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Drawing --- beeldverhalen --- Graphic artists --- Barry, Lynda --- United States of America
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Contributions by Frederick Luis Aldama, Melissa Burgess, Susan Kirtley, Rachel Luria, Ursula Murray Husted, Mark O'Connor, Allan Pero, Davida Pines, Tara Prescott-Johnson, Jane Tolmie, Rachel Trousdale, Elaine Claire Villacorta, and Glenn Willmott Lynda Barry (b. 1956) is best known for her distinctive style and unique voice, first popularized in her underground weekly comic Ernie Pook's Comeek. Since then, she has published prolifically, including numerous comics, illustrated novels, and nonfiction books exploring the creative process. Barry's work is genre- and form-bending, often using collage to create what she calls "word with drawing" vignettes. Her art, imaginative and self-reflective, allows her to discuss gender, race, relationships, memory, and her personal, everyday lived experience. It is through this experience that Barry examines the creative process and offers to readers ways to record and examine their own lives. The essays in Contagious Imagination: The Work and Art of Lynda Barry, edited by Jane Tolmie, study the pedagogy of Barry's work and its application academically and practically. Examining Barry's career and work from the point of view of research-creation, Contagious Imagination applies Barry's unique mixture of teaching, art, learning, and creativity to the very form of the volume, exploring Barry's imaginative praxis and offering readers their own. With a foreword by Frederick Luis Aldama and an afterword by Glenn Willmott, this volume explores the impact of Barry's work in and out of the classroom. Divided into four sections--Teaching and Learning, which focuses on critical pedagogy; Comics and Autobiography, which targets various practices of rememorying; Cruddy, a self-explanatory category that offers two extraordinary critical interventions into Barry criticism around a challenging text; and Research-Creation, which offers two creative, synthetic artistic pieces that embody and enact Barry's own mixed academic and creative investments--this book offers numerous inroads into Barry's idiosyncratic imagination and what it can teach us about ourselves.
Comic books, strips, etc --- Cartoonists --- Women cartoonists --- History and criticism --- Barry, Lynda --- Criticism and interpretation.
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In One Hundred Demons, a collection of 20 autobiographical comic strip stories, Lynda Barry wrestles with some of hers in her signature quirky, irrepressible voice. From "Dancing" and "Hate" to "Dogs" and "Magic," the tales included here are at once hilarious and heartbreaking. As she delves into the delights and sorrows of adolescence, family, identity, and love, Barry's ear for dialogue, dead-on delivery, and painterly style showcase her considerable genius.
Romans graphiques --- Barry, Lynda --- Adult Survivors of Child Abuse. --- Adult child abuse victims. --- Cartoonists --- Cartoonists. --- Child Abuse, Sexual. --- Child. --- Children. --- Enfants maltraités devenus adultes. --- Enfants. --- Graphic novels --- Graphic novels. --- children (people by age group). --- Barry, Lynda, --- United States.
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"Lynda Barry (b. 1956) is best known for her distinctive style and unique voice, first popularized in her underground weekly comic Ernie Pook's Comeek. Since then, she has published prolifically, including numerous comics, illustrated novels, and nonfiction books exploring the creative process. Barry's work is genre- and form-bending, often using collage to create what she calls "word with drawing" vignettes. Her art, imaginative and self-reflective, allows her to discuss gender, race, relationships, memory, and her personal, everyday lived experience. It is through this experience that Barry examines the creative process and offers to readers ways to record and examine their own lives. The essays in Contagious Imagination: The Work and Art of Lynda Barry, edited by Jane Tolmie, study the pedagogy of Barry's work and its application academically and practically. Examining Barry's career and work from the point of view of research-creation, Contagious Imagination applies Barry's unique mixture of teaching, art, learning, and creativity to the very form of the volume, exploring Barry's imaginative praxis and offering readers their own. With a foreword by Frederick Luis Aldama and an afterword by Glenn Willmott, this volume explores the impact of Barry's work in and out of the classroom. Divided into four sections-Teaching and Learning, which focuses on critical pedagogy; Comics and Autobiography, which targets various practices of rememorying; Cruddy, a self-explanatory category that offers two extraordinary critical interventions into Barry criticism around a challenging text; and Research-Creation, which offers two creative, synthetic artistic pieces that embody and enact Barry's own mixed academic and creative investments-this book offers numerous inroads into Barry's idiosyncratic imagination and what it can teach us about ourselves"--
Cartoonists --- Comic books, strips, etc --- Women cartoonists. --- History and criticism --- History and criticism. --- Barry, Lynda, --- Criticism and interpretation.
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De graphic novel is populair, maar nog niet zo lang geleden waren het vooral mannelijke artiesten die daar de vruchten van plukten. Gelukkig zijn er intussen ook vrouwen die naam hebben gemaakt. Vijf daarvan komen in dit boek aan bod: Aline Kominsky Crumb, Phoebe Gloeckner, Lynda Barry, Marjane Satrapi en Alison Bechdel. Ze geven hun eigen ervaringen weer, herleven bepaalde trauma's en hierbij schuwen ze de confronterende beelden niet. Ze aanschouwen zichzelf en bieden een dubbel perspectief: het perspectief van een kind wordt gecontrasteerd met de visie van een volwassene (child protagonist gecombineerd met een adult narrator). De auteur van dit werk verkiest daarom graphic narrative boven graphic novel; het is voor haar de kunstvorm bij uitstek waar vrouwen ongedwongen en onverbloemd de waarheid laten zien.
Developmental psychology --- Sociology of the family. Sociology of sexuality --- Art --- Fiction --- Artists --- Comic strips --- Trauma --- Images of women --- Biography --- Book --- Satrapi, Marjane --- Bechdel, Alison --- Crumb, Aline Kominsky --- Barry, Lynda --- Gloeckner, Phoebe
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This innovative volume establishes autofiction as a new and dynamic area of theoretical research in English. Since the term was coined by Serge Doubrovsky, autofiction has become established as a recognizable genre within the French literary pantheon. Yet unlike other areas of French theory, English-language discussion of autofiction has been relatively limited - until now. Starting out by exploring the characteristic features and definitions of autofiction from a conceptual standpoint, the collection identifies a number of cultural, historical and theoretical contexts in which the emergence of autofiction in English can be understood. In the process, it identifies what is new and distinctive about Anglophone forms of autofiction when compared to its French equivalents. These include a preoccupation with the conditions of authorship; writing after trauma; and a heightened degree of authorial self-reflexivity beyond that typically associated with postmodernism. By concluding that there is such a field as autofiction in English, it provides for the first time detailed analysis of the major works in that field and a concise historical overview of its emergence. It thus opens up new avenues in life writing and authorship research.
Philosophy --- Linguistics --- Literature --- geletterdheid --- filosofie --- literatuur --- Brooke-Rose, Christine --- Kay, Jackie --- Barry, Lynda --- Gloeckner, Phoebe --- Burnside, John --- Williams, Charlotte --- Eggers, Dave --- Kosinski, Jerzy --- O'Brien, Tim --- anno 1900-1999
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"Women's Experimental Writing considers six contemporary authors who use experimental methods and negative modes of critique in their fiction and feminism. The authors covered are Valerie Solanas, Kathy Acker, Theresa Cha, Chantel Chawaf, Jeanette Winterson, and Lynda Barry. These writers all share a commitment to combining extreme content with formally radical techniques in order to enact varieties of gender, sex, race, class and nation-based experience that, they suggest, may only be "represented" accurately through the experimental unmaking of dominant structures of rationality. Ellen Berry extends the anti-social negative critique predominant in queer studies by offering an alternative archive of feminist negative literary practices and explores the consequences of joining an anti-social critique with radical innovations in literary and cultural forms. She argues that the radical aesthetic practices the authors employ are central to the emergence of contemporary Western feminisms and in doing so rectifies a critical neglect of contemporary experimental writing by women, especially in politicized forms, within the still-emerging postmodern canon."--Bloomsbury Publishing.
Women authors. --- Feminism and literature. --- Literature --- Authors, Women --- Female authors --- Women as authors --- Authors --- Women and literature --- Women authors --- Acker, Kathy, --- Barry, Lynda, --- Cha, Theresa Hak Kyung --- Chawaf, Chantel --- Solanas, Valerie --- Winterson, Jeanette, --- Criticism and interpretation. --- ווינטרסון, ג׳נט, --- סולאנס, ולרי --- Ch'a, Hak-kyŏng --- 차 학경 --- Fear, Clay, --- Black Tarantula, --- Acker, Kathy --- Chawaf, Chantal
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How do objects summon memories? What do real images feel like? For decades, these types of questions have permeated the pages of Lynda Barry's compositions, with words attracting pictures and conjuring places through a pen that first and foremost keeps on moving. What It Is demonstrates a tried-and-true creative method that is playful, powerful, and accessible to anyone with an inquisitive wish to write or to remember. Composed of completely new material, each page of Barry's first Drawn & Quarterly book is a full-color collage that is not only a gentle guide to this process but an invigorating example of exactly what it is: "The ordinary is extraordinary."--Publisher description.
Graphic novel --- Stripverhaal --- Illustratietechniek --- COMICS & GRAPHIC NOVELS. --- Cartoons and comics. --- Comic books, strips, etc --- Comic books, strips, etc. --- Creation (Literary, artistic, etc.) --- Creation (Literary, artistic, etc.). --- Creative writing --- Creative writing. --- Graphic novels. --- Romans graphiques. --- Tecknader serier. --- Writing --- Technique --- Technique. --- Barry, Lynda, --- Romans graphiques --- Création (Arts) --- Création littéraire --- Écriture
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Focusing on such acclaimed examples asMaus,Persepolis, andWatchmen, these essays successfully highlight the ways that graphic novelists and literary cartoonists have incorporated history, experience, and autobiography into their work. The result is a collection that is both challenging and innovative.
Graphic novels. --- Autobiography in literature. --- Autobiography --- Authorship. --- Graphic novels --- History and criticism --- Authorship --- Spiegelman, Art --- Criticism and interpretation --- Bechdel, Alison --- Sedgwick, Eve Kosofsky --- Leonard, Joanne --- Barry, Lynda --- Yang, Gene Luen --- Comic book novels --- Fiction graphic novels --- Fictive graphic novels --- Graphic albums --- Graphic fiction --- Graphic nonfiction --- Graphic novellas --- Nonfiction graphic novels --- Comic books, strips, etc. --- Fiction --- Popular literature --- 82-931 --- 070.84 --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal
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