Contemporary Comics Storytelling

Index

227 Index Page numbers in italics refer to illustrations. America’s Best Comics (abc), 97, 99–100, 123, 124, 125 Andersen, H. C., 52 argument is war (conceptual metaphor ), 143–44 Aristotle, 10, 43–44, 94–95, 97, 108, 109, 154–55, 168, 169, 176, 186, 193n15, 204n19 autobiographical comics, 182–84 background and foreground, 136, 138, 140–41, 153, 182, 191n14, 202n7 Barthes, Roland, 38, 42, 59–60, 69, 71, 96 Bartlett, Frederick, 69–70 Bechdel-Test, 184, 205n3 Bettelheim, Bruno, 62–63 The Big Sleep (Chandler), 81–83, 165 blending theory, 197n15, 201nn24–25 Bordwell, David, 20–21, 30, 33, 38, 100–102, 177, 178, 199n10 Byatt, A. S., 51, 60, 194n1 Caniff, Milton, 13, 15–16 caper film, 68–72 Carter, Angela, 60–65, 67 center of narrative gravity, 159–60, 162, 166, 178 character, 13, 16, 36, 49–50, 60, 161; (moral) identity, 9–10, 30, 127, 130, 136, 141, 148, 151, 158–67, 168, 175, 180, 204n17; as protagonist, 74–76; transworld identity, 52, 56, 58, 60, 70, 99, 101, 103 chronotope, 196n14 classical crime fiction, 80, 83–85, 197nn19–20 close reading, 7–8, 181 closure, 31 code, semiotic, 6, 8, 13, 14–24, 27–29, 37, 40–42, 50, 191n1 cognitive approaches to literature, 7, 178, 181, 190n7, 191n6, 201n24, 203nn8–9 cognitive narratology, 7–8, 24, 181 (conceptual) metaphor, 7, 10, 11, 13, 19–21, 135, 142–50, 165–67, 203nn8–9 comic book, 10, 186 comics, 1, 89; in academia, 2–3, 189nn4–5; analysis, 8, 13, 21, 23, 193n14; citation of, 11; cognitive approach to, 1, 2, 5–8, 10, 13, 178, 179, 190n6; criticism of, 2, 4, 180, 181; definition of, 6, 10, 190n8; as literature, 1, 2, 4, 14, 37–38, 50, 159, 177, 180, 180n3, 193n4; narratology of, 177–84; publication formats of, 10–11; reevaluation of, 1, 2, 8, 177, 228 Index comics (continued) 180; semiotics, 6, 8, 13–15, 18, 21, 25, 191n1; storytelling in, 1, 5, 8, 14, 24, 35, 39, 177; studies, 2–3, 7; terminology of, 1–11 Comics Code (of 1954), 109–10, 200, 200n20 competence, reader, 13, 15–16, 18, 20–21, 37–38, 191–93n3 context, 13, 22–23, 28, 29 contexts of relevance, 28, 58–59, 105, 145, 150, 195n5 continuing-consciousness frame, 151, 157–58, 160 crime fiction, 80–82, 85 Culler, Jonathan, 38, 60, 71, 192n14 cultural context knowledge, 13, 16, 23, 28, 31, 40, 52, 55–57, 59–60, 71, 110–11, 199n9 cultural memory, 55, 58–59, 67, 70, 74, 80–81, 105, 177, 195nn4–5 decorum, 9, 71–74, 76–80, 85–86, 196n15 deixis, 43, 45, 98, 100, 105–6; deictic gaze, 192n9, 193n18; deictic shift, 43, 98–100, 105; double deixis, 45, 106–7, 110 Dennett, Daniel, 159–60, 175, 204nn16–17 Desolation Jones (comic), 82, 84 différance of value, 134–35, 141, 176, 178 Eco, Umberto, 8, 13–18, 22–24, 39, 42, 107, 191n3, 191n7, 197n4 Eisner, Will, 17 emotivism, 131, 202n3, 204n18 escapism, 9, 87, 95, 97–98, 124–25, 188, 198n5 ethical communities, 132, 139 ethical thicket, 9, 127, 132, 141–42, 150, 170–72, 176 ethics, 30, 50, 127, 132–34, 175, 203n15; of narrative, 129, 132 experientiality, 7, 9, 30, 92–93, 102–4, 125, 154, 163, 169, 176, 192n10, 199n13, 203n14 Fables (comic), 2, 5, 8–9, 39–42, 45, 46–47, 48–50, 51–52, 53, 55–60, 64–86, 88, 177, 179, 184, 186–87 fairy tale, 41, 51–52, 55, 59–62, 64–65, 67, 69–76, 86, 195n4, 195n6; illustrations in, 52, 55, 57 fantasy. See heroic fantasy fiction, 98, 130; evolutionary role of, 94, 204n16; as imaginative construct , 92–93, 118, 121, 125; paradox of, 199n13; and reality, 88–89, 92– 93, 96, 102, 105–6, 110, 119, 124–25 fictionality, 87–88, 94–95, 102, 110, 181–82, 198n1 fictional minds, 5–10, 17, 30, 38, 45, 48–50, 127–32, 142, 144, 150–51, 153–58, 160–63, 165–66, 168–70, 178, 185, 187, 191n1, 192n10; ethics of, 131–32, 135–36, 139–42, 144, 149, 150, 155, 160, 162, 176, 203n15; intentions of, 151, 168, 176 film noir, 15, 67, 80–84, 162, 196n11, 197nn17–18 focalization, 32–33, 48, 55, 151, 153, 183–85, 192n12, 192n14 Ford, H. F., 52, 54 foreground. See background and foreground forking-path narratives, 100–104, 199n10 [18.226.93.207] Project MUSE (2024-04-23 20:41...