‘The proper treatment of events’ is the title of a recent book [LH04] by M. van Lambalgen and F. Hamm, applying the event calculus from [Sha97] to natural language semantics. Some basic ideas behind that treatment are presented in a technically different form below, shaped by a concrete formulation of events as strings of sets of fluents ([Fer04]). These strings can be read as comic strips that are (I think) easy to grasp and work with, providing a friendly (if not (...) altogether proper) approach to events. (shrink)

Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...) between text and image in comics, and the connection between comics and cartooning. (shrink)

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

_The Art of Comics_ is the first-ever collection of essays published in English devoted to the philosophical topics raised by comics and graphic novels. In an area of growing philosophical interest, this volume constitutes a great leap forward in the development of this fast expanding field, and makes a powerful contribution to the philosophy of art. The first-ever anthology to address the philosophical issues raised by the art of comics Provides an extensive and thorough introduction to the field, and to (...) comics more generally Responds to the increasing philosophical interest in comic art Includes a preface by the renowned comics author Warren Ellis Many of the chapters are illustrated, and the book carries a stunning cover by the rising young comics star David Heatley. (shrink)

Daga (the Bulgarian word for “rainbow”) was a Bulgarian comic magazine launched in 1979 and regularly published until 1992. Its remarkably westernized aesthetic greatly impacted an entire generation of readers. Included in its variety of stories (history, sci-fi, literary classics) is an action-packed account of Spartacus’ exploits. For ten consecutive issues (1979–1983), the story spanned the hero’s life from a more fanciful narrative of his early years in Thrace to the better-documented events in Italy and his death. The paper explores (...) the plotline, characterization, and visual aspects of “Spartak” to reveal the eponymous hero’s significance for young Bulgarian readers in the 1980s. Drawing on the cultural and historical context, I argue that Spartacus was well suited to serve as a role model and a national hero by embodying the proletarian anti-imperialist struggle and also, notably, because of his supposed place of birth near the river Strimon in modern-day Bulgaria. I also look at examples of contemporary comics, including a new graphic novel based on Daga’s story published in 2020, and consider the transmutations of the hero to suit the post-communist (and anti-communist) ideological agenda, characterized by a departure from the proletarian image of Spartacus in favor of more conservative, aristocratic features. (shrink)

This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.

According to comic moralism, moral flaws make comic works less funny or not funny at all. In contrast, comic immoralism is the view that moral flaws make comic works funnier. In this article, I argue for a moderate version of comic immoralism. I claim that, sometimes, comic works are funny partly in virtue of their moral flaws. I argue for this claim—and artistic immoralism more generally—by identifying artistically valuable moral flaws in relevant actions undertaken in the creation of those works. (...) Underlying this argument is the idea that such generative actions are partly constitutive of a work's identity, and, therefore, they may affect the ethical value of an artwork either positively or negatively, and they are the proper objects of ethical appraisal. (shrink)

This essay draws on two emerging fields—the study of comics or graphic fiction, and disability studies—to demonstrate how graphic fictions articulate the embodied, ethical, and sociopolitical experiences of impairment and disability. Examining David B’s Epileptic and Paul Karasik and Judy Karasik’s The Ride Together, I argue that these graphic novels unsettle conventional notions of normalcy and disability. In so doing, they also challenge our assumed dimensions and possibilities of the comics genre and medium, demonstrating the great potential comics hold for (...) disability studies. (shrink)

The 9/11 attacks in the USA had profound political consequences at both domestic and international levels. Specific and controversial policy developments were pursued requiring substantial legitimation to find acceptance. A prime example was the USA PATRIOT Act, which was passed in the immediate aftermath of 9/11 and subsequently received considerable critique due to the sweeping nature of its redefinition of what was acceptable in the cause of ‘fighting terror’. The media, and their construal of events and policies, played a significant (...) role in the necessary process of legitimation. In this paper, we explore how one particular area of the media, the superhero comic book, was also active in this regard. By focusing specifically on the multimodal meaning construction within Marvel's Civil War comics series, we suggest how a close multimodal discourse analysis can shed further light on the mechanisms by which particular discourse contexts of public opinion are propagated. (shrink)

Comedy, from social ridicule to the unruly laughter of the carnival, provides effective tools for reinforcing social patterns of domination as well as weapons for emancipation. In Irony in the Age of Empire, Cynthia Willett asks: What could embody liberation better than laughter? Why do the oppressed laugh? What vision does the comic world prescribe? For Willett, the comic trumps standard liberal accounts of freedom by drawing attention to bodies, affects, and intimate relationships, topics which are usually neglected by political (...) philosophy. Willett's philosophical reflection on comedy issues a powerful challenge to standard conceptions of freedom by proposing a new kind of freedom that is unapologetically feminist, queer, and multiracial. This book provides a wide-ranging, original, thoughtful, and expansive discussion of citizenship, social manners, and political freedom in our world today. (shrink)

The core of the study is a critical comparison of Nietzsche’s notion ofÜbermensch, and its transhumanist rewriting into different variants of the posthuman. The first part contextualizes transhumanist thought, primarily in relation to certain evolutionary ideas that, in their totality, exhibit a fundamental anthropological deficit: they speak of the evolutionary overcoming of human, but the limit of sensibility that attempts to imagine a future human being is only the mere negation of what human has been so far. In this way, (...) the posthuman is not removed from the somewhat vague context of the technological “extension” of previous humanity. In this respect, the whole concept is grossly unaesthetic. The second part shows that Nietzsche’s rethinking of the overhuman was intertwined with other anthropological structures, for example, the idea ofMitfreude(‘shared joy’), which is supposed to creatively (in the manner of art) replace the morally misleading notion of compassion. The Übermensch therefore enabled Nietzsche to propose a different conception of intersubjectivity; one that would no longer be reduced to contempt for the human being. The third section traces the causes of the transhumanist failure in productive imagination. It is based on the hypothesis that this failure is driven by an unconscious preference for the figure of the comic book Superman. It postulates, through a Kantian conception of the sublime, that an adequate elaboration of the image of the posthuman cannot do without an affective component that would allow forBejahung(‘affirmation’). Only the artificial will always appear, to some degree, as alien, and therefore will never transcend the limits of reactive adaptation. A living posthuman could only emerge if he offered anthropological techniques of the art of living. Therefore, transhumanism continuously raises anthropological questions, especially regarding the problem of the extent to which the artificiality of art can be identified with technology. Without proper answers, it will not achieve the complexity of Nietzsche’s overhuman, and will always only dilute him into technological supplements. The posthuman will come into being when he is conceived as a grandiose work of art. (shrink)

On the report model of appreciating fiction, one imagines learning about a fictional world through a report: reading or viewing someone’s account or listening to them tell their story. On the transparency model, one simply imagines the things that are fictional in the story, without imagining anything about how that information is acquired. It is argued that the transparency model is the default, in literature and cinema, but in comics, it is the report model that is the default.

Comic moralism holds that some moral properties impact negatively on the funniness of certain items that possess them. Strong versions of the doctrine deem the impact to be devastating: the possession of such a property by one of these items ensures the item is not funny. Weak versions deem the impact merely damaging: any funniness one of the items possesses is diminished, but not destroyed, by its possession of the property. Various species of comic moralism hold, respectively, various moral properties (...) to impact negatively on funniness. For example, one species holds as much of the property “manifests attitudes that are morally wrong,” but other species hold as much of different moral properties. Comic moralism, or a species of it, can be unrestricted, or restricted, depending on whether it pertains to all the items that possess the negatively impacting moral property or properties, or to just a subset of these items. (shrink)

This chapter contains sections titled: Introduction Multiplicity How Are Instances of Comics Created? Autographic and Allographic Conclusion Notes References.

This cutting-edge handbook brings together an international roster of scholars to examine many facets of comics and graphic novels. Contributor essays provide authoritative, up-to-date overviewsof the major topics and questions within comic studies, offering readers a truly global approach to understanding the field.

This article argues that Nietzsche's 1888 writings should be understood as a Dionysian comedy that parallels important formal structures of Aristophanes' early plays. Whereas works such as The Twilight of the Idols and The Case of Wagner contain features that resemble the agonal elements of Dionysian comedy, Ecce Homo should be understood as a comic parabasis of self-definition.

This article examines the comic portrayal of Confucius in the Analects and the Zhuangzi, maintaining that there is a humorous aspect to the character of Confucius that is often overlooked. Conventional interpretations of the Analects downplay the pranks and mocking comments that are sprinkled throughout them. Many of the humorous words Confucius utters are directed at ritualistic behaviour which has become mechanistic, suggesting that in order to take ritual seriously, we must also be prepared to take it in jest. Furthermore, (...) Confucius’s situation is poked fun at in both the Analects and the Zhuangzi, since he wanders around desperately seeking a position of influence that eludes him. But while the Zhuangzi relentlessly mocks Confucius for his ritualized arrogance, it also signals his respect for him by making him the mouthpiece of the very Dao that it accuses him of straying from. (shrink)

Examining Henri Bergson's work, philosophy, and the body, this volume explores the history and philosophy of comedy, film, psychoanalysis and the comic performance of the future, creating a theoretical and practice-based framework for the field.

We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large sample of (...) 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)

Kierkegaard makes a controversial and little-understood claim: irony, humor, and the comic are essential to ethics and religion. This account, grounded in Concluding Unscientific Postscript, explicates that idea for a philosophical and theological audience with a level of conceptual analysis never seen before in Kierkegaard scholarship.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)