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(Un)natural Temporalities in Comics

Raphaël Baroni

organisation of the panels in the strip and the tabular configuration of the page. Moreover, the succession of the panels in a strip is not necessarily entirely sequential. As illustrated by the strip by Pascal Jousselin seen in Figure 1 , the copresence of

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Rethinking the ‘Memorable Panel’ from Pierre Sterckx to Olivier Josso Hamel

Benoît Crucifix

between the linear and the tabular: on one hand, the linear temporality of panels read one after the other ‘for’ the narrative, and on the other hand, the spatial quality that the segmentation of the page takes when looked at in tabular, non

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Introduction

Politics and Pedagogy

eminent semiologist revisits the linear/tabular distinction that has been the basis of much formal analysis of comics. The issue of pedagogy recurs both as subject matter of primary texts and in the form of a constructive proposal for enlightened

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Editorial

Historical Perspectives – Theory and Practices

The Editors

seized and framed off, and as part of a linear narrative. 1 The tension between linear and tabular dimensions had been discussed earlier by Pierre Fresnault-Deruelle, at the level of both panel and page, and Peeters’s own subsequent, and well

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Editorial

Demystification and Disruption

Laurence Grove, Anne Magnussen, and Ann Miller

years of IBDS conferences from 1999 to 2019, starting with reminiscences from participants about encounters with artists and with pioneers of comics theory, followed by a tabular summary of places, people and highlights, and then by a reflection on the

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Introduction

The Editors

discusses her own themes, influences and techniques. Narratologist Raphaël Baroni considers certain of the formal characteristics of comics, the coexistence on the page of a linear, sequential narrative with a tabular arrangement of panels that can be viewed

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Introduction

Hugo Frey and Laurike in ‘t Veld

about and directly using comics. Michael Schuldiner’s work on Picasso’s Dream and Lie demonstrates fully that this famous work can be read sequentially, like the comic that it is, rather than in the classic tabular fashion. Addressing a different time

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The Posed and the Transposed

Wilhelm Schulz's Guardian Angel

Pierre Fresnault-Deruelle and translated by Ann Miller

become comics (with the careful concatenation of its units). In other words, we are suggesting that the tabular structure of this page—where everything is visible at once—would not have been compatible with the habits of audiences used to a succession of

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Intermediality and Comics

Domingo Sánchez-Mesa and Jan Baetens

’ transition) does not suffice to grasp the organisation of a plate but that one also must take into account the visual arrangement of the plate as a whole (what we call the ‘tabularity’ of comics, as opposed to its ‘linearity’), 21 it is necessary to examine

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Home and Away

Place Appreciation and Purposeful Relocation in Later Life

Neil Thin

-long habit of savouring environmental joys through multiple momentary attention shifts). Table 1 below provides a simple tabular structure for analysing the key factors involved in life improvement, in relation to comparisons between in situ versus