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How to Read Superhero Comics and why

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Continuum International Publishing Group, 2002 - 204 страници
Superhero comic books are traditionally thought to have two distinct periods, two major waves of creativity: the Golden Age and the Silver Age. In simple terms, the Golden Age was the birth of the superhero proper out of the pulp novel characters of the early 1930s, and was primarily associated with the DC Comics Group. Superman, Batman, Green Lantern, and Wonder Woman are the most famous creations of this period. In the early 1960s, Marvel Comics launched a completely new line of heroes, the primary figures of the Silver Age: the Fantastic Four, Spider-Man, the Incredible Hulk, the X-Men, the Avengers, Iron Man, and Daredevil. In this book, Geoff Klock presents a study of the Third Movement of superhero comic books. He avoids, at all costs, the temptation to refer to this movement as "Postmodern," "Deconstructionist," or something equally tedious. Analyzing the works of Frank Miller, Alan Moore, Warren Ellis, and Grant Morrison among others, and taking his cue from Harold Bloom, Klock unearths the birth of self-consciousness in the superhero narrative and guides us through an intricate world of traditions, influences, nostalgia and innovations - a world where comic books do indeed become literature.
  

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Review: How to Read Superhero Comics and Why

Потребителски отзив  - Doctorteeth - Goodreads

How To Read Superhero Comics And Why is not a book that spoonfeeds you anything. But when you try and look at the end of the Silver Age of comic books through the lens of the literary theory of Harold ... Прочетете пълната рецензия

Review: How to Read Superhero Comics and Why

Потребителски отзив  - Devin Bruce - Goodreads

How To Read Superhero Comics And Why is not a book that spoonfeeds you anything. But when you try and look at the end of the Silver Age of comic books through the lens of the literary theory of Harold ... Прочетете пълната рецензия

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Страница 54 - The life of man is a self-evolving circle, which, from a ring imperceptibly small, rushes on all sides outwards to new and larger circles, and that without end. The extent to which this generation of circles, wheel without wheel, will go, depends on the force or truth of the individual soul.
Страница 8 - A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.
Страница 179 - ... the individual is interpellated as a (free) subject in order that he shall submit freely to the commandments of the Subject, ie in order that he shall (freely) accept his subjection, ie in order that he shall make the gestures and actions of his subjection 'all by himself.
Страница 10 - That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilised form of autobiography, as it deals not with the events, but with the thoughts of one's life...
Страница 179 - I shall then suggest that ideology "acts" or "functions" in such a way that it "recruits" subjects among the individuals (it recruits them all), or "transforms" the individuals into subjects (it transforms them all) by that very precise operation which I have called interpellation or hailing, and which can be imagined along the lines of the most commonplace everyday police (or other) hailing: "Hey, you there!
Страница 25 - A succession of men had sat in that chair. I became aware of that thought suddenly, vividly, as though each had left a little of himself between the four walls of these ornate bulkheads; as if a sort of composite soul, the soul of command, had whispered suddenly to mine of long days at sea and of anxious moments. 'You, too!
Страница v - A place adumbrated itself in his thoughts, wherein those sacred personalities, which are at once the reflex and the pattern of our nobler phases of life, housed themselves ; and this region in his intellectual scheme all subsequent experience did but tend still further to realise and define. Some ideal, hieratic persons he would always need to occupy it and keep a warmth there. And he could hardly understand those who felt no such need at all, finding themselves quite happy without such heavenly...
Страница 122 - And it takes a very open mind indeed to look beyond the unnecessarily gaudy covers, trashy titles and barely acceptable advertisements and recognize the authentic power of a kind of writing that, even at its most mannered and artificial, made most of the fiction of the time taste like a cup of luke-warm consomme at a spinsterish tearoom.
Страница 63 - completes" his precursor, by so reading the parent-poem as to retain its terms but to mean them in another sense, as though the precursor had failed to go far enough.
Страница 11 - Antithetical criticism must begin by denying both tautology and reduction, a denial best delivered by the assertion that the meaning of a poem can only be a poem, but another poem — a poem not itself.

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Информация за автора (2002)

Geoff Klock is the author of How to Read Superhero Comics and Why (Continuum, 2002) a study guided by Harold Bloom's poetics of influence. After getting a Masters degree in English he spent two years studying literature as a night security guard. He was then admitted to Balliol College, Oxford. His doctoral thesis there, Imaginary Biographies: Misreading the Lives of the Poets, focuses on Romantic poetry and its extensions through the 20th century- specifically poetry's bizarre and idiosyncratic portrayals of historical writers (e.g. Virgil in Dante's Divine Comedy). This work will be followed by a complementary study of the same device in popular culture, (e.g. Johnny Depp's portrayal of William Blake in Jim Jarmusch's Dead Man).

Geoff Klock is twenty-seven years old, and was raised in Texas, where he attended the High School for the Performing and Visual Arts. For more information visit his website at www.geoffklock.com

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