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The Aesthetics of Comics by Carrier, David
by Carrier, David | HC | Good
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“Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, ”... Read moreabout condition
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eBay item number:375059306035
Item specifics
- Condition
- Good
- Seller Notes
- Binding
- Hardcover
- Weight
- 1 lbs
- Product Group
- Book
- IsTextBook
- No
- Publication Year
- 2000
- Artist/Writer
- David Carrier
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Publisher
- Pennsylvania STATE University Press
- Genre
- Literary Criticism, Philosophy, Comics & Graphic Novels
About this product
Product Information
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.
Product Identifiers
Publisher
Pennsylvania STATE University Press
ISBN-10
027101962x
ISBN-13
9780271019628
eBay Product ID (ePID)
6038280881
Product Key Features
Genre
Literary Criticism, Philosophy, Comics & Graphic Novels
Publication Year
2000
Language
English
Artist/Writer
David Carrier
Type
Textbook
Format
Hardcover
Dimensions
Item Length
9in
Item Height
0.4in
Item Weight
16 Oz
Item Width
6in
Additional Product Features
Number of Pages
152 Pages
Publication Name
Aesthetics of Comics
Lccn
99-017980
Dewey Decimal
741.5/01
Lc Classification Number
Pn6710.C35 2000
Copyright Date
2000
Dewey Edition
21
Reviews
"David Carrier has written a most perceptive and readable account of that great American apparatus-the comic strip. Historically accurate and philosophically bracing, this is a truly terrific book. Carrier has done a necessary and brilliant service, and he has provided a true gift to all who admire the comic strip tradition." -Archie Rand, Columbia University, "Carrier is an academic philosopher who also works as an engaged commentator on contemporary art. His writings tend to be full of witty rhetorical constructions, and thus they are entertaining to read in ways that most contemporary academic writing, whether on philosophy or art or both, is not." --Bill Berkson, San Francisco Art Institute, &"Carrier is an academic philosopher who also works as an engaged commentator on contemporary art. His writings tend to be full of witty rhetorical constructions, and thus they are entertaining to read in ways that most contemporary academic writing, whether on philosophy or art or both, is not.&" &-Bill Berkson, San Francisco Art Institute, "An indispensable and enjoyable contribution to discussions dealing with the end of Modernism, the function of art history, and the will to form a healthy development beyond current mannerist, postmodern malaise." --Mark Staff Brandl, The Art Book, "The ingenuity with which the classical comic strip artists found ways of telling whole stories in four or five panels has been insufficiently appreciated by philosophers or historians of art. Carrier has written a marvelous book on these narrative strategies, from which we cannot but learn something about how the mind processes pictorial information and how the Old Masters coped with the urgent stories simple people had to understand." -Arthur Danto, Columbia University, "An indispensable and enjoyable contribution to discussions dealing with the end of Modernism, the function of art history, and the will to form a healthy development beyond current mannerist, postmodern malaise." -Mark Staff Brandl, The Art Book, "Carrier is an academic philosopher who also works as an engaged commentator on contemporary art. His writings tend to be full of witty rhetorical constructions, and thus they are entertaining to read in ways that most contemporary academic writing, whether on philosophy or art or both, is not." -Bill Berkson, San Francisco Art Institute, &"The ingenuity with which the classical comic strip artists found ways of telling whole stories in four or five panels has been insufficiently appreciated by philosophers or historians of art. Carrier has written a marvelous book on these narrative strategies, from which we cannot but learn something about how the mind processes pictorial information and how the Old Masters coped with the urgent stories simple people had to understand.&" &-Arthur Danto, Columbia University, &"Carrier&'s gracefully erudite book will do for the comics what Stanley Cavell has done for Hollywood movies.&" &-George J. Leonard, Universal Pictures, "David Carrier has written a most perceptive and readable account of that great American apparatus--the comic strip. Historically accurate and philosophically bracing, this is a truly terrific book. Carrier has done a necessary and brilliant service, and he has provided a true gift to all who admire the comic strip tradition." --Archie Rand, Columbia University, "The ingenuity with which the classical comic strip artists found ways of telling whole stories in four or five panels has been insufficiently appreciated by philosophers or historians of art. Carrier has written a marvelous book on these narrative strategies, from which we cannot but learn something about how the mind processes pictorial information and how the Old Masters coped with the urgent stories simple people had to understand." --Arthur Danto, Columbia University, &"An indispensable and enjoyable contribution to discussions dealing with the end of Modernism, the function of art history, and the will to form a healthy development beyond current mannerist, postmodern malaise.&" &-Mark Staff Brandl, The Art Book, "Carrier's gracefully erudite book will do for the comics what Stanley Cavell has done for Hollywood movies." -George J. Leonard, Universal Pictures, "Carrier's gracefully erudite book will do for the comics what Stanley Cavell has done for Hollywood movies." --George J. Leonard, Universal Pictures, &"David Carrier has written a most perceptive and readable account of that great American apparatus&-the comic strip. Historically accurate and philosophically bracing, this is a truly terrific book. Carrier has done a necessary and brilliant service, and he has provided a true gift to all who admire the comic strip tradition.&" &-Archie Rand, Columbia University
Target Audience
Scholarly & Professional
Illustrated
Yes
Topic
Nonfiction / General, American / General, Aesthetics, Comics & Graphic Novels
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