳ. Pattern Slippage
Ⅴ. Towards a Comics Poetics
References
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