Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-22T14:25:58.291Z Has data issue: false hasContentIssue false

34 - The Graphic Novel as an Intermedial Form

from Part VI - Poetics, Genre, Intermediality

Published online by Cambridge University Press:  17 August 2021

Debjani Ganguly
Affiliation:
University of Virginia
Get access

Summary

This chapter deals with the specific role and place of the graphic novel in the contemporary literary field. It first addresses the widely debated analogies and differences between comics and graphic novels, while making a clear plea for the autonomy of the latter. It then studies the history of the graphic novel, with a strong emphasis on questions of publication format and cultural reception. Finally, it also discusses the question of canon formation and the relationships between mainstream and minority cultures in the field.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Aldama, Frederick, ed. 2017. The Planetary Republic of Comics. Portal site https://professorlatinx.osu.edu/planetary-republic-of-comics/.Google Scholar
Baetens, Jan, and Frey, Hugo. 2015. The Graphic Novel: An Introduction. Cambridge University Press.Google Scholar
Baetens, Jan, Frey, Hugo, and Tabachnick, Steve, eds. 2018. The Cambridge History of the Graphic Novel. Cambridge University Press.CrossRefGoogle Scholar
Beaty, Bart. 2012. Comics versus Art. Toronto University Press.Google Scholar
Beaty, Bart, and Woo, Benjamin. 2016. The Greatest Comic Book of All Time: Symbolic Capital and the Field of American Comic Books. Palgrave.Google Scholar
Bechdel, Alyson. 2006. Fun Home. Houghton Mifflin.Google Scholar
Beronå, David. 2008. Wordless Books: The Original Graphic Novels. Abrams.Google Scholar
Burns, Charles. 2010–14. Toxic (trilogy). Pantheon: X’ed Out, 2010; The Hive, 2012; Calavera, 2014.Google Scholar
Chute, Hillary. 2008. Graphic Women. Columbia University Press.Google Scholar
Chute, Hillary, and Jagoda, Patrick, eds. 2014. Comics & Media. Special issue of Critical Inquiry, Vol. 40, No. 3.CrossRefGoogle Scholar
Clowes, Daniel. 1997. Ghost World. Fantagraphics.Google Scholar
Collins, Jim. 2010. Bring on the Books for Everybody. How Literary Culture Became Popular Culture. Duke University Press.Google Scholar
Dawson Varughese, Emma. 2017. Visuality and Identity in Indian Graphic Narratives. Palgrave.Google Scholar
Eisner, Will. 1978. A Contract with God. Baronet Press.Google Scholar
Eisner, Will. 1985. Comics and Sequential Art. Poorhouse Press.Google Scholar
Frey, Hugo, and Baetens, Jan. 2019. “Comics Culture and Roy Lichtenstein Revisited: Analyzing a Forgotten ‘Feedback Loop.’” Art History, Vol. 42, No. 1: 126–53.Google Scholar
Hatfield, Charles. 2005. An Emerging Literature. University Press of Mississippi.Google Scholar
Hergé, . [1937] 1978. The Adventures of Tintin. The Black Island. Little, Brown Books for Young Readers.Google Scholar
Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. New York University Press.Google Scholar
Kurtzman, Harvey. [1959] 2014. Harvey Kurtzman’s Jungle Book. Dark House Comic Books.Google Scholar
Madden, Matt. 2005. 99 Ways to Tell a Story. Chamberlain.Google Scholar
McCloud, Scott. 1993. Understanding Comics. Kitchen Sink Press.Google Scholar
Miller, Frank. 1987. The Dark Knight Returns. DC Comics.Google Scholar
Moore, Alan, and Gibbons, Dave. 1987.Watchmen. Vertigo.Google Scholar
Murray, Simone. 2011. The Adaptation Industry. Routledge.Google Scholar
Pekar, Harvey. American Splendor. 39 vols.: Vols. 1–15, 1976–90 (self-published); Vol. 16, 1991 (self-published in coll. with Tundra Press); Vols. 17–31, 1993–2002 ( Dark Horse); collected edition: 1–4, 2006–7: (Vertigo) 2.1–2.4, 2008 (Vertigo).Google Scholar
Pizzino, Christopher. 2016. Arresting Development: Comics at the Boundaries of Literature. University of Texas Press.Google Scholar
Satrapi, Marjane. 2009. Persepolis. 2000–3. Pantheon.Google Scholar
Spiegelman, Art. 1986. Maus 1: A Survivor’s Tale. My Father Bleeds History. Pantheon.Google Scholar
Spiegelman, Art. 1991. Maus 2: A Survivor’s Tale. And Here My Troubles Began. Pantheon.Google Scholar
Spiegelman, Art. 2007. Conversations. Ed. Witek, Joseph. University Press of Mississippi.Google Scholar
Tan, Shaun. 2006. The Arrival. Hodder & Stoughton.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×