69444 - STORIA DELLA CULTURA ANGLO-AMERICANA (LM)

Conoscenze e abilità da conseguire

Il corso introduce allo studio interdisciplinare della cultura nordamericana. Attraverso l'analisi e lo studio di casi paradigmatici, lo studente approfondisce la conoscenza dei lineamenti e degli sviluppi della storia della cultura statunitense, con particolare attenzione al rapporto tra le arti e i loro contesti storico, culturale e linguistico.

Contenuti

American Graphic Novels

The course aims at delving into just another form of American (literary) storytelling. It will open on a necessary overview of the cultural history of American comics, while focussing on the avant-gardes of the late 1970s and 1980s out of which, in a way, the American graphic novel has developed. Documents like Le musée privé d'Art Spiegelman (2012) and Comic Book Confidential (Ron Mann, 1988) will be used as suitable introductions to graphic art.

Both storytelling- and graphic devices & techniques will be discussed, particularly dealing with the following:

Alison Bechdel, Fun Home: A Family Tragicomic (2006)

Daniel Clowes, Ghost World (1993-1997)

Will Eisner, A Contract with God (1978)

Hernandez Bros., Love and Rockets (1981-c2001)

Ben Katchor, Julius Knipl, Real Estate Photographer (1988-to date)

David Mazzucchelli, City of Glass (1994, with Paul Karasik), Asterios Polyp (2009)

Frank Miller, The Dark Knight Returns (1986)

Harvey Pekar, American Splendor (1976-c2010)

Joe Sacco, Palestine (1993-1995)

Art Spiegelman, Maus (1980-1991), In the Shadow of No Towers (2004)

Tom Tomorrow, This Modern World (1988-to date)

Chris Ware, The Adventures of Jimmy Corrigan, the Smartest Kid on Earth (2000)

Other comics and graphic novels by the same authors will be examined, and other artists will be touched upon, particularly as to the literary coté of some of their works and/or collaborations. A particular attention will be devoted to the permeability of graphic narrative into other art forms (theatre, modern dance, multimedia performances, radio, film, music).

Specific autobiographical and metanarrative aspects will be analyzed, too, and some films will enter the course syllabus, namely Ron Mann’s Comic Book Confidential (1988), Terry Zwigoff's Crumb (1994), Ghost World (2001) and Art School Confidential (2006), Springer Berman and Robert Pulcini's American Splendor (2003), Mark Daniels' La BD s'en va t-en guerre (2009).

Testi/Bibliografia

What follows is an essential bibliography: sources will be examined and processed during the course and will turn particularly useful when students research their final paperwork. Further specific bibliographical indications will be provided to the class, along with the course schedule and some course materials (posted on AlmaDL). Important: a course log will be published by the instructor on his institutional "webpage docente", constantly updating course developments and providing useful tips about the students' study.

Aldama, Frederick Luis (ed.). Multicultural Comics. From Zap to Blue Beetle. Austin: University of Texas Press, 2010

Baetens, Jan and Hugo Frey, The Graphic Novel. An Introduction. Cambridge: Cambridge University Press, 2014

Ball, David M. and Martha B. Kuhlman (eds.), The Comics of Chris Ware. Drawing Is a Way of Thinking. Jackson: University Press of Mississippi, 2010

Brunetti, Ivan, ed. An Anthology of Graphic Fiction, Cartoons, & True Stories (Volumes 1&2). New Haven and London: Yale University Press, 2006 & 2008

Buenaventura, Alvin (ed.) The Art of Daniel Clowes: Modern Cartoonist. New York: Abrams ComicArts, 2013

Carlin, John-Karasik, Paul-Walker, Brian, eds. Masters of American Comics. Los Angeles: Hammer Museum and The Museum of Contemporary Art, in association with New Haven and London: Yale University Press, 2005

Chaney, Michael A. (ed.) Graphic Subjects. Critical Essays on Autobiography and Graphic Novels. Madison: The University of Wisconsin Press, 2011

Chute, Hillary. Graphic Women. Life Narrative & Contemporary Comics. New York: Columbia University Press, 2010

Conversations with Comics Artists series. Jackson: University Press of Mississippi (it incudes collected interviews with Carl Barks, Will Eisner, and Art Spiegelman, among others)

Dong, Lan (ed.) Teaching Comics and Graphic Narratives. Essays on Theory, Strategy and Practice. Jefferson, NC and London: McFarland & Co., 2012

Dowd, D. B.-Hignite, Todd, eds. Strips, Toons, and Blusies. Essays in Comics and Culture. New York: Princeton Architectural Press & Washington University in St. Louis, 2004

El Refaie, Elisabeth. Autobiographical Comics. Life Writing in Pictures. Jackson: University Press of Mississippi, 2012

Groth, Gary-Thompson, Kim, eds. Misfit Lit. Contemporary Comic Art. Seattle: Fantagraphics Books, 1991

Hatfield, Charles. Alternative Comics. An Emerging Literature. Jackson: University Press of Mississippi, 2005

Hatfield, Charles, Jeet Heer and Kent Worcester (eds.) The Superhero Reader. Jackson: University Press of Mississippi, 2013

Heer, Jeet. In Love with Art. Françoise Mouly’s Adventures in Comics with Art Spiegelman. Toronto: Coach House Books, 2013

Hignite, Todd. The Art of Jamie Hernandez: The Secrets of Life and Death. New York: Abrams ComicArts, 2010

Inge, M. Thomas. Comics As Culture. Jackson and London: University Press of Mississippi, 1990

Kurtzman, Harvey (with Michael Barrier). From Aargh! to Zap! Harvey Kurtzman's Visual History of the Comics, New York: Prentice Hall Press, 1991

Le musée privé d’Art Spiegelman. Angoulême: Néolibris/La cité internationale de la bande dessinée et de l’image, 2012

McCloud, Scott. Understanding Comics. The Invisible Art. 1993

Minganti, Franco. “A macchia di leopardo. Il fumetto americano da Art Spiegelman a Art Spiegelman”, in Fadda, Michele-Pesce, Sara, eds. Lo schermo gigante. Studi in onore di Franco La Polla. Bologna: Ed. Cineteca di Bologna, 2011

Parille, Ken (ed.) The Daniel Clowes Reader. Seattle: Fantagraphics, 2013

Sabin, Roger. Comics, Comix & Graphic Novels. A History of Comic Art. London: Phaidon Press, 1996

Sabin, Roger. Adult Comics: An Introduction. New York: Routledge, 2005

Schwartz, Ben, ed. The Best American Comics Criticism, Seattle: Fantagraphics Books, 2010

VvAa. The Best American Comics (Series of yearly publications with various guest editors). Boston and New York: Houghton Mifflin Company, 2006-to-date

Ware, Chris, ed., McSweeney, 13 (“An Assorted Sampler of North American Comic Drawings, Strips, and Illustrated Stories”), 2004

Weiner, Stephen-Couch, Chris. Faster Than a Speeding Bullet: The Rise of the Graphic Novel . Syracuse, NY: NBM Publishing, 2004

Witek, Joseph. Comic Books As History. The Narrative Art of Jack Jackson, Art Spiegelman, and Harvey Pekar. Jackson: University of Mississippi Press, 1989

Witek, Joseph, ed. Art Spiegelman. Conversations. Jackson: University Press of Mississippi, 2007

Wolk, Douglas. Reading Comics. How Graphic Novels Work and What They Mean. Philadelphia: Da Capo Press, 2007

Metodi didattici

Seminar course [in English] with part lecture, part class discussion. Attendance is strongly recommended.

Modalità di verifica e valutazione dell'apprendimento

The final exam consists of two parts, one written and one oral. Students will be required to write a paper (8-10 pages long, complete with footnotes and bibliography).after discussing in advance its topic & outline with the instructor. Papers will be evaluated with reference to the critical and methodological competence developed. Specifically, they will be evaluated against the awareness and knowledge of the (mandatory) course syllabus and materials. The students' ability to reorganize course materials -- primary and secondary sources, seminar work in class included -- into an original critical discourse or angle will be particularly appreciated. Also appreciated will be a solid, organic reference to American literature, history and culture (with specific attention for comics and graphic novels). The quality and propriety of written language used will constitute a significant element of the overall evaluation. All these elements, at their best, will indicate a level of excellence, and judged accordingly; while less original developments with less grounded critical reference will lead to middle evaluations (as long as the students show a sufficient general understanding of the course topics). "Minimalistic" papers with poorly developed argumentations, or else casual compilations of particularly unorganized developments (typically cut&paste-constructed), will be considered unacceptable and consequently turned down.

An oral conversation with the instructor will also take place. It will move from the instructor's comments and remarks on the paper to the exploration of the context of the course's topics and syllabus. Such a conversation will be particularly useful in order for the instructor to reach a full assessment of the student's work and preparation (her/his knowledge and understanding, ability of making autonomous judgements, communication and learning skills, as applied to the course's specific grounds), and for the student to better illustrate and explain possible misunderstandings with her/his paperwork.

In front of a negative evaluation of the student's paperwork, such a conversation exchange would offer a full picture of the situation. Students unable to reach the required minimal level of proficiency would need to re-take the exam on some other session.

Strumenti a supporto della didattica

For this course we will resort to audiovisual materials of various kinds, some of which are rare or not particularly easy to find. That is why attendance is strongly recommended.

Link ad altre eventuali informazioni

http://www.unibo.it/docenti/franco.minganti

Orario di ricevimento

Consulta il sito web di Franco Minganti