An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker.

This chapter contains sections titled: Introduction Desiderata for an Account of Genre Existing Accounts of Genre An Account of Genre Conclusion Notes References.

Not all comics are art. What about the comics that are art? What sort of art are they? In particular, are comics a form of literature? For a variety of reasons it is tempting to think that at least some comics are literature. Nevertheless, many theorists reject the ‘comics as literature’ view. And although some reasons for resisting that view are misguided, I shall argue that there are other good reasons for being hesitant about treating comics as a form of (...) literature. This leaves us at an impasse with respect to the classification of comics. I suggest that the way out of the impasse is to recognize that comics are a hybrid art form. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

Comics can be ordered in a range of ways, most overtly by issue number for works within a series, and by page number for pages within works. The internal elements of a comic can also be ordered by formal details found within pages. We identify four kinds of formal details specific to comics pages or two-page spreads: how their elements are arranged, how they are viewed, what events they represent, and when information about those events is presented.

This chapter contains sections titled: Introduction A Cautious Set‐Up Minimal Authorship (of Sorts) Minimal Authorship (of the Comic Sort) Some Work for a Theory of Comic Authorship Illustrating Robust Comic Authorship Comic Authorship of the McCloudian Sort Appropriation Cases Commission Cases Collaborative Cases Non‐Collaborative Cases Final Thoughts Notes References.

A widely accepted view in the philosophy of humour is that immoral jokes, like racist, sexist or homophobic jokes, can nevertheless be funny. What remains controversial is whether the moral flaws in these jokes can sometimes increase their humour. Moderate comic immoralism claims that it is possible, in at least some cases, for moral flaws to increase the humour of jokes. Critics of moderate comic immoralism deny that this ever occurs. They recognise that some jokes are both funny and immoral, (...) yet they claim that it is always something other than the moral flaws of jokes that contribute to their humour. In a series of recent papers, Aaron Smuts has pressed this objection to moderate comic immoralism. I argue that Smuts' attempt to narrow the range of cases in which humour can be attributed to immoral features is not sufficient to demonstrate that moderate comic immoralism is false. Specifically, I claim that Smuts cannot rule out a case for moderate comic immoralism grounded in the possibility that humour is normatively relative while the ethical status of jokes is not. (shrink)

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...) Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

This article argues that Nietzsche's 1888 writings should be understood as a Dionysian comedy that parallels important formal structures of Aristophanes' early plays. Whereas works such as The Twilight of the Idols and The Case of Wagner contain features that resemble the agonal elements of Dionysian comedy, Ecce Homo should be understood as a comic parabasis of self-definition.

Comics comprise a hybrid art form descended from printmaking and mostly made using print technologies. But comics are an art form in their own right and do not belong to the art form of printmaking. We explore some features art comics and fine art prints do and do not have in common. Although most fine art prints and comics are multiple artworks, it is not obvious whether the multiple instances of comics and prints are artworks in their own right. The (...) comparison of comics and fine art prints provides a promising test for assessing how hybrid art forms develop more generally, and for assessing how they differ from closely related nonhybrid cousins. (shrink)

In the present scenario, Superman’s problem is not just a problem of physical effort but one of practical reasoning. A well‐adjusted and fairly moral person will respond to the world in certain kinds of ways that go beyond making calculations of reasons. First, there is the issue of what they will count as a reason at all. Second, there is the matter of when serious deliberation is required at all. Just as we act out of habit in our usual daily (...) routines, so too we can act out of habit in less routine matters. And these habits can be emotional too. Injustice causes us to feel anger on our own or on others’ behalf, exemplified by Grant Morrison’s Superman‐as‐social‐crusader in the new Action Comics. When the circumstances make things clear, a virtuous person just acts. In this sense, Superman is virtuous in his exercise of practical reason. (shrink)

The aim of this paper is to present how an innovative approach to teaching philosophy can effectively meet the requirements of the prescribed curriculum, and contribute to achieving the expected learning outcomes, interdisciplinary teaching and learning links, formative monitoring and evaluation of student achievements, to achieve educational subject goals. In this paper, the authors, considering comics as a kind of teaching medium, i.e., the application of the comic method in teaching, on the example of a scenario for a philosophy lesson (...) in high school show how it is possible to combine a comics approach to teaching philosophy with philosophy for children. Philosophy for children as well as the comic book approach to teaching philosophy are extremely complementary (they are provocative and dialogical, stimulate students' intellectual curiosity, develop critical and creative thinking, create a positive and stimulating learning environment), which allows them to be combined effectively. (shrink)

There seems to be no end to moralizing about the vices, but there is too little appreciation of them as mere human foibles and an essential part of the “human circus.” There are also serious questions about whether some of the so-called deadly sins are sinful at all.

This article examines the comic portrayal of Confucius in the Analects and the Zhuangzi, maintaining that there is a humorous aspect to the character of Confucius that is often overlooked. Conventional interpretations of the Analects downplay the pranks and mocking comments that are sprinkled throughout them. Many of the humorous words Confucius utters are directed at ritualistic behaviour which has become mechanistic, suggesting that in order to take ritual seriously, we must also be prepared to take it in jest. Furthermore, (...) Confucius’s situation is poked fun at in both the Analects and the Zhuangzi, since he wanders around desperately seeking a position of influence that eludes him. But while the Zhuangzi relentlessly mocks Confucius for his ritualized arrogance, it also signals his respect for him by making him the mouthpiece of the very Dao that it accuses him of straying from. (shrink)

What exactly are comics? Can they be art, literature, or even pornography? How should we understand the characters, stories, and genres that shape them? Thinking about comics raises a bewildering range of questions about representation, narrative, and value. Philosophy of Comics is an introduction to these philosophical questions. In exploring the history and variety of the comics medium, Sam Cowling and Wesley D. Cray chart a path through the emerging field of the philosophy of comics. Drawing from a diverse range (...) of forms and genres and informed by case studies of classic comics such as Watchmen, Tales from the Crypt, and Fun Home, Cowling and Cray explore ethical, aesthetic, and ontological puzzles, including: -/- - What does it take to create-or destroy-a fictional character like Superman? - Can all comics be adapted into films, or are some comics impossible to adapt? - Is there really a genre of “superhero comics”? - When are comics obscene, pornographic, and why does it matter? -/- At a time of rapidly growing interest in graphic storytelling, this is an ideal introduction to the philosophy of comics and some of its most central and puzzling questions. (shrink)

Many comics are aesthetically trashy: They are immediately grasped and easily available. Historically, this trashiness is lobbed as an aesthetic defect of many comics, a defect for both their production and their appreciation. To defend these comics, some point to non-aesthetic values, like sociality. I argue that there is aesthetic value to these comics, and that it lies precisely in their trashy characteristics: their immediacy and availability. Many comics have these characteristics because many comics are cartooned. The immediacy of cartooning (...) is precisely what makes so many ordinary comics beautiful in an ordinary way. (shrink)

Strong comic immoralism maintains that every time a humorous demonstration (for example, a joke) involves a moral defect, it is enhanced aesthetically in virtue of having this moral defect. I want to show that strong comic immoralism is a coherent position, that it is possible to defend, and that there is, in fact, some reason to defend it. By doing this, my hope is that, moving forward, those who are interested in questions about the relationship between immorality and the aesthetic (...) value of jokes will take more seriously the objections that may be presented against their views by the strong comic immoralist, rather than claiming that “no one on this side of Satan” would be one. (shrink)

This chapter contains sections titled: McCloud's Definition Pictures and Comics Panels, Panels Everywhere Seeing‐in and Closure Pictureless Comics? Wordless Prints, Unprinted Words Spaces Between Words The Air of Non‐Pictures A Continuum of Cases Comic Books and Ideal Books Notes References.

This article aims to review the last three decades of the comic Spain. The study is evaluating the evolution of the comics industry, from its beginnings during the dictatorship and its expansion with the advent of democracy until the present times of difficulties and changes. The rise of the comic can be seen in its growing importance within the press, the acceptance of a public that matures over time and especially in the sales of an industry that has to adapt (...) to new situations. (shrink)

Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, respectively, various moral properties (...) to impact negatively on funniness. For example, one species holds as much of the property “manifests attitudes that are morally wrong,” but other species hold as much of different moral properties. Comic moralism, or a species of it, can be unrestricted, or restricted, depending on whether it pertains to all the items that possess the negatively impacting moral property or properties, or to just a subset of these items. (shrink)

This study makes a case for the conversational phenomenon the authors have named the comical hypothetical. The CH becomes discursively co-created during ongoing conversation when one or more speakers depart from the normal turn-taking system and engage in the interactional creation of an imaginary world. Data stem from ethnographic observations as well as from spontaneous recordings of social situations in three different locations. Out of 20 hours of taped conversations, 10 recognizable CH segments were analyzed for the present study. The (...) authors present a macro-structure analysis of the comical hypothetical using Hymes's SPEAKING mnemonic, with an emphasis on the act sequence. A second-level micro-analysis uncovers the interactional properties of the CH using a conversation analytic approach. The examination reveals a distinct four-part act sequence of the CH made up of intricate and creative interactional turns. Lastly, the significance and functions of the CH are also discussed. (shrink)

Visual narratives like comics involve a range of complex cognitive operations in order to be understood. The Parallel Interfacing Narrative‐Semantics (PINS) Model integrates an emerging literature showing that comprehension of wordless image sequences balances two representational levels of semantic and narrative structure. The neurocognitive mechanisms that guide these processes are argued to overlap with other domains, such as language and music.

This chapter contains sections titled: Notes References.

Anankastic conditionals are analyzed in terms of events conceived as sequences of snapshots – roughly, comics. Quantification is applied not to worlds (sets of which are customarily identified with propositions) but to strings that record observations of actions. The account generalizes to other types of conditionals, sidestepping certain well-known problems that beset possible worlds treatments, such as logical omniscience and irrelevance. A refinement for anankastic conditionals is considered, incorporating action relations.

Non-fiction graphic novels about illness and death created by patients and their loved ones have much to teach all readers. However, the bond of empathy made possible in the comic form may have special lessons for healthcare providers who read these texts and are open to the insights they provide.

Comics are complex multimodal documents that make for intriguing materials to analyze with computer vision and computational linguistics. This review summarizes the growing developments in computational modeling which have been progressing to analyze visual narratives across their various substructures.

Tragedy has traditionally been ranked higher than comedy, and critics often valorize the ‘tragic vision of life’. Using twenty contrasts between tragedy and comedy, I argue that there is a ‘comic vision of life’ which is superior to the tragic vision, especially in the post-heroic era in which we live.

Argues for the controversial and initially counterintuitive thesis that theatrical magic (that is, the performance of conjuring tricks) is a form of standup comedy.

During nearly two centuries, American storytellers have celebrated comic figures, ebullient showoffs who turned up on one frontier after another—in the old South, in Kentucky and Tennessee, along the great inland rivers, in the mountains and the mines and on the prairies. Often, the stories went, when these characters engaged in a favorite pastime—playfully bragging about their strength, their skill and their exploits—they used animal metaphors such as Opossum, Screamer, Half-Horse Half-Alligator, the Big Bear of Arkansas or Gamecock of the (...) Wilderness to furnish nicknames. Often they were also identified as fictional or real frontiersmen—Mike Fink, Nimrod Wildfire, Jim Doggett, Pecos Bill—and tall tales clustered around them. Explaining a metaphor and a nickname, an Ohio newspaper in 1830 cited the most famous braggart of this sort: "Ring-tailed roarer—A most vicious fellow—a Crockett." . . . The stories did not have to have roots in reality and often were not new. The real Crockett was well built, handsome, ruddy-cheeked. But traditional jokes made ugliness a funny quality. Falstaff claimed Bardolph's crimson proboscis glowed with a flame that made torches inoperative. The Spectator in 1711 told about "Spectator's" election to England's Ugly Club. Joke 177 in Joe Miller's Jests was about the British kingdom's champion ugly man. When Gus Longstreet entered law school in Litchfield, Connecticut, in 1813, a student welcomed him: "Here, sir, is a knife always given to the ugliest student. . . . Until now it has been mine, but beyond doubt, sir, since you are here, I have now no right to it any longer." Andy Jackson—"Old Hickory"—won a like award. Lore had it that Davy was so repulsive looking that if he grinned at a raccoon, it tumbled from its tree. Once, worried because he grinned and grinned without bringing down his victim, he was relieved when a close look showed he had mistaken a knot for a beast. All the same, he had grinned all the bark off the branch. Walter Blair is professor emeritus in the department of English at the University of Chicago. His many influential works include Native American Humor and Horse Sense in American Humor. "Americanized Comic Braggarts" appears in a slightly different version in the book America's Humor from Poor Richard to Doonesbury. (shrink)

This special issue brings together an interdisciplinary group of scholars to reflect on comics and the anarchist imagination. The curators of the 2014 British Library exhibition, "Comics Unmasked: Art and Anarchy in the UK," noted that "there has always been a certain anarchic streak" in comics. Indeed, since Ralph Chaplin's Black Cat appeared alongside the work of Ernest Riebe and Ern Hanson in the IWW's Industrial Worker in the early twentieth century, comics and cartoons have been prominent fixtures in anarchist (...) publications, while comic books themselves have often featured anarchist heroes. To take a few more examples: in the 1960s and 70s, Donald Rooum's Wildcat comics strips featured... (shrink)

We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large sample of (...) 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)

This article investigates the relationship between comic speech and political authority in democratic Athens through a reading of Aristophanes’ Knights. The article surveys three different interpretations of how Aristophanes constructs the authority of his comic persona in the play: he contrasts comic speech with rhetorical speech to illustrate the superiority of the former ; he reflexively reveals to the audience the potential deceptiveness of comic speech ; and he mocks his own claims to authority through the construction of a comically (...) boastful persona. It is argued that the final two readings best capture the spirit of Aristophanic comedy, pointing to an affinity between the comic authority constructed by Aristophanes and the democratic conception of authority in operation in classical Athens. (shrink)

ABSTRACT The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the (...) secret source of humor itself is not joy but sorrow,” which has been interpreted through the often-quoted formula: comedy is tragedy plus time. The assumption is that we need some distance emotionally in order to mock or transcend the tragic. While we grant the humor of transcendence can produce some momentary relief through emotional distance, we wonder if there might be another way that humor can deal with suffering? Popular psychology often speaks of five stages of grief, and while that progression seems too linear and simplistic, we find that the now much more inclusive comic stage has something to offer their audiences struggling to make sense of a volatile world. (shrink)