Customer Reviews:
A SLIGHTLY FLAWED LOOK AT THE AESTETICS OF COMIC BOOK ART.......2003-08-24
This is very well written book that is nevertheless slighty flawed due to the fact that Harvey had to split his great big book on comic strips and comic books into two books leaving this one a little uneven. Still the chapters on Jack Kirby, Will Eisner, Gil Kane, Harvey Kurtzman, and R. Crumb border on wonderfull. I do have one or two minor caveats. Why didn't Harvey Kurtzman get a chapter by himself? He's certainly important enough to warrent one. Instead he has to share one with Howie Chaykin, Frank Miller, Jim Steranko, and Alex Nino among others. Still, it's a good book no matter how much I nit-pick.
Book Description
From Gary Larson's The Far Side to George Herriman's Krazy Kat, comic strips have two obvious defining features. They are visual narratives, using both words and pictures to tell stories, and they use word balloons to represent the speech and thought of depicted characters. Art historians have studied visual artifacts from every culture; cultural historians have recently paid close attention to movies. Yet the comic strip, an art form known to everyone, has not yet been much studied by aestheticians or art historians. This is the first full-length philosophical account of the comic strip.
Distinguished philosopher David Carrier looks at popular American and Japanese comic strips to identify and solve the aesthetic problems posed by comic strips and to explain the relationship of this artistic genre to other forms of visual art. He traces the use of speech and thought balloons to early Renaissance art and claims that the speech balloon defines comics as neither a purely visual nor a strictly verbal art form, but as something radically new. Comics, he claims, are essentially a composite art that, when successful, seamlessly combine verbal and visual elements.
Carrier looks at the way an audience interprets comics and contrasts the interpretation of comics and other mass-culture images to that of Old Master visual art. The meaning behind the comic can be immediately grasped by the average reader, whereas a piece of museum art can only be fully interpreted by scholars familiar with the history and the background behind the painting.
Finally, Carrier relates comics to art history. Ultimately, Carrier's analysis of comics shows why this popular art is worthy of philosophical study and proves that a better understanding of comics will help us better understand the history of art.
Customer Reviews:
why is it printed on glossy paper? i hate glossy paper........2002-01-07
this is a really great book, that I am totally unqualified to review (I would have love to have left the rating blank) --- who ARE all those guys he refers to? --- but it was really interesting as an alternate view of comics that (finally!) seems to escape the eisner/mccloud cliche`s... one thing that i kind of disagree maybe a little with is when he defines comics pretty narrowly and then says there hasn't been any innovation since THE YELLOW KID... well DUH there hasn't been any change in something defined so narrowly! when it changes, it (according to him) becomes something else, i.e. NOT comics, i.e. therefore comics haven't advanced, the artist has just moved on to a different form.
and he talks about the thought bubble like it's freakin' amazing but he never talks about the other ways comics can show thoughts, just words in a thought bubble is what he talks about. sheez what about fantasy sequences (i.e. calvin and hobbes), or two-tone icons (chris ware), etc. anyway that's one of my worthless ideas.
this book is really cool, you should read it. good rainy day fun.
Finally, a use for Arthur Danto........2000-08-17
So I picked up this book thinking it would be a dry, hoity-toity stamp of approval by an academic on the art form of comics. I was pleasantly surprised to find this an interesting, readable, and plausible series of arguments well on the side of comics, but by no means condescending. Carrier's writing becomes a little too meanderingly philosophical at time, but only for a sentence or two, which does not affect the overall tone or message of the text. Mainly, Carrier deftly navigates through fundamental issues surrounding the troublesome subject of comics, namely, things like narrative, speech balloons, and the whole comics as art debate. I found this book a tremendous, influential resource for my own work about comics history, as well as an interesting read in itself. P.S. - I don't know what that guy who wrote the review before me was smoking, but this book is less about technique than it is about real philosophical issues that affect comics' art-historical reception, etc., etc. Ta.
Loved it!.......2000-06-21
As an artist trying to maintain my versitility, I found this book to be extremely helpful! The author points out many of the often overlooked aspects of comic aestetics that prove to be very valid and useful. If you are looking to improve your artistic skill, buy this book!
Average customer rating:
- A good book
- Peddlers and Poets Abound
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The Art of the Funnies: An Aesthetic History (Studies in Popular Culture)
Robert C. Harvey
Manufacturer: University Press of Mississippi
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Similar Items:
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The Art of the Comic Book: An Aesthetic History (Studies in Popular Culture)
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Children of the Yellow Kid: The Evolution of the American Comic Strip
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Comics As Philosophy
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The Language of Comics: Word and Image
ASIN: 0878056742 |
Book Description
Why have comic strips endured? Since their inception at the end of the 19th century, they have been an institution worldwide. Here, freelance cartoonist and a well-known critic of comic art Robert C. Harvey explores the history of the art and literature of comics.
Customer Reviews:
A good book.......2007-07-27
In his seminal 1979 essay "The Aesthetics of the Comic Strips" ( in the Journal of Popular Culture) Robert Harvey argued that serious critical discussion of comics required an articulated theory of comic aesthetics. This volume, which opens with a reworked version of that essay, offers a history of comic strip art that flows from Harvey's two main premises:
1. Comics are unique in the way they "weave word and picture together to achieve narrative purpose" (p. 9).
2. The criteria for evaluating comic strips can be found in the history of the form because artists gave different ingredients of the form their finest expression in the "great" strips (pp. 11-12).
Although The Art of the Funnies covers many of the same artists as Richard Marschall's America's Great Comic-Strip Artists (Abbeville Press)- the usual suspects McCay, Herriman, Segar, Raymond, Caniff, and the rest - Harvey explains why and how individual strips were great. For instance, Milton Caniff's Terry and the Pirates stands out as much for Caniff's witty counterpoising of images and text as it does for his use of chiaroscuro techniques. One of the strengths of Harvey's account is that he draws his explanation out of the comic strips he reproduces in the volume rather than expecting his audience to acknowledge intrinsically that his favorite artists are great.
Harvey's careful argumentation sets him apart from other comic strip commentators. Whereas other writers seem to engage in conjecture and flights of fancy Harvey footnotes the sources for his opinions and explains his logic. I also find it refreshing to read a work on comics in which, as far as I can tell from my own research, every date is correct. Another of Harvey's accomplishments is to extend the social context in which comics developed beyond the usual accounts about the growth of newspaper chains and features syndicates. He cites the importance of copyright laws and the maturation of consumerism in the 1920s as crucial factors that shaped comic strips. Harvey's attention to these sorts of details make his book a convincing read.
The aesthetic sensibilities Harvey brings to his readings of comic strips made me wish he had tackled the issue of caricature and racial stereotypes in comic art. He briefly touches on this subject when discussing Mort Walker's introduction of a black character to Beetle Bailey, but a fuller examination seems in order. Martin Barker, in his Comics: Ideology, Power, & The Critics (Manchester University Press), dismissed comic art stereotypes as a non issue in a field where all representation is caricature, but a fuller discussion of this issue seems warranted. To return to Caniff what can we make of the Chinese sidekick Connie's language and visual representation compared to the mysterious sexuality of the other major Chinese character, the Dragon Lady. Harvey's suggestion that the strip's reader wanted sexy oriental women, and by extension Yellow Kid like Chinese cooks, and that presenting these characters gave the strip greater verisimilitude deserves further exploration.
I have two minor quibbles with Harvey. First I think a work of history should be written in the past tense and he slips into present tense for dramatic effect on too many occasions. Second, he suggests that the comic strip in America achieved a form and importance it did not attain elsewhere. While comics may have achieved such a status in America before they did in other countries, the French, British, Japanese, and Australians would have trouble with this statement.
Peddlers and Poets Abound.......2000-05-27
Once again R.C. Harvey has laid bare the skeletal structure of what makes comics a truly great medium of personal expression and artistic accomplishment. His insightful and often poignant anecdotes help bring the casual comics reader to a level of deeper appreciation and reverence for what many people regard as "kids stuff".
Most touching is his examination of George Herriman in Chapter 10. His ability so see beyond the surface "gags" and expose the boundless themes of love and pain truly make Herriman the metaphysical poet that Harvey titles him. Harvey's own observations are particualrly powerful and coalesque into not just an observation on the art of the funnies or the medium of comics in general, but serve as a reminder that all art is a personel expression and that these "comics" can be a bridge to a deeper understanding of human nature and American society.
Book Description
“Bravo! I’ll say nothing funny about it, for it is a
superior piece of work.”
—P. J. O’Rourke
“F. H. Buckley’s The Morality of Laughter is at once
a humorous look at serious matters and a serious
book about humor.”
—Crisis Magazine
“Buckley has written a . ne and funny book that will
be read with pleasure and instruction.”
—First Things
“. . . written elegantly and often wittily. . . .”
—National Post
“. . . a fascinating philosophical exposition of
laughter. . . .”
—National Review
“. . . at once a wise and highly amusing book.”
—Wall Street Journal Online
“. . . a useful reminder that a cheery society is a
healthy one.”
—Weekly Standard
Customer Reviews:
Cost not worth the benefit.......2005-03-10
My book club of 12 bright, well-read people -- who have on occasion forged their way through some pretty obscure ideas and dense prose -- found this book so off-putting to read that the point of the book got lost in the effort. We agreed that there were some interesting ideas in the book, but it just wasn't worth the effort to uncover them. Where, oh where, was the editor?
Disappointed.......2004-07-17
I heard about this book during a radio news "extra" program. The interview with the author was intriguing as was the title of the book. I was quite disappointed. The book does not read easily and evoked memories of college text books.
More Than Just A Laugh.......2003-07-16
Everyone likes a good laugh. It used to be thought that laughing was one of the things that separated us from other primates, but it has been shown that chimps and other cousins have laughter; this only means that laughter is even more intimately associated with our inner life than we had previously supposed. But human laughter is not simply a physiological response to an amusing situation or to delight. According to F. H. Buckley, in _The Morality of Laughter_ (University of Michigan Press), laughter is a civilizing force, and if you laugh, you are a moralizing agent shaping your social environment. Buckley is a lawyer, and while he may be an academic, he is not a professional philosopher. He admits that laughter has been frowned upon as a subject for academic and philosophical investigation; laughter is just too lightweight. However, his entertaining volume, which includes its share of jokes and is wittily, if densely, written, demonstrates that there may be more to laughing than is usually thought, and that the subject has been worth his serious attention.
We often laugh at something surprising, at a story that turns out in a way we were not expecting; we find the incongruous funny. Buckley demonstrates, however, that though such incongruities may spark laughter, there is a tripartite social arrangement going on between a jester, his audience, and the butt of the joke. The wit proposes a joke. The listener laughs or not. Laughter indicates a social tie consented to by the listener, a solidarity with the jester in laughing at the butt. The laughter is judgmental. The jester has proclaimed his superiority over the butt, and the listener who laughs agrees. "There is no laughter without a butt, and no butt without a message about a risible inferiority." The laughter shared between the joker and the listener promotes trust between them. We are far more likely to laugh aloud when seeing a play in a theater to spread this communal trust than we are when reading the script at home. Buckley gives counterexamples of such jokes as puns, which may seem not to have a butt (but sometimes do); but there are so many examples of pointed jokes given here that the overall pattern is clear. For instance, when George IV was told by a courtier, "It is my duty to inform Your Majesty that your greatest enemy is dead," the courtier intended to give the news of the death of Napoleon; but the king replied, "Is she, by God," indicating his disdain for Queen Caroline. Buckley shows that laughter may correct behavior, directing it toward moderate norms.
A delight in reading this volume is that Buckley is extremely widely read, and can, with seeming effortlessness, draw upon Graham Greene, Aristotle, Moliere, Hobbes, Bergson, and many others. His erudition does not keep the book from being lively. Laughter goes with joy, and as Buckley says, "... of all things, the ability to find joy in life is our chief earthly good." In a volume filled with widespread intellectual thrusts and asides, he has provided much to think about, as well as directly delivering plenty of his very subject matter.
Book Description
Stuart Hood acknowledges de Sade as a philosopher of the Enlightenment who took libertarian atheism to its limit!
Customer Reviews:
great book........2004-04-20
this is a prett good intro to de sade, especially given the fatc that there's not much else out there to do it. It's no substitute for the man's writings, especially his letters, which i recommend over this. angela carter's 'the sadean woman,' is a good read too, as is de beauvior's 'must we burn de sade?'
The best (if not only) intro to De Sade.......2004-04-08
I'm writing this to balance out the nay-saying. I think the Totem series is fairly hit or miss. It depends on whomever is handling the info. For example, their `Introducing Machiavelli' and `Introducing Descartes,' are remarkably wonderful. Then you have, `Introducing Postmodernism,' and `Introducing Baudrilliard,' both of which suck, in my humble opinion. I don't know- the closer that Totem gets to the 20th C, the more they tend to fail... Their books on Wittgenstein and Nietzsche, for example, are on the good side of decent... With Foucault, Heidegger and Barthes, they really loose some steam (surprisingly, I like the Deridda book immensely, which stands out...)
`Introducing De Sade' stands easily in the former category. It's simply great! It is a dense, worthwhile and illuminating effort that succeeds in every way. It puts the man in his Enlightenment context, contrasting him with other thinkers of his era. It gives a thorough biographical account of his life and his work's chronological development. It also handles later writer's use and misuse of De Sade.
I'm a big fan of this book for a number of reasons.
1. There isn't much out there on De Sade that provides a suitable introduction to him (and his novels are nigh-unendurable, in terms of their tedious repetitions and long-winded philosophical discourse. You HAVE to be in it for the long haul to plod through them).
2. De Sade is still a very neglected thinker, despite the fact that he was honest and highly original. This book looks at each of his main works and seeks to understand them on their own ground. Then it attempts to flesh out the underlying systematic philosophy behind the pornography, succeeding admirably I think.
Ultimately, I just don't understand all the negative reviews. The book is a humorous discussion, but an honest and thorough one nonetheless. I don't think the book makes fun of `De Sade,' and even if were to do so, that would be preferable to the treatment the Marquis receives from comp lit purveyors around the globe- coddling him and treating him as a `moralist,' who `really didn't mean it.' De Sade dressed up as a moralist is about as funny as Hitler dressed up as a nun. He spent a good portion of hislife incarcerated and I can guarantee that he meant every (...) word! Which reminds me, there are lots of improper and naughty pictures in this, ohhhh! Beware.
At any rate, If you don't know much about this controversial and fascinating figure- this is the best place to start, I think.
Good start.......2003-01-28
I read this book in preparation for directing a stage production of "Quills", a play based on the Marquis de Sade. Overall, It was worth the money. I had to go a lot further with my studies, but this book was a good primer, because it condensed his life into a quick read. If you just want an opening impression of the man and the myth, I would recommend this book. If you want a more critical analysis of his work you will need to look elsewhere.
There are better books.......2002-03-25
This book seems to make fun of the Marquis de Sade more than anything else. I justify that statement by referring the reviewer to the puerile drawings and statements that are found throughout this book. To focus on de Sade's pornography is to misunderstand what it is all about. However, this book does give a brief insight into the heart of de Sade's work. Yet for the little it offers, it distracts too much by the author and illustrator trying to be witty, which they completely fail to do (which is a trend with this whole series of books). If you want an insight into de Sade's work or a retracing of the events in his life, pick up a more academic book like a thoroughly researched biography, which exists. The only reason I bought this book is for posterities sake because you cannot find it in a bookstore. Read de Sade's actual stories first, then get an intelligent, "grown-up" version of literary criticism. Do not rely on this book to give you anything other than a headache from its cheap porn-based drawings.
A strange, complex man.......2002-01-04
I've just completed this book. I do feel it was extremely helpful in providing me with an overall introduction to Sade, and also in helping me to determine whether or not I wish to pursue the man and his writings.
While I consider myself an eclectic freethinker, I don't go in for something "just because" it may be vastly unusual or "off the wall." In short, Sade's sexuality isn't my cup of tea. He seems to presume that his sexuality was easily anyone's cup of tea, given that the characters portrayed in his novels seem to either instantly like to be humiliated and subjected to pain, or that they don't mind one way or the other (yeah, right). Stuart Hood, the author of this book, points out that Sade's descriptions of sexual encounters are "cold and mechanical." Sexuality for many people may be simple fulfillment of lust (nothing wrong with that, btw), but for many others as well there must be a component of affection, tenderness, and warmth (I'm in the latter category). The most peculiar aspect of Sade's sexual attitudes are the seeming misanthropy of it all; it's as if his characters are absolutely hateful and cold schemers, who set about projecting their self-loathing onto others. How would these stories have been viewed if it were animals subjected to these sorts of situations instead of young human females and males?
Most disturbing to me is Sade's justification of murder. If done in a SELF-DEFENSIVE situation, murder can be justified. But Sade seems to have thought that "just plain" murder was okay, as it serves as part of Nature's destructive aspect. While I acknowledge destruction as being part and parcel of the way in which the universe operates (it is the necessary opposite complement of creation), I think Sade confuses Natural Selection with Artificial Selection. In other words, if a lightning bolt strikes a person and kills him, that's Natural Selection. But the 9/11/01 terrorist attacks and murders on the WTC and Pentagon were Artificial Selection -- premeditated murder by humans who made the plan to do it. There is a difference here.
On the other hand, Sade was said to have been horrified by the massacres of the early 1790s, relative to the French political upset at the time. He seemed to decry the senseless butchery, and even assisted in sparing his hated in-laws from the guillotine. If he believed any sort of murder whatsoever was simply part of Nature, one has to wonder why he was disturbed by all the killing around him.
Sade did, at one point, make a stand for female sexual freedom via one of his male novel characters. He asserted a woman's body is hers to enjoy as she likes, and that she needn't be a "slave to her family." On the other hand, most of the victims portrayed in his novels were helpless females. Go figure. I think his early abandonment by his mother was a major element at play in this man's psyche.
This is an interesting book, and I do recommend it. Sade is the most strangely complex person I've ever read about. I hope this review has been helpful for you.
Fight Censorship!
Average customer rating:
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The Comical: A Philosophical Analysis (Nijhoff International Philosophy Series)
B. Dziemidok
Manufacturer: Springer
ProductGroup: Book
Binding: Hardcover
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ASIN: 0792321030 |
Book Description
The book offers an extensive and detailed philosophical analysis of the phenomenon of the comic. The author critically presents the hitherto existing theories of the comic from Aristotle up to the present and classifies them. At the same time he advances his own definition of the comic as a broadly understood deviation from norm, which takes into account the deviation from an objectively existing norm as well as the subjective sense of the normal. Many pages have been devoted to the analysis of the main forms of the comic. The author offers their taxonomy and discusses the major techniques of evoking the comic. The final part of the book deals with the social aspects of the comic and discusses the social role of humour, mockery, satire, irony, etc. The author elaborates on the educational, integrating, punitive, and therapeuric aspects of various forms of comic activities. The book is based upon ample material drawn from a multitude of sources. The author does not limit the scope of his analysis to the philosophical and the aesthetic aspects of the comic but takes into account its extra-aesthetic occurrences and applications as presented by psychologists, cultural anthropologists, sociologists, theoreticians and historians of literature, film, and music, which makes the work truly interdisciplinary in character. The Comical: A Philosophical Analysis will be useful to aestheticians and philosophers of art, as well as to the students of literary criticism, theatre, and film studies, educational theory, psychology and even the theory of argumentation.
Average customer rating:
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Enjoyment: From Laughter to Delight in Philosophy, Literature, the Fine Arts, and Aesthetics (Analecta Husserliana)
Manufacturer: Springer
ProductGroup: Book
Binding: Hardcover
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ASIN: 0792346777 |
Book Description
Philosophy, art criticism and popular opinion all seem to treat the aesthetics of the comic as lightweight, while the tragic seems to be regarded with greater seriousness. Why this favouring of sadness over joy? Can it be justified? What are the criteria by which the significance of comedy can be estimated vis à vis tragedy? Questions such as these underlie the present selection of studies, which casts new light on the comic, the joyful and laughter itself. This challenge to the popular attitude strikes into new territory, relating such matters to the profundity with which we enjoy life and its role in the deployment of the Human Condition. In her Introduction Tymieniecka points out that the tragic and the comic might be complementary in their respective sense-bestowing modes as well as in their dynamic functions; they might both share in the primogenital function of promoting the self-individualising progress of human existence. For the first time in philosophy, laughter, mirth, joy and the like are revealed as the modalities of the essential enjoyment of life, being brought to bear in an illumination of the human condition.
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Henry Fielding's theory of the comic prose epic
Ethel Margaret Thornbury
Manufacturer: Folcroft Library Editions
ProductGroup: Book
Binding: Unknown Binding
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ASIN: 0841484171 |
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Plato: Two Comic Dialogues
Plato
Manufacturer: Hackett Publishing Company
ProductGroup: Book
Binding: Hardcover
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ASIN: 0915145766 |
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The Aesthetics of Comics
Arguing Comics: Literary Masters On A Popular Medium (Studies in Popular Culture)
Alternative Comics: An Emerging Literature
