Comic Book History

Nel saggio si dimostra quale sia stata la fonte originaria della speculazione sul ridicolo e sul comico in Leopardi, ovvero l'opera di Paolo Costa, e come la retorica sul ridicolo sia stata percepita in Leopardi anteriormente alla stesura delle "Operette morali".

El conocido por algunos teóricos y editores como boom del cómic adulto, fue el último momento en que el cómic pensado para quiosco tuvo un carácter masivo en España, gracias a revistas como El Víbora, Cairo o 1984. Durante las décadas de los años setenta y ochenta estas publicaciones fueron la base del sistema editorial, además de «medio de vida y escuela», en palabras de Max, para muchos autores.

Entre la segunda mitad de los años ochenta y comienzos de los noventa, la revista como formato desaparece progresivamente. El entramado de edición en el que podían publicar los creadores españoles cambia y, tras una apuesta efímera por el comic-book, pasa a basarse principalmente en el formato libro y en la idea de novela gráfica. Muchos historietistas, sin los ingresos estables que proporcionan las revistas, dejan el cómic en beneficio de otras artes como la pintura, el audiovisual, la ilustración o el diseño gráfico.

Las voces reunidas en el libro narran este apasionante momento de cambio, vital para la historia del cómic y, por extensión, para la historia del arte en España, en un proceso compartido parcialmente a nivel internacional. Se crea una visión amplia, en la que se encuentran representadas desde las autoras y autores del periodo, hasta autoeditores, editores y otros agentes clave en el mercado, como las librerías especializadas. Los protagonistas de la época se sinceran con el lector en lo que constituye la mayor reunión de testimonios relativos al cómic español.

Reprenant partiellement mon mémoire de master II, ce dossier aborde l'histoire des éditions Lug, principal importateur des comics Marvel entre 1969 et 1989 en France, évoquant à la fois la biographie de ses membres fondateurs, la pression de la loi de contrôle de 1949 et les méthodes employés pour la traduction et l'adaptation.

Reviewed August 2014, updated October 2015
To commemorate his 75th year in 2013, this is the fascinating true story about the "birthplace" and "parents" of Superman. Not Krypton. Not Jor-el and Lara. Not even Jonathan and Martha. But the Depression-era team of writer Jerry Siegel and illustrator Joe Shuster in the old Jewish village of Glenville in Cleveland, Ohio. Super-interesting, leading to my visit to their homes during my Summer 2014 vacation.

Time traveling / time travel in comic strips (in Dutch) [ ‘Tijd, continuïteit en teletijd in strip - Het fenomeen tijdmachine’ ]
Published in: Kees Ribbens & Rik Sanders, Getekende tijd. Wisselwerking tussen geschiedenis en strips (Utrecht 2006)
I.v.m. tijdreizen in stripverhalen

Sport annually mobilizes millions of people across Europe: as practitioners in a wide variety of competitive, educational, or recreational contexts, and as spectators, who are physically present or following events through the mass media. This book presents original research into modern sport funded by the Irish Research Council for the Humanities and Social Sciences. Its aim is to examine the distinctive contribution made by this complex phenomenon to the construction of European identities. Attention is focused on sport's social significance, as a set of mass-mediated practices and spectacles giving rise to a network of images, symbols, and discourses. The book seeks to explore, and ultimately to explain, the processes of representation and mediation involved in the sporting construction, and subsequent renegotiation, of local, national, and, increasingly, global identities. It offers a survey of key developments in sporting Europe - from the mid-nineteenth century to the present, and from the Atlantic to the Urals - presenting findings by acknowledged international experts and emerging scholars at the level of individuals, communities, regions, nation-states, and Europe as a whole, in both its geographical and political incarnations. Its focus on representation offers a broadly conceived, and consciously inclusive, approach to issues of 'Europeanness' in modern and contemporary sport.

Neste artigo são abordadas características temáticas e formais presentes nas histórias em quadrinhos do período conhecido como Era de Ouro, bem como rupturas estéticas surgidas em consequência ao Comic Code Authority, que levou ao desenvolvimento de um novo estilo conhecido como Era de Prata. São abordadas as convenções estabelecidas por uma primeira onda de autores vinculada à National Comics e seu posterior desenvolvimento por uma segunda onda no surgimento da Marvel Comics ao redor de Stan Lee e a importância de Jack Kirby e Steve Ditko nesta produção.

In this article are discussed the thematic and formal features present in the comics of the period known as the Golden Age, as well as aesthetic ruptures arising as a result of the Comic Code Authority that led to the development of a new style known as the Silver Age. It deals with the conventions established by the first wave of authors linked to the National Comics and its later development by a second wave in the appearance of Marvel Comics around Stan Lee and the importance of Jack Kirby and Steve Ditko in this production.

Un año después de su aparición en Francia durante el 2016 -coincidiendo, apropiadamente, con el centenario de la mentada batalla-, ha llegado a nuestras librerías El último asalto de Jaques Tardi (Valence, 1946), la tercera parte de la saga que el gran dibujante de cómics ha dedicado a lo más crudo de la Primera Mundial y de la que forman parte previa La guerra de las trincheras (1993) y ¡Puta Guerra! (2009) -en français suena más fino-, todas publicadas en España por Norma durante la presente década.

Jerusalem is the frontline and a microcosm of the Israeli-Palestinian conflict. In recent years, comic artists have turned their attention to the Middle East, including the ‘Holy City’. Scholars, however, have yet to study how comics engage with life in Jerusalem, in particular the relationships between Arabs and Jews. In this article, I will take on this critical oversight and explore how Mira Friedman’s ‘Independence Day’ (2008), Sarah Glidden’s How to Understand Israel in 60 Days or Less (2010) and Miriam Libicki’s Jobnik!: An American Girl’s Adventures in the Israeli Army (2008) engage with the complicated social situation. The philosopher, Emmanuel Lévinas, has argued that face-to-face encounters are the basis for recognizing the Other as human and for feeling responsibility towards him or her.1 In this article I show that we rarely see the Other’s face in the corpus of the Jewish comic artists I discuss here. Instead, the Arab presence is brought into the texts by way of urban elements such as the Dome of the Rock, media remediations or indistinct, distant figures. This highlights that comics are closely tied into the current situation between Israelis and Palestinians, where fear and separation rule to a level where the Arab Other – whether Christian or Muslim – of the Jews of Jerusalem is almost invisible.

The article deals with the beginnings and the background of the interaction
between European comic culture and American comic history. The successful establishment of American comics in Europe in the mid-1930s is closely connected with international economic relations; but it is understandable only through the work of dedicated and well-connected individuals. It was the merit of John A. Brogan, Foreign Sales Manager of King Features Syndicate’s international sales department, established
in 1929, who successfully offered appropriate comic strips to European newspapers for sale. His efforts initiated the setting up of agencies in Europe, mainly devoted to the sales of comics. Thus the organizational and personnel prerequisites for the transatlantic cultural transfer in the field of comics were created.

Through this paper, the idea of Batman as a literal father to Damian Wayne, and the figurative father to modern comics. The focus will be on how Damian Wayne reflects the darker tone comics took post Dark Knight Returns, and how Batman paved the way for the current state of superhero mainstream storytelling within comics. Damian Wayne’s character at the point of introduction, and during the opening arcs of Batman & Robin, represents the lack of restraint in terms of violence, and the arrogant nature of comics released post 1986. Through the relationship between Batman and Damian, we see the growth of the anger filled, violent character, to a fully fleshed out and realised state. With 2021, we see both the 15th anniversary of Damian Wayne’s introduction into cannon, as well as the 10th anniversary of the New 52 and 35th anniversary of The Dark Knight Returns, making the SUPER V the perfect time to discuss these storylines.

"El presente estudio busca el encuentro del personaje histórico "la Gaitana", a partir de un cómic o novela gráfica en un intento de visibilizar cómo este personaje, con el paso de los años, se ha convertido en una leyenda, así como un símbolo de nuestra identidad. Se toma como referencia el rol de una mujer indígena, madre y guerrera, que se enfrentó al invasor en el siglo XVI. La Gaitana representa la resistencia y rebeldía de los pueblos aborígenes ubicados al sur occidente de la actual Colombia, particularmente de la la región del Alto Magdalena.

ENG: Published in the Autumn 1979 issue of CoEvolution Quarterly, ‘A Short History of America’ is possibly Robert Crumb’s most widely known work outside the scene of underground comics fans. ‘A Short History of the 20th Century’ pays a double tribute to the 40th anniversary of the publication of the 4-page strip: First, it offers an in-depth analysis of Crumb’s lucid analysis of the history of America’s (sub)urbanization. Secondly, it features a drawn homage, where Crumb’s original strip is reimagined as a chronicle of the evolution of architecture in the 20th Century.

SPA: Publicado en la edición de otoño de 1979 de la revista CoEvolution Quarterly, "Breve historia de América" es posiblemente el trabajo más conocido de Robert Crumb fuera de la esfera de los aficionados al cómic underground. "Una breve historia del siglo XX" rinde un doble homenaje al 40 aniversario de la publicación de esta historia de 4 páginas: en primer lugar, ofrece un análisis en profundidad del lúcido análisis de la historia de la (sub) urbanización de Estados Unidos que en ella realiza Crumb. En segundo lugar, presenta un homenaje gráfico, en el que la tira original de Crumb se reinventa como una crónica de la evolución de la arquitectura en el siglo XX.

Español: Cuando la industria del comic book dio sus primeros pasos en los primeros años treinta del siglo pasado, la forma de producir cómics se asemejaba a la de una cadena de montaje, con el personal creativo diferenciado y separado en función de su rol (escribir o dibujar), a los que los editores les imponían una serie de repetitivas fórmulas comerciales. Sin embargo, en los años sesenta Marvel Comics, con su editor Stan Lee a la cabeza, ganó popularidad gracias a su nuevo sistema de producción: el método Marvel, una nueva forma de trabajo garantizaba una gran libertad creativa al personal artístico. ¿Pero era un sistema de trabajo justo? ¿Se escondía bajo la etiqueta “libertad creativa” un ardid para cargar con nuevas responsabilidades al personal artístico, sin por ello remunerarlo ni reconocerlo adecuadamente? En este artículo se analizan las declaraciones de diferentes personas que trabajaron como personal creativo para Marvel, buscando a través de sus palabras una definición de qué era realmente el método Marvel y cómo los empleados de la editorial se sentían con respecto al mismo.

English: When the comic book industry get started in the early 1930s, comics were produced as in assemble line, with writers working apart of artists, and editors imposing repetitive commercial formulas. However, in the 1960s Marvel Comics and its editor Stan Lee started to gain popularity with a new production system – the Marvel Method, which gave great creative freedom to artists. But was it a fair work system? Where ‘creative freedom’ a ruse to overload artists with new responsibilities without gave them theirs rightful recognition and salary? This article analyzes declarations of diff erent Marvel artists and writers to know the exact way Marvel Method worked and how the Marvel employees felt about it.

Die Bildergeschichte um den verspäteten Kreuzfahrer Ritter Runkel von Rübenstein und die Digedags erschien vom Mai 1964 bis Juni 1969in der DDR als fünfte Hauptserie der Zeitschrift »MOSAIK von Hannes Hegen«. Obwohl sie »nur« Comicfiguren sind, war ihr Name in der DDR nahezu für jedermann ein Begriff. Doch welches Bild vom Mittelalter vermittelte die Runkel-Serie? War es ein anderes, vielfältigeres, als es der ideologisch überformte Geschichtsunterricht in der DDR bot?In ihren Beiträgen wollen die zwölf Autoren des Bandes –unter ihnen ausgewiesene Fachleute für die Geschichte des Mittelalters, für Byzantinistik, Germanistik, Skandinavistik und Zeitgeschichte –den potenziellen Beitrag der Runkelserie zur Ausprägung des Geschichtsbewusstseins mehrerer Generationen vor allem in Ost-, aber auch in Westdeutschland ausloten und kritisch hinterfragen.

Ediciones La Cúpula, fundada por Josep María Berenguer el mismo año de edición de El Víbora, y la propia publicación, optaron en la década de los noventa por nuevas vías. Una de ellas fue sumarse a las tendencias pornográficas, y otra su continua apuesta por autores novedosos, entre los que se encontraba Miguel Ángel Martín, que empezó a trabajar para la publicación en el año 1993.

Los vínculos con la pornografía, la primacía del sexo y la violencia en sus historias, se analizan con un tono ensayístico y como primera aproximación a un estudio más amplio sobre El Víbora en el marco que proporciona el III Congreso de Reflexiones sobre el gusto. Eros y Thánatos.

In the early 1950s, horror titles published by EC Comics forever changed the conventions of the genre. In Tales from the Crypt, The Haunt of Fear or The Vault of Horror evil was seldom punished and justice often came in the form of undead victims. EC’s horror titles crossed almost every imaginable boundary of the medium with thematic treatment of disembowelment, dismemberment or cannibalism. The article discusses the development of horror comics in the 1950s and its impact on the creation of the Comics Code, a set of rules which eventually led to the downfall of both horror comics and EC.

Without a doubt Chris Ware is one of the preeminent creators of comics today. He is a brilliant figure in a generation of extraordinarily talented people. Granted, there are a lot of innovators in the field right now, but no one else in the last seventy years has explored the capabilities of the genre to the same extent as has Ware. His genius, in part, comes from his interest in and understanding of the past accomplishments of figures such as George Herriman and Winsor McCay. One might even say that much of his work is somewhat archaeological in nature: he is interested in a reclamation of the past. Rather than merely excavating the achievements of past masters for the sake of history, however, Ware is also fortifying, expanding, and enriching comics so that it might flourish in the present.

This work begins with a broad examination of the nature of comics. First by briefly discussing the cognitive operations involved in processing this hybrid medium, then by surveying the generic branches of comics, and then by offering an historic examination of its contemporary development, which goes back as far as the sixteenth century. Next is an analysis of comics in relation to literature, film, and the visual arts. Comics utilizes elements from all of these, but it also offers a unique narrative experience.

This book primarily focuses upon Ware’s magnum opus to date, Jimmy Corrigan. It contextualizes his work within developments in comics over the last fifty years, as well as comparing him to other prominent figures such as Will Eisner, Art Spiegelman, Daniel Clowes, Alan Moore, Neil Gaiman, Lynda Barry, and Frank Miller.

Комиксите с главен герой „Астерикс“ се превръщат със феномен по света. 35 албума с постоянни герои Астерикс, Обеликс и техните приятели са преведени на повече от 100 езика. В България в периода на прехода са издадени 10 албума, които имат одбър успех, но не достигат до тиражите на в Полша и държавите от бивша Югославия. През второто десетилетие на XXI в. издателство „Артлайн“ прави нов опит да покори българския пазар с „Астерикс“, но комиксът остава в запазената територия на по-образованата част от българското общество като бутикова поредица – игра със знаковата система н комика в един от най-качествените му примери.

This essay establishes a graphic history pertaining to Franciszka Themerson's UBU Comic Strip (1970). A product of her extensive engagement with Alfred Jarry's play Ubu Roi (1896), this work invites us to consider Themerson's vanguard approach to caricature-, cartoon-, and comic strip-making in relation to their interwoven histories. To this end, a connection is made between Themerson (1907-1988) and “father of the comic strip,” Rodolphe Töpffer (1799-1846), through their shared use of a specific and enduring autographic strategy described here as the “slovenly idiom.” This idiom is traced from the emergent modern caricature, cartoon and comic strip of the nineteenth century to the assimilation of these graphic strategies by the avant-garde community to which Jarry (1873-1907) belonged in fin-de-siècle Paris. Links are drawn between Jarry's and his associates' graphic depictions of Ubu and Themerson's later portrayal of the character.

¿Es el cómic un medio válido para recuperar la
memoria histórica de nuestro país? Esta es la cuestión que inicia un estudio de 4 obras en particular: Paracuellos, de Carlos Giménez; El arte de volar y El ala rota, de Antonio Altarriba y kim; y por último, Los surcos del azar, de Paco Roca.

Writer/artist Dan Jurgens first entered the comic industry in 1982, penciling Warlord no. 63 for DC Comics. His first writing credit followed three years later on DC’s Sun Devils maxi-series (1985). Over the three decades since then he has produced a wide variety of creative work for a range of publishers. For DC Comics, in addition to creating popular new characters, including Booster Gold and Doomsday, his credits include The New 52: Futures End, Aquaman and the Others, Green Arrow, Superman, Justice League, Booster Gold, Firestorm, Time Masters: Vanishing Point, and many more – and for Marvel Comics The Mighty Thor as well as Captain America and The Sensational Spider-Man. In this comprehensive, career-spanning interview, he discusses his work and artistic process, the influence of new technologies on how comics are produced and solicited, ways in which the comic industry and reader expectations have changed over time, and what continues to inspire him about working in comics today.

A brief discussion of some of the crucial elements of art comprehension and creation. While primarily pertaining to comics per se, I try to be philosophically comprehensive and holistic both in terms of subject matter as well as life in general.

Originally posted at my blog: http://elysiumisnow.weebly.com/

Introducción Existen pocas figuras con mayor resonancia en el imaginario colectivo que el legendario conde Drácula. A medio camino entre el folclore, el arte, la cultura popular, el mito y la historia, la figura del vampiro ha cautivado al ser humano desde el inicio de los tiempos. Este enigmático arquetipo es la expresión personalizada de los ritos ancestrales y los símbolos adscritos a la polisemia de la sangre. Ni hombre ni demonio, el vampiro es un no-muerto que al mismo tiempo, horroriza y fascina con una escalofriante capacidad para adaptarse al discurrir de los tiempos acechando desde los diferentes umbrales tras los que se oculta para saciar su sed de sangre, transmitiendo una epidemia que conduce al vértigo de la inmortalidad. Montague Summers abre su obra clásica Vampires and Vampirism con un párrafo contundente: Throughout the whole vast shadowy world of ghosts and demons there is no figure so terrible, no figure so dread and abhorred, yet dight with such fearful fascination, as the vampire, who is himself neither ghost nor demon, but yet who partakes the dark natures and possesses the mysterious and terrible qualities of both. (SUMMERS, 2005:1) Existen narrativas de vampiros en todo el mundo, quizá desde que los seres humanos empezaron a contarse historias unos a otros tratando acerca de estos prófugos del sepulcro que alucinan con sus miradas penetrantes, impactan con sus rostros pálidos, agreden con sus colmillos afilados, encantan gracias a vestidos exquisitos, fascinan mediante poderes hipnóticos y controlan a sus víctimas hasta consumir sus cuerpos y almas antes de regresar al inframundo.

Geralt in the captivity the of frame. Adaptation strategies and reception of polish comics about The Witcher
The comic A Road of No Return from 1993 was the first attempt to bring the prose of Andrzej Sapkowski to other media. The authors of this album - Bogusław Polch and Maciej Parowski - had to cope with the literary original and meet the demands of fans of the saga. The article is an attempt to trace the vicissitudes of the comic adventures of Geralt the Witcher. The text contains descriptions of Polch and Parowski’s cycle, which to this day is a very emotional topic among polish fans, Wiedźmun – a parody by Tomasz Samojlik, associated with the game Reason of State by Michał Gałek, Arkadiusz Klimek and Łukasz Poller, and The Witcher: House of Glass created in the United States by Paul Tobin and Joe Querio. The authors focused on the aesthetics of these comics and their reception among fans.

In this article, I argue that the late-seventies comic book battles between the X-Men and Alpha Flight illustrate different versions of multiculturalism. Through their displays of immoral, aggressive, and ultimately self-destructive megaviolence, Alpha Flight’s fantastically weaponized humans literally and spectacularly embody American fears that Canadian multiculturalism neglects and even prohibits conscience-based group affiliations.

Auf einer transatlantischen Reise in den 1950ern entdeckt Michalis Pechlivanidis, einer der drei Gründer des griechischen Verlags „Atlantis“ die amerikanische Serie der Classics Illustrated. Kaum in Amerika angekommen, strebt er ein Treffen mit dem Herausgeber der Serie, Albert Lewis Kanter (1897-1973) an.
Der russisch-stämmige Albert Kanter hatte im Oktober 1941 die Idee, große Werke der Weltliteratur in die gerade in Mode gekommene und gern gelesene Form des comics zu übertragen, und somit das neue Medium zu nutzen, um jungen (und etwas lesefaulen) Lesern die „große Literatur“ nahe zu bringen – und hatte dabei einen riesigen Erfolg.
Die Illustrierten Klassiker erschienen in vielen Ländern: außer England, Griechenland und Deutschland u. a. auch in Brasilien, Belgien und Holland. Doch nur die griechische Reihe weist die Besonderheit auf, eigene Hefte in großem Ausmaß zu produzieren. Bei den aus dem amerikanischen übernommenen Heften sticht zudem die ausgezeichnete Qualität der Übersetzungen hervor – z.B. im Vergleich zu den entsprechenden deutschen Übertragungen.
Der Vortrag hat zum Ziel, die griechischsprachige Reihe der Illustrierten Klassiker im Vergleich zu der amerikanischen und deutschen Version darzustellen und auf einige konkrete Beispiele einzugehen (z.B. „Erotokritos“, „Das Opfer Abrahams“, „Erofili“, „Der Fürst der Berge“), um zum einen die Arbeitsweise der Herausgeber und Illustratoren zu verdeutlichen und zum anderen die Besonderheit der griechischen Hefte aufzuzeigen und zugleich – ganz im Sinne der Illustrierten Klassiker –  wichtige Werke der neugriechischen Literatur zu vermitteln.

ESPAÑOL: El presente libro analiza las transformaciones que se produjeron en Marvel Comics entre 1968 y 1980, que convirtieron a la editorial en la principal compañía de cómics estadounidense. A lo largo del libro se analiza el contexto de la época, el sistema de producción, la censura, el público y el mensaje de los cómics (Se adjunta un PDF que incluye la introducción y la bibliografía).

ENGLISH: This books studies Marvel Comics' changes between 1968 and 1980, that resulted in his transformation in the first american comic books publisher. This book studies historial context, production system, censorship, fandom and meaning in comics. (I added a PDF were you can read the introductory chapter and the bibliography section).

The goal of this project is to identify, analyze and historicize the operation of embodied multiplicities within superhero comics from the postwar era using the example of comics produced by the Marvel group between 1961 and 2005. This project argues that the superheroes created during this era reflect major social and cultural upheavals that continue to reshape the postwar era; this includes the dawn of the Atomic Age as well as the rise of the Civil Rights movement, second-wave feminism, the sexual revolution, and liberal multiculturalism. This project furthermore argues that superhero comics are especially useful vehicles for exploring both the practice of polysemy in popular texts as well as the ongoing evolution of popular bodily desires and fantasies within postwar American society and culture. Reading superhero comics as a body genre, this project offers a formally and visually driven analysis focusing on evolving representations of gender, race, sexuality, and disability, and the fantasies and anxieties those representations reflect, resist, and negotiate. Ultimately, this project argues that superhero comics' embodied multiplicities offer especially rich opportunities for subverting hegemonic narratives that would devalue the meaning of bodily expression and the diversity of bodily experience. It also argues, however, that superhero comics possess especially sophisticated tools for negating such subversion, routinely mobilizing seeming resistances to hegemonic narratives in ways that in fact reassert those narratives in new, bright costumes and fantastical metaphors.

Part of the front material provided in Amatl Comix #1: MORE THAN MONEY--a graphic novel by the Mexican cartoonist Claudia Dominguez.

MORE THAN MONEY: A Memoir by Claudia Dominguez is a graphic novel/memoir that recounts the true story of how the author's family recovered their father after he was kidnapped in Mexico City. The reader will feel the helplessness of the kidnapping but also be heartened by the humor and warmth of people who find themselves in a crisis.

MORE THAN MONEY is the first issue from Amatl Comix, a new SDSU Press imprint. Amatl Comix publishes all the dynamic, contemporary graphic narratives we can get our hands on! Our first issue showcases the brilliant work of an up and coming Mexican comic book star, Claudia Dominguez.

Advance Word on MORE THAN MONEY!

"Unlike most mainstream representations of Latinxs in the Américas that depict us as only of European descent, Dominguez's palette celebrates us as mestizo. And while Dominguez chooses to use the traditional 6-panel layout sparingly, she does so to great kinetic effect, conveying the urgency and anxiety as it builds to the moment of exchanging money for family. She wakes our hearts and minds to the complex ways that Latinxs live as a hemispheric population connected through more than violence."

Frederick Luis Aldama, author of LATINX COMIC BOOK STORYTELLING

ESPAÑOL: Jack Kirby sigue siendo aún hoy The King, el rey de los cómics. Durante medio siglo desarrolló con gran éxito comic books, tiras de prensa e incluso animación televisiva, cocreando personajes como el Capitán América, los Cuatro Fantásticos, los Vengadores o los X-Men, y desarrollando en solitario universos de ficción como el Cuarto Mundo.

A pesar de su éxito, Kirby siempre ha sido una figura misteriosa y polémica. Sus defensores lo presentan como una víctima de empresarios malvados y editores ególatras. Sus detractores describen como un dibujante dotado cuyas ansias de grandeza le impidieron compartir la gloria. ¿Pero quién fue realmente Jack Kirby?

ENGLISH: Jack Kirby is known as The King of Comics by comic book fandom. In his half century as comic artist, plotter and writer Kirby developed comic strips, comic books and animation. He cocreated characters as Captain America, Fantastic Four, Avengers and X-Men, and he alone spawned the entire Fourth World line.

However his success Kirby ever was a mysterious and polemic artist. His defenders claim that he was a victim who was exploited by unscrupulous publishers and egomaniac editors. His detractors call him a gifted artist thirsty for glory. But who was really Jack Kirby?

""UEA Thesis (2011)

In this thesis I draw upon recent formulations of fantasy theory, from Rosemary Jackson’s psychoanalytic analysis to the socio-historical approaches of José Monleon and Mark Bould, and the poetics of fantasy literature of Farah Mendlesohn, to illuminate the interlocking political debates about fantasy fiction which are important to literary theory: whether fantasy is a minor sub-set of literature or the basis of all fiction; whether fantasy functions primarily as a satirical or utopian idiom, or as sheer escapism; and whether fantasy is a liberating expression of the imagination or a limiting and commodified form. ""

The full thesis can be downloaded via the UEA Digital Repository: https://ueaeprints.uea.ac.uk/id/eprint/19302.