Słowo - obraz - pamięć w labiryntach komiksu
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Date
2008
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Biblioteka Uniwersytecka w Poznaniu
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Word, image, memory in the maze of the comic book
Abstract
The comic book is a product of mass culture. It got deeply rooted in American and
Western European popular culture in the 1970s. In France, this type of sequential
art told in pictorial stories was presented in daily papers ( bande dessinee) and
developed humorously-told threads o f the plot. In the UK it won juvenile audience
with its simple jokes, genre scenes and shortened and abridged versions o f fables.
In the United States, in turn, crude science fiction, horror or joke graphic stories
were most popular.
However, in the late 1990s these depictions increasingly started to develop into
something of much different nature. On the one hand, popular culture embraced
more and more different creative areas, wrestled with subject and themes that
so far had been tackled only by more sophisticated literature (for example, war
themes). On the other hand, Polish reader had a better chance to experience new
titles and pictorial stories from the West or other far-away cultures that represented
high artistic skills and offered original and remarkable stories. This, in turn, created a new situation in which adult readers turned to comic books. Moreover,
comic books became a subject of interests for academics beyond those who were
professionally involved in documenting and understanding popular culture, i.e. for
methodologists of history, modern culture anthropologists, researchers in literature
and art historians. Today’s status of comic books in literature is pronouncedly higher
than that of several years ago. For it is not only the artistic level that has been
much developed and improved, but also the thematic range of subject to be tackled
by this form of literature. Additionally, the context within comics have been
functioning in the space of modern discourse has also changed.
A particular type of comics is the one that presents historical contents. Works
of brilliant artists from different cultures such as, for example, Hiroshima 19Ą5 Barefoot
Gen by Nakazawa Keij, Art Spiegelman’s Motts, or Achtung Zeligl by Krzysztof
Gawronkiewicz and Krystian Rosenberg have become available 011 the Polish
publishing market and have been widely reviewed and discussed academically. In
the present article these comic books or graphic novels are interpreted as different
types of maze: the Cretean maze, mystery-maze and maze-rhizome.
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Citation
Biblioteka nr 12 (21), 2008, s. 101-115.
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0551-6579