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Classics and Comics (Classical Presences) by C. W. Marshall, George Kovacs

By C. W. Marshall, George Kovacs

For the reason that not less than 1939, whilst daily-strip caveman Alley Oop time-traveled to the Trojan battle, comics were drawing (on) fabric from Greek and Roman fantasy, literature and historical past. now and then the relationship is cosmetic-as possibly with ask yourself Woman's Amazonian heritage-and now and then it truly is nearly irrelevant-as with Hercules' starfaring adventures within the 1982 surprise miniseries. yet all of those make implicit or particular claims in regards to the position of classics in glossy literary tradition.

Classics and Comics is the 1st ebook to discover the engagement of classics with the epitome of contemporary well known literature, the comedian ebook. the amount collects 16 articles, all specifically commissioned for this quantity, that examine how classical content material is deployed in comics and reconfigured for a latest viewers. It opens with a close ancient advent surveying the function of classical fabric in comics because the Thirties. next chapters disguise a wide variety of themes, together with the incorporation of recent theories of delusion into the production and interpretation of comedian books, the appropriation of characters from classical literature and fable, and the reconfiguration of motif right into a sleek literary medium. one of the recognized comics thought of within the assortment are Frank Miller's 300 and Sin City, DC Comics' Wonder Woman, Jack Kirby's The Eternals, Neil Gaiman's Sandman, and examples of eastern manga. the quantity additionally contains an unique 12-page "comics-essay," drawn and written via Eisner Award-winning Eric Shanower, author of the photograph novel sequence Age of Bronze.

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The Infinite Horizon (Dec. 2007–). Establishing a Crit ical Fr a me new creative fictions. To the latter category I ascribe the aforementioned story arcs of Alley Oop, as well as all of The Golden Vine and Astérix, which all tell tales that do not purport to convey any specific historical or literary moment but instead create new narratives within popular constructs of antiquity. 44 Classic Comics was begun in 1941 by Albert Kanter, a Russian immigrant to the United States, and underwent a title change to the more familiar Classics Illustrated in 1947.

Analyzing these demands on the reader tells us something about the place of antiquity in the popular consciousness of our own cultural contexts. At their best, comics supply a new way of understanding the Greco-Roman culture and history that classicists have been engaged with for centuries. Reception studies are growing rapidly as a subdiscipline of Classics right now, and these comics, both text and art, show the reason for their popular appeal. Comics can bring the Classics to life even if they sometimes do it on cheap newsprint in black and white.

49 49. I would like to acknowledge the help of my coeditor, C. W. Marshall, whose insights into both Classics and comics helped me articulate many of the ideas in this chapter. My debt to him is incalculable. Oxy. XXII 2331 Gideon Nisbet Would we even know what irony is if it were not for comic books? Oxy. 17 inches) tall—roughly the size of a man’s hand. Excavated in the last years of the nineteenth century by Bernard Grenfell and Arthur Hunt from the trash piles of the ancient city of Oxyrhynchus in Greco-Roman Egypt, it was first published in 1954 in the series Oxyrhynchus Papyri.

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