graphic novels; seriality; intermediality; popular aesthetics and practice; intermedial narratology; aesthetics of seriality; typology of serial phenomena; practice of seriality; fandom practices; praxeological aspects of cultural experience; marketplace; comics; media of popular culture; media studies; general media theory; cultural studies; cultural history; comics studies; bi-mediality; meta-referentiality; metaleptic strategies; (Practice and Theory of) Seriality; Intermedial Narration; Anglophone Graphic Novels; Sequentiality; Production Processes; Marketplace Conditions; Typology of Seriality
Hoppeler Stephanie, Rippl Gabriele (2014), Narrating Radioactivity: Representation of Nuclear Disasters and Precarious Lives in Comic Books and Graphic Novels., in Korte Barbara, Regard Frédéric (ed.), Winter, Heidelberg, 55-70.
Etter Lukas, Rippl Gabriele (2013), ‘Don’t laugh – this ain’t the funny pages’: Comics und Bildende Kunst (Alain Séchas, Raymond Pettibon)., in Isekenmeier Guido (ed.), transcript, Bielefeld, 261-278.
Etter Lukas (2013), Autobiographische Graphic Novels: Das Beispiel von Alison Bechdels Fun Home, in Baumann Uwe, Neuhausen Karl August (ed.), Vandenhoeck & Ruprecht, Göttingen, 532-545.
Rippl Gabriele, Etter Lukas (2013), Intermediality, Transmediality, and Graphic Narrative., in Thon Jan-Noël, Stein Daniel (ed.), De Gruyter, Berlin-New York, 191-217.
Rippl Gabriele / Winko Simone (ed.) (2013), Metzler Handbuch Kanon und Wertung.
, Metzler, Stuttgart.
Etter Lukas (2013), On the Drawing Board: The Many Autobiographical ‘Wedges’ of Alison Bechdel., in Hornung Alfred (ed.), Winter, Heidelberg, 313-326.
Etter Lukas (2013), The ‚Big Picture’ as a Multitude of Fragments: Jason Lutes’s Depiction of Weimar Republic Berlin., in Meyer Christina, Denson Shane, Stein Daniel (ed.), Bloomsbury, London, 229-241.
Hoppeler Stephanie (2012), Bilder lesen oder Texte betrachten., in Gazzetta (Kulturjournal der ProLitteris)
, 2012, 28-33.
Hoppeler Stephanie, Rippl Gabriele (2012), Continuity, Fandom und Serialität in anglo-amerikanischen Comic Books., in Kelleter Frank (ed.), Bielefeld, Transcript, 369-381.
Rippl Gabriele (2012), Film and Media Studies., in Wald Christina, Zapf Hubert, Müller Timo, Middeke Martin (ed.), Metzler, Stuttgart, 314-332.
Rippl Gabriele (2011), Iconicity and Intermediality in Charles Simic’s Dime Store Alchemy., in Christina Ljungberg, Olga Fischer (ed.), John Benjamins, Amsterdam, 313-325.
Rippl Gabriele (2011), Inszenierung von Differenz: Interreligiöse Konflikte im englischsprachigen indischen Gegenwartsroman, in Gülcher Nina , Weiershausen Romana, Wilke Insa (ed.), Erich Schmidt, Berlin, 175-196.
Rippl Gabriele (2011), Rezension von Martin Heusser / Andreas Fischer / Andreas H. Jucker, Hgg., Mediality / Intermediality, SPELL 21, Tübingen: Narr 2008., in AAA - Arbeiten aus Anglistik und Amerikanistik
, 36, 174-176.
Hoppeler Stephanie (2011), Rezension von Robert Petersen, Comics, Manga and Graphic Novels: A History of Graphic Narratives, in http://www.comicgesellschaft.de/?p=1784
Rippl Gabriele (2011), Stumme Augenzeugen – Funktionen erzählter Fotos in englischsprachigen postkolonialen trauma novels, in Becker Sabina, Korte Barbara (ed.), De Gruyter, Berlin-New York, 249-267.
Rippl Gabriele, Intermedialität: Wort/Bild., in Weingart Brigitte, Benthien Claudia (ed.), De Gruyter, Berlin-New York.
Over the last thirty years a vast number of comics and graphic novels have been published and have enjoyed enthusiastic popular reception and increasing academic appreciation in the Anglophone world. In addition to such perennial heroes as Superman and Batman, licensing and merchandising have made many comic books and graphic novel characters more widely known to the general public than ever. The cult status of comics and graphic novels is revealed by the fact that they are prone to ‘remediation’ (Bolter/Grusin 2001) and diversification. Their protagonists have conquered other media of popular culture: they have re-appeared on posters in sitcoms, posed on t-shirts, they have even been adopted as mascots of certain subcultures, several movies and videogames are based on them, and such heavily promoted events as Spiderman’s wedding, the death of Superman and the death of Captain America received widespread media coverage. At the center of this project are serialized Anglophone graphic novels printed in the 1980s, 1990s and 2000s. Graphic novels combine two media, text and pictures; as collaborative works they need writers, scripters and plotters to outline the whole story, and pencillers, inkers and colorists to render the story in visual form. While writer-artists like Art Spiegelman (Maus: A Survivor’s Tale) and Chris Ware (Jimmy Corrigan: The Smartest Kid on Earth) are responsible for both text and pictures of their works, other graphic novel writers like Neil Gaiman (Sandman), Alan Moore (Watchmen) and Frank Miller (Batman: The Dark Knight Returns) collaborate with well-known graphic artists such as Dave McKean, Dave Gibbons, Bryon Talbot, Mark Buckingham, Gene Wolfe, and Eddie Campbell, bringing to life this bi-medial art form. Despite their incredible success, comics and graphic novels have often been stigmatized as popular-culture products and lowbrow entertainment, being primarily suitable for children and the uneducated masses. Due to the increasing importance of cultural studies and their interest in popular forms, comics and graphic novels with their repetitive structures, their formulaic plots and effects of recognition have experienced a re-evaluation. With W. J. T. Mitchell’s proclamation of an “iconic turn” in twentieth-century Western culture (Mitchell 1994), a growing interest in visual culture has led to more in-depth investigations of bi-, pluri- and intermedial phenomena in the humanities. While cultural, economic and ideological issues should play an important role in any analysis of cultural phenomena and require contextual approaches, we would like to claim that our project requires a combination of contextual, aesthetic and hermeneutic methods in order to deal adequately with the distinct serial aesthetics and practice of graphic novels. While the ‘aesthetics’ of graphic novels in this proposal includes the formal quality as well as issues of aesthetic experience, ‘practice’ is the umbrella term for the intimately related processes of production, fandom practices and marketplace conditions, which - due to their repercussions on the aesthetics of graphic novels - cannot be ignored in any investigation of popular genres. In the humanities seriality is a noticable research gap. Considering the huge impact of seriality on contemporary culture, literature and arts, investigations are overdue. Unfortunately, few theories of seriality exist and typologies categorizing serial phenomena are hardly available. Those theories and typologies that do exist are neither refined enough to deal with the wide range of omnipresent serial cultural forms nor fully applicable to forms of seriality in graphic novels. We aim to investigate seriality in graphic novels in detail and to develop a typology of serial phenomena whose specific functions and effects will be described. Our hypothesis is that seriality based on bi-mediality differs from other forms of seriality. Since graphic novels are characterized by an intricate interaction of and competition between the two media, text and image, it will be important to analyze - with the help of general media theory - the specifics of seriality based on bi-mediality. This has to be done against the backdrop of medial developments in Western culture and in conjunction with questions concerning bi-medial storytelling and intermedial narratology - emerging fields in the humanities to which the project will contribute. Our findings will help to develop and refine theories of seriality, which is - considering the ubiquity of serial phenomena - sorely needed. The theoretical and methodological scope of our research rooted in American Studies is broadened by international and interdisciplinary collaborations with experts in the field of Comics Studies, Intermedial Studies, Transmedial Narratology as well as Cultural and Media Studies. We consider the combination of textual/iconographic and contextual approaches a strength of our project and are convinced that it will help to vet methodology needed in intermedial and interdisciplinary research in literary studies and the humanities in general.