...Eyal Segal Propp Vladimir , On the Comic and Laughter , translated and edited by Debbèche Jean-Patrick Perron Paul . Toronto : University of Toronto Press , 2009 . xvi + 191 pp. . © 2011 by Porter Institute for Poetics and Semiotics 2011 New Books at a Glance...

...Eyal Segal © 2016 by Porter Institute for Poetics and Semiotics 2016 Stein Daniel and Thon Jan-Noël , eds., From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative . Berlin : De Gruyter , 2013 . vi + 416 pp. New Books at a Glance...

...Loren Kruger; Patricia Watson Shariff This article examines the ways comics contribute to nonformal education in contemporary South Africa, especially the Heart to Heart project,produced by the Storyteller Group, and Body and Soul , by the Soul City project. While Soul City follows the urban bias...

...Daniel Candel Readings of covert progression have expanded the study of rhetorical criticism but usually limit themselves to analyzing short stories. By analyzing Frank Miller’s 300 , this article extends covert progression to comics, a medium in which language and images crucially interact...

... for analysis which is commonly adopted, a structuralist reading rooted in Saussure's linguistics and Propp's narratology, and suggests a framework stemming from the comics that Calvino would have read in newspapers as a child. An unlikely source of inspiration, these comics actually tell us a great deal about...

... in comics, focusing on their general semantics. It argues that the intersemiotic interplay of the various resources and the evolving meaning construction is one of the most challenging aspects of comic analysis today and that recipients need to construct complex representations of what is shown (and told...

...”) of narrative texts: author, narrator, reader, spectator, character. Thus to explain narrative humor is to show how narrative enables its participants (“agents”) to produce humor. I analyze some types of narrative humor: “metanarrative humor,” “comic narrative suspense,” and “comic narrative surprise.” Some...

... the participants (agents, intentional perspectives) of narrative texts: author, narrator, reader/spectator, character. Fourth, it analyzed some types of narrative humor, mainly “metanarrative humor,” “comic narrative suspense,” and “comic narrative surprise.” Part II surveys and compares other approaches to humor...

...Aarnoud Rommens This article explores how a minor medium such as comics—specifically,Alberto Breccia's version of Edgar Allan Poe's “William Wilson”—used its counter-censorial potential to activate memory in a context stifled by harsh repression. Through the development of several reading...

... by the participants. Focusing on a scene from Evelyn Waugh's Black Mischief (1986 [1932]), I argue that Waugh is sensitive to the dynamics of multiparty talk while orchestrating the representation for comic effect. I propose that analyzing such scenes of multiparty talk must make us reassess not only how we theorize...

... naturally to an investigation of the interactions among theater audiences and the various parts of the theater industry. To demonstrate the possibilities of audience studies, this essay includes an analysis of Francis Beaumont and John Fletcher's play Love's Cure; or, The Martial Maid (1647), a comic drama...

..., and other humorous meanings that literary recipes often seem to produce, which is linked to the operational and structural dimensions of the recipe—its comically posited procedural form. References Adamson Melitta Weiss . 1995 . “ The Games Cooks Play: Non-Sense Recipes and Practical Jokes...

... to the children’s books Where the Wild Things Are and The Gruffalo and the comic “The Baba Yaga” (from the Hellboy series): they all undergo a process of analysis and metacognitive reflection. Validating the tool as an analytic and an educational measure depends on its ability to guide the reader toward...

... that until now have attracted comparatively little attention in multimodality studies, including not only multimodal novels, comics, and films but also current television programs, video games, and other forms of digital media. On the other hand, and no less importantly, the articles collected here engage...

... that interactivity does not affect all works the same way, but manifests characteristics according to authorial design and the content and form of each work. Through a close reading of three digital life stories which employ interactivity differently—a web comic, a clickable scrapbook, and a narrative video game...

... Romantic poets. Eyal Segal, Tel Aviv University, Porter Institute for Poetics and Semiotics doi 10.1215/03335372-2010-008 Vladimir Propp, On the Comic and Laughter, translated and edited by Jean...

... Romantic poets. Eyal Segal, Tel Aviv University, Porter Institute for Poetics and Semiotics doi 10.1215/03335372-2010-008 Vladimir Propp, On the Comic and Laughter, translated and edited by Jean...

... Institute for Poetics and Semiotics doi 10.1215/03335372-2010-008 Vladimir Propp, On the Comic and Laughter, translated and edited by Jean-Patrick Debbèche and Paul Perron. Toronto: University of Toronto Press, 2009. xvi + 191 pp. This is a translation...

... Romantic poets. Eyal Segal, Tel Aviv University, Porter Institute for Poetics and Semiotics doi 10.1215/03335372-2010-008 Vladimir Propp, On the Comic and Laughter, translated and edited by Jean...

... , ( Galactic Café ). Goodbrey Daniel Merlin . 2013 “ Digital Comics—New Tools and Tropes ,” Studies in Comics 4 , no. 1 : 185 – 97 . Havelka Steve . 1998 Pokey the Penguin , yellow5.com/pokey/ ( accessed October 26, 2016 ). Herman David . 2013 “ Cognitive Narratology...