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In 2007, poet Serban Foarta published two books in collaboration with Romelo Percolovici and Ion Barbu, both visual artists. These books highlight the remarkable dialogue between poetry and image, so much so that their analysis becomes a pretext for engaging with the forms, the functions, and the limitations of graphic novels. [ABSTRACT FROM AUTHOR]

Junji Ito is one of the most famous mangakas. His 1998-1999 work Uzumaki is a prime example of how mangas integrate symbols (such as that of the spiral) and narratives from literature and collective memory, creating complex stories. Manga, just like graphic novels, have suffered from the stigma of being considered not as "serious" as the more established genres, thus they have not been as much the object of academic research. In the following article, I show, through a descriptive and thematic analysis, that there are in fact a lot of intricacies when it comes to a work such as Uzumaki, and that the author manages to create a story as compelling as that of any well-written novel. [ABSTRACT FROM AUTHOR]

The article argues that in Batman. The Killing Joke, the graphic novel by Alan Moore and Brian Bolland (1988), the character of the Joker is dimensioned so that he goes beyond the simple relationship of opposition to Batman, his great adversary. Although the story is built, in general, respecting the Batman canon, Joker stands out through a complex positioning, which leaves the simple categories of psychopath and criminal and becomes a social rebel with multiple ideological valences. The article highlights the means used by the graphic novel to construct characters and undertakes a hermeneutic analysis of the discourse, which occupies a central place, held by the Joker. The analysis is based on the theory of distance to insanity and crime, as elaborated in the work The Autonomous Discourse. Communication Strategies (2013). [ABSTRACT FROM AUTHOR]

In the present article, I explore a number of aspects pertaining to the esthetics and the poetics of the graphic novel through an analysis of Marjane Satrapi's novel. Broderies, a novel of mentalities, a novel illustrative for revisiting gender stereotypes, but also ethnical, racial, and cultural ones, becomes exemplary of the genre it pertains to, even if the author had already written another masterpiece, Persepolis, which established the characteristics of the genre. The novelistic Ekphrasis adds another layer to the narrative of emancipation, a narrative that recovers the traditional forms of the witness-told stories, frame stories so characteristic of oriental literature. [ABSTRACT FROM AUTHOR]

The paper describes a representative set of terms from the lexical field of affection, by following the meaning and occurrences in which the terms from the lexical field of positive and negative affections are engaged in different contextual hypostases from the graphic novel Maus. The story of a survivor, by Art Spiegelman. Following the disambiguation of contexts, contextual-semantic and onomasiological analysis, we came to the conclusion that the affective lexicon includes a wide range of primary affections, related terms in tone and significance. Their focus is achieved by engaging several parameters: subjectivity/interiorization/exteriorization/intensity/duration, as well as by marking and gradual modeling with the help of the context. [ABSTRACT FROM AUTHOR]

My study entails an inventory of some typical procedures pertaining to the graphic novel seen as a multimodal subgenre and analyses a variety of pragma-semantic rules guiding the interaction between visual and verbal language. The Leonardo da Vinci. The Renaissance Man case study constitutes the starting point of a theoretical and critical reflection on strategies enabling fiction to permeate graphic novels. [ABSTRACT FROM AUTHOR]

This study will focus on identifying the most effective narrative techniques used by Art Spiegelman in his graphic novel Maus, begun in 1973 and completed in 1991, and analyzing them from a literary theorist's perspective. Up to a certain point, they will be separated from the visual techniques that enable the reader to understand Spiegelman's dramatic account of the Holocaust in World War Two. [ABSTRACT FROM AUTHOR]

The portraits of the noble robbers and images of their bravery have a double role: on the one hand, they break the linearity of the discourse and intensify the suspense, and on the other hand, they give concreteness to the carefully constructed fleeting image of the literary text. The very practice of publishing works of fiction accompanied by graphic representations of significant scenes underpins the rise of the novel. Western literature of the eighteenth and nineteenth centuries took full advantage of the commercial success of graphic inserts, and Romanian literature adopted this technique to streamline the circulation of the novel's message. In addition to its specific role as an entertaining element, we cannot deny the fundamental role of illustration as a semiotic instrument. In the hajduk novel, the illustration mediates the crystallization of the noble outlaw image because it compresses essential biographical information and offers a translation of his personality. The graphic elements direct the novel's content to a specific audience with an appetite for particular ideological messages. The portraits of the main characters, captured in edifying poses for the development of their identity as symbols of social resistance, are likely to influence the entire literary system configured by the subgenre, imposing their associative and analogical force. [ABSTRACT FROM AUTHOR]

The graphic novel, despite having an initially strict definition, has undergone significant redefinition through its interaction with the market and the public. The term, which distinguishes itself from comics and attracts a new audience, has now gained undeniable notoriety. In libraries, this raises several questions regarding classification, categorization, and highlighting. In this article, after a conceptual approach to the term, the author examines how it has established itself on the French market, emphasizing the notion of format, in order to decipher the subsequent use by key mediators such as librarians. A final section aims to propose several solutions, based on field visits, to address this ambiguous yet desired object by the public. [ABSTRACT FROM AUTHOR]

The article recalls the most significant moments in the history of comics, briefly presents the context in which the evolution of comics favoured the emergence of the graphic novel and describes its main features. The author, who is deeply involved in the study of graphic literature and its promotion activities, summarizes the situation of graphic novel publishing in Romania, highlighting the important place of women creators in the development of this genre. [ABSTRACT FROM AUTHOR]

The detective hero is not dressed, literally, in a superhero costume, as we know it from another niche literature, that of the graphic novel or comics. The parallelism with this type of literature has its degree of relevance: as in the narrative in which the superhero, camouflaged in ordinary man's clothes, but hiding superhuman abilities to perceive danger, to intuit the solution, in addition to acquiring the ability (of which, sometimes he takes the liberty of enjoying the traditional detective) of justice, he enters his role exclusively at the moment when the criminal accumulation reaches an unacceptable peak from the point of view of human morality: from the more or less neutral observer, more or less manipulable, the collective character represented by humanity enters the role of victim. We will identify the way in which the author of police literature places the notions of Positive and Negative so that the moral landmarks can be, at least apparently, established. [ABSTRACT FROM AUTHOR]

The detective hero is not dressed, literally, in a superhero costume, as we know it from another niche literature, that of the graphic novel or comics. The parallelism with this type of literature has its degree of relevance: as in the narrative in which the superhero, camouflaged in ordinary man's clothes, but hiding superhuman abilities to perceive danger, to intuit the solution, in addition to acquiring the ability (of which, sometimes he takes the liberty of enjoying the traditional detective) of justice, he enters his role exclusively at the moment when the criminal accumulation reaches an unacceptable peak from the point of view of human morality: from the more or less neutral observer, more or less manipulable, the collective character represented by humanity enters the role of victim. We will identify the way in which the author of police literature places the notions of Positive and Negative so that the moral landmarks can be, at least apparently, established. [ABSTRACT FROM AUTHOR]

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