Lost Literacies: Experiments in the Nineteenth-Century US Comic Strip: Studies in Comics and Cartoons
Autor Alex Beringeren Limba Engleză Paperback – 10 ian 2024
Lost Literacies is the first full-length study of US comic strips from the period prior to the rise of Sunday newspaper comics. Where current histories assume that nineteenth-century US comics consisted solely of single-panel political cartoons or simple “proto-comics,” Lost Literacies introduces readers to an ambitious group of artists and editors who were intent on experimenting with the storytelling possibilities of the sequential strip, resulting in playful comics whose existence upends prevailing narratives about the evolution of comic strips. Over the course of the nineteenth century, figures such as artist Frank Bellew and editor T. W. Strong introduced sequential comic strips into humor magazines and precursors to graphic novels known as “graphic albums.” These early works reached audiences in the tens of thousands. Their influences ranged from Walt Whitman’s poetry to Mark Twain’s travel writings to the bawdy stage comedies of the Bowery Theatre. Most importantly, they featured new approaches to graphic storytelling that went far beyond the speech bubbles and panel grids familiar to us today. As readers of Lost Literacies will see, these little-known early US comic strips rival even the most innovative modern comics for their diversity and ambition.
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Specificații
ISBN-13: 9780814258965
ISBN-10: 0814258964
Pagini: 256
Ilustrații: 61 b&w images
Dimensiuni: 178 x 254 x 18 mm
Greutate: 0.54 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Studies in Comics and Cartoons
ISBN-10: 0814258964
Pagini: 256
Ilustrații: 61 b&w images
Dimensiuni: 178 x 254 x 18 mm
Greutate: 0.54 kg
Editura: Ohio State University Press
Colecția Ohio State University Press
Seria Studies in Comics and Cartoons
Recenzii
“Providing lists of archives, periodicals, and graphic albums that can be starting places for future researchers, this is a fascinating account of early comics history generally unknown and warranting serious consideration, and it sheds light on some true inventors of comics. Lost Literacies is an excellent book in all dimensions. Summing Up: Essential. All readers.” —J. A. Lent, CHOICE
“Lost Literacies recovers and makes meaningful a large archive of forgotten visual materials from illustrated weeklies, newspapers, and books. By collating this vital prehistory of the comic strip, Beringer reveals fascinating features of nineteenth-century US urban visual culture. An elegant and exciting study.” —Sandra Tomc, author of Fashion Nation: Picturing the United States in the Long Nineteenth Century
“Beringer’s repositioning of the history of comics gives a more nuanced account of the way the comics form developed in America than anything currently available. Lost Literacies is a valuable reference for the growing number of scholars studying the comic strips of later periods.” —Ian Gordon, author of Superman: The Persistence of an American Icon
"This extensively researched volume is a must for two groups of scholars on perhaps opposite sides of the same center. First, it is a history of graphic communication for those seeking historical evolution and perspective. Then it is a treasure trove of antiquities for those who love comic strips simply for what they are: entertainment, often with meaningful philosophical underpinnings. … Beringer has made an important contribution to comic strip history." - Bill Plott, Alabama Writer’s Forum
Notă biografică
Alex Beringer is Professor of English at the University of Montevallo. He has held fellowships with the University of Cambridge and the American Antiquarian Society. His research concerns nineteenth-century American visual culture, literature, and comics. Find him at www.alexjberinger.com.
Extras
Lost Literacies tells a new story of US comics history by introducing readers to a vibrant culture of comic strips that appeared in the mid-nineteenth-century United States. These works were neither caricatures nor political cartoons but emphatically stories with distinctive characters, settings, plots, and situational humor. While it is difficult to identify any single moment as the “first” instance of a comic strip in the United States, this earlier period was clearly a breakthrough. Starting in the 1840s, publishers in the United States began releasing original sequential comics in high volume. Long-form picture stories first appeared in book-length precursors to graphic novels known as “graphic albums.” These oblong volumes (6″ × 4″) featured illustrations with captions on each page that follow a single protagonist through a series of humorous picaresque adventures. Soon after, serialized picture stories and short illustrated skits also began running in humor magazines with regularity, starting with a few works in the semiannual pictorial supplements to Brother Jonathan (1842) and in weeklies like Yankee Doodle (1846) and The John Donkey (1848). The trend then expanded into later humor publications, including Yankee Notions (1852), The Picayune (1852), Phunny Phellow (1853), Nick Nax (1856), Comic Monthly (1859), Leslie’s Budget of Fun (1859), Vanity Fair (1859), Funniest of Phun (1860), Jolly Joker (1862), Merryman’s Monthly (1863), and Wild Oats (1870). Even the venerable Harper’s Monthly (1850) and Harper’s Weekly (1857) underwent short stints in the 1850s and ’60s where picture stories were featured in each issue.
A cursory glance through these graphic albums and humor magazines quickly dispels any misunderstandings about their purported backwardness or obscurity. Over the course of their runs, these publications featured inventive and often elaborate comic strips and picture stories. They boasted circulations in the tens of thousands and employed a who’s-who of major US illustrators, including Frank Bellew, George Carleton, Felix Darley, Livingston Hopkins, August Hoppin, Joshua Howard, John McLenan, Henry Louis Stephens, Thomas Worth, and others. Works with titles like “Obadiah Oldpot,” “Mr. Slim,” “Young Fitznoodle,” “Master Charley,” and “Jonathan Abroad” were serialized through multiple issues, in some cases lasting as long as twelve months. And far from mere derivations, US publishers and editors were adamant in their policies of charting a distinctively “American” style of visual storytelling. Just as Ralph Waldo Emerson hoped for the end of “our long apprenticeship” to Europe, comic artists insisted that graphic narratives should, as one editor wrote, “fix on the honest, home-writ page.”
The tone, audience, and approach of these comics could range along a spectrum of ideologies and sensibilities, often lining up with the ethos of the publication or publisher. Among magazines, Leslie’s Budget of Fun was explicitly family friendly with its rejection of “even the mildest kind of profanity,” while the Bohemian-tinged Vanity Fair reveled in imagery and jokes about men in saloons smoking hashish and experimenting with queer forms of gender expression and sexuality. Graphic albums could vary widely too. Some, like The Adventures of Mr. Tom Plump, were explicitly designed with children in mind; other albums could be bawdy and adult-oriented like The Adventures of Slyfox Wikoff; still others could be genteel and reflective like Augustus Hoppin’s semi-autobiographical travel albums. The artists and their comics were hardly peripheral to US literary and artistic culture but rather were engaged with many of the major undercurrents of their time. As this book demonstrates, the social and intellectual milieu of nineteenth century US comics extended to influences ranging from Walt Whitman’s transcendentalist poetry to Benjamin Baker’s bawdy stage comedies to the travel writings of Mark Twain.
A cursory glance through these graphic albums and humor magazines quickly dispels any misunderstandings about their purported backwardness or obscurity. Over the course of their runs, these publications featured inventive and often elaborate comic strips and picture stories. They boasted circulations in the tens of thousands and employed a who’s-who of major US illustrators, including Frank Bellew, George Carleton, Felix Darley, Livingston Hopkins, August Hoppin, Joshua Howard, John McLenan, Henry Louis Stephens, Thomas Worth, and others. Works with titles like “Obadiah Oldpot,” “Mr. Slim,” “Young Fitznoodle,” “Master Charley,” and “Jonathan Abroad” were serialized through multiple issues, in some cases lasting as long as twelve months. And far from mere derivations, US publishers and editors were adamant in their policies of charting a distinctively “American” style of visual storytelling. Just as Ralph Waldo Emerson hoped for the end of “our long apprenticeship” to Europe, comic artists insisted that graphic narratives should, as one editor wrote, “fix on the honest, home-writ page.”
The tone, audience, and approach of these comics could range along a spectrum of ideologies and sensibilities, often lining up with the ethos of the publication or publisher. Among magazines, Leslie’s Budget of Fun was explicitly family friendly with its rejection of “even the mildest kind of profanity,” while the Bohemian-tinged Vanity Fair reveled in imagery and jokes about men in saloons smoking hashish and experimenting with queer forms of gender expression and sexuality. Graphic albums could vary widely too. Some, like The Adventures of Mr. Tom Plump, were explicitly designed with children in mind; other albums could be bawdy and adult-oriented like The Adventures of Slyfox Wikoff; still others could be genteel and reflective like Augustus Hoppin’s semi-autobiographical travel albums. The artists and their comics were hardly peripheral to US literary and artistic culture but rather were engaged with many of the major undercurrents of their time. As this book demonstrates, the social and intellectual milieu of nineteenth century US comics extended to influences ranging from Walt Whitman’s transcendentalist poetry to Benjamin Baker’s bawdy stage comedies to the travel writings of Mark Twain.
Cuprins
Introduction Transatlantic Picture Stories Chapter 1 Giotto’s Magic Circle: Breakthroughs in Sequential Comics Chapter 2 Everyday Adventures: Character Studies and Skits Chapter 3 Drawn from the Stage: Theater Comics Chapter 4 Impressions of Places: Augustus Hoppin and Travel Comics Epilogue After the First Wave of US Comic Strips
Descriere
As the first full-length study of US comic strips predating Sunday newspaper comics, excavates playful and complex contributions that upend prevailing narratives about comic strip evolution.