A Theory of Narrative Drawing

ISBN-13: 9781137521651 / Angielski / Twarda / 2017 / 277 str.

Simon Grennan

Opis

This book offers an original new conception of visual story telling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior.

Recenzje

"An ambitious contribution to the expanding literature dedicated to theorizing comics and visual storytelling, A Theory of Narrative Drawing is impressive in both approach and depth of research. ... Summing Up: Recommended. ... Graduate students, researchers, faculty." (S. B. Skelton, Choice, Vol. 55 (8), April, 2018)
"A Theory of Narrattve Drawing delivers what its title promises and will be a rewarding read to students and scholars of both drawing in general and comics in particular, who are interested in considering aspects of the production and reception of drawings beyond its technical aspects."( Antonia Purk, Closure, closure.uni-kiel.de, Issue 5, November, 2018)

Spis treści

Chapter 1: Drawing, depicting and imagining

Chapter 2: Narrative

Chapter 3: Drawing Demonstration One: expounding another’s thought in the style of that thought

Chapter 4: Drawing Demonstration Two: time and self-observation

O autorze

Simon Grennan is an internationally acclaimed scholar of visual narrative, graphic novelist and cartoonist. He is the creator of Dispossession, the first graphic adaptation of a novel by Anthony Trollope, instigator of The Marie Duval Archive and, since 1990, half of international artists team Grennan & Sperandio.

Blurb

This book offers an original new conception of visual story telling, proposing that drawing, depictive drawing and narrative drawing are produced in an encompassing dialogic system of embodied social behavior. It refigures the existing descriptions of visual story-telling that pause with theorizations of perception and the articulation of form. The book identifies and examines key issues in the field, including: the relationships between vision, visualization and imagination; the theoretical remediation of linguistic and narratological concepts; the systematization of discourse; the production of the subject; idea and institution; and the significance of resources of the body in depiction, representation and narrative. It then tests this new conception in practice: two original visual demonstrations clarify the particular dialectic relationships between subjects and media, in an examination of drawing style and genre, social consensus and self-conscious constraint. The book’s originality derives from its clear articulation of a wide range of sources in proposing a conception of narrative drawing, and the extrapolation of this new conception in two new visual demonstrations.