The Language of Comics When I first started reading The Language of Comics by Scott McCloud, I was a little confused. I was not precise about what the author was trying to say or what the main point of him telling me all of this was. However, a few pages into the article I began to understand the message. I believe that the main point of the article was to tell people that humans are self-centered and see only what they want to see, On Pg. 24-25 (Frames 1-10), Scott McCloud uses the painting of a pipe to explain that what you see in a picture is not actually what you see.
Taylor considers the various approaches and interpretations for the painting in her article, from the pre-iconographic description of O’Connor to the psycho-analytical by Naifeh and Smith, whilst also offering her own lucid comment, ‘If Pollock injected “willed confusions” into Stenographic Figure, he did so ingeniously, leaving generations of viewers uncertain about its specific subject matter and content.’ Langhorne again tries to ‘explain’ the various motifs in the painting through Jungian analysis ; ‘Thus the numerical formula 66=42 can be seen as yet another statement of Pollock’s desire for a union of opposites’ , something Rubin attributes to ‘compositional needs’. Taylor chooses the middle ground here and concentrates on a more literal explanation of the painting through its title: (remember tello obelisk analysis and redistribution of iconographic themes between Rothko and Pollack) the painting is of a stenographer and the symbols on the painting are the result of the recording of shorthand. However the validity of this could be called in question once one realizes the painting was originally called just that, Painting , although it was
The flamingo in the United States was like the “Early Christians associated with red phoenix and for the Ancient Egyptians symbolized the sun god Ra.” Her use of the metaphor to compare the flamingo to the red phoenix of the Christians and sun god Ra of the ancient Egyptians with the addition of her sarcastic tone derides the Americans for stressing the importance of the flamingo even though it’s not essential to anything. Throughout Price’s essay, figurative language incorporated with her sarcastic tone was used to effectively express her opinion about how the Americans culture goes based off apparent ideas just because to be able to “fit in” with society. After
Corbett expresses his feelings towards censoring one of the greatest novels of all time and how it should not be done. Corbett states in his article that there have been multiple breakouts of protests to censor The Catcher in the Rye, and that they will continue to breakout. Corbett also states in the article that the language is obscene, profane, and crude. There have been people that do say this but Corbett has a good point that the language in todays youth is much worse than it is in the novel. Corbett also says that the seeing the language in print is very shocking, but the point that is trying to be sent here is that any language in literature on a page can be shocking even if it is not that bad, but when it comes down to speaking the obscene language in public, it suddenly becomes much worse.
The mix of genres raises questions about the classification of the book, but also about the nature of classification itself; an important issue in terms of its subject matter. Art Speigelman used comic as his own narrative hybrid version of comic narrative. James Young wrote that Spiegelman’s “Maus” also suggest itself as a model for what He calls “received history”—a narrative hybrid that interweaves both events of the Holocaust and the ways they are passed down to us. This story structure can’t replace, it accounts for history- instead it can give us a different perspective on it. I also think that this means that this type of story is different from what readers can get from “history” books, because this is from an actual survivors point of view.
The character that I think that is the most complex one in this short story is Arnold Friend. But what does actually Arnold Friend stands about? In years critics have applied various literary theories and approaches to this fascinating and perplexing story. There are multiple interpretations of this story from different perspective. The most common perspective of this story is the one that states that Arnold is the Satan.
Citing Watchmen as the point where the comic book medium "came of age", Iain Thomson wrote in his essay "Deconstructing the Hero" that the story accomplished this by "developing its heroes precisely in order to deconstruct the very idea of the hero and so encouraging us to reflect upon its significance from the many different angles of the shards left lying on the ground". [38] Thomson stated that the heroes in Watchmen almost all share a nihilistic outlook, and that Moore presents this outlook "as the simple, unvarnished truth" to "deconstruct the would-be hero's ultimate motivation, namely, to provide a secular salvation and so attain a mortal immortality". [39] He wrote that the story "develops its heroes precisely in order to ask us if we would not in fact be better off without heroes". [40] Thomson added that the story's deconstruction of the hero concept "suggests that perhaps the time for heroes has passed", which he feels distinguishes "this postmodern work" from the deconstructions of the hero in the existentialism movement. [41] Richard Reynolds states that without any supervillains in the story, the superheroes of Watchmen are forced to confront "more intangible social and moral concerns", adding that this removes the superhero concept from the normal narrative expectations of the genre.
Two Completely Different Sides of Creation William Blake was an English poet, painter, and printmaker. Blake composed two beautiful pieces of work that exemplify his ideas on the nature of creation. The two pieces, “The Lamb” and “The Tyger”, are completely opposite views, which give questionable doubt about most people's outlook of creation. These two lyric poems are meant to be interpreted in a comparison and contrast form. Ultimately these two poems written by Blake, question whether one being, or one power (God), could create both the simple good and the complex evil, and how they can exist in the same world.
If a painter were to look at a painting they would look at the brush strokes or colors, because that is what they closely relate to. Berger also discusses how we look at art now is different than how people looked at art in the past. Because art is so widely reproduced all the time, we tend to lose our appreciation for art. Whereas a few centuries ago, or even decades ago, people could look at art and appreciate the beauty in it. When art was actually original and these painters and artists lived amongst them, it was a rare form of expression.
However, it has become mainstream the biased use of the term. Socially constructed stereotypes can have a negative effect on people suffering from OCD. According to the essay "What's So Funny About Obsessive Compulsive Disorder" written by Paul Celafu, associate professor in the department of English at Lafayette College in Easton Pennsylvania. He discusses how The illness is portrayed as a joke in the media. "The media, in its recent portrayals of OCD, consistently represents the disorder with levity and humor.