„Bridging the gap between here and there: Combining multimodal analysis from international perspectives“

Internationale und interdisziplinäre Tagung an der Universität Bremen, 10. bis 13. September 2014

 Stichtag: 15. April 2014

Das Konzept von Multimodalität in Deutschland entspricht nicht dem internationalen Standard. Zu viele Unterschiede in Terminologie und Methodik sowie einer allgemeinen Perspektive auf Sprache bzw. Medien bestehen nebeneinander, finden zugleich aber nur selten Eingang in den wissenschaftlichen Alltag. Ziel der Tagung ist es deswegen, die sprach- und fachübergreifend bestehenden Differenzen zusammenzubringen und neu zu beleuchten. Unterschiedliche Konzepte sollen interdisziplinär aufbereitet und in einem jeweils angemessenen Untersuchungsansatz angewandt werden, um Gemeinsamkeiten in den jeweiligen Forschungsparadigmen im Hinblick auf eine zielorientierte Auseinandersetzung besonders herauszuarbeiten und Brücken zwischen den z.T. widersprüchlichen Ansätzen zu schlagen.

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Konferenz, Mansfield College, Oxford, United Kingdom, 3. bis 5. September 2014

 Stichtag: 4. April 2014

“Behind this mask there is more than just flesh. Beneath this mask there is an idea… and ideas are bulletproof.”
(Alan Moore, V for Vendetta)

This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues in and around the production, creation and reading of all forms of comics and graphic novels. Taken as a form of pictographic narrative it has been with us since the first cave paintings and even in the 21st century remains a hugely popular, vibrant and culturally relevant means of communication whether expressed as sequential art, graphic literature, bandes dessinees, tebeos, fumetti, manga, manhwa, komiks, strips, historietas, quadrinhos, beeldverhalen, or just plain old comics. (as noted by Paul Gravett) Weiterlesen →

Publikation: Special Issue of LWU (Literatur in Wissenschaft und Unterricht): “Serial Narratives”

Stichtag: 1. April 2014

Since the nineteenth century, serial narration has been a preferred mode of popular storytelling. From serialized novels to comic strips and film serials, from radio plays and television series to video games, and digital forms of storytelling—serial narratives have proven to be an effective means of attracting and engaging mass audiences, especially when new technologies (like color printing in newspapers) and new media (like film, radio, television, and the Internet) emerge. Producers rely on recurrent characters, ongoing storylines, and delayed narrative closure in order to generate audience desire for future installments. In that regard, serial narratives essentially promote themselves and the medium in which they appear, as consumers must continue to read, watch, or listen over extended periods of time if they want to gain access to the full story. Serial narratives make perfect economic sense from the producers’ point of view, then, but they also provide various pleasures for their audiences. The particular appeal of a television series, to name just one example, may lie in ritualized viewing practices, in a longterm emotional engagement with fictional characters and their experiences, or in creative responses like fan fiction.

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Konferenz, International Comic Arts Forum im Billy Ireland Cartoon Library & Museum in Columbus, OH, 13. bis 15. November  2014

Stichtag: 14. März 2014

ICAF welcomes original proposals from diverse disciplines and theoretical perspectives on any aspect of comics or cartooning, particularly studies that reflect an international perspective. Studies of aesthetics, production, distribution, reception, and social, ideological, and historical significance are all equally welcome, as are studies that address larger theoretical issues linked to comics or cartooning, for example in image/text studies or new media theory.

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