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The Ontology of Comics
In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 31–46 (2012-01-27)
Abstract
This chapter contains sections titled: Introduction Multiplicity How Are Instances of Comics Created? Autographic and Allographic Conclusion Notes References.Author's Profile
the ontology of comics, art form of comics, and multiplicity locating comics in the broad metaphysical category comics, other ontological issues, art form of practicality autographic/allographic distinction, comics as autographic art comics, as standard fine art prints, non‐basic ontology artifacts, comics, graphic novels, webcomics, and social/cultural practices hybrid art of comics, as an art of multiples “gallery comics” as an avant‐garde comics Bayeux Tapestry and Archie Rand's, neither counted as comics “exemplar”‐based multiples, “encoding,” a set of instructions
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Similar books and articles
Comics, Prints, and Multiplicity.Roy T. Cook & Aaron Meskin - 2015 - Journal of Aesthetics and Art Criticism 73 (1):57-67.
Making Comics into Film.Henry John Pratt - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 145–164.
The Language of Comics1.Darren Hudson Hick - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 125–144.
Proust's In Search of Lost Time: The Comics Version.David Carrier - 2012-01-27 - In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics. Wiley‐Blackwell. pp. 188–202.
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Citations of this work
Hybridized, Influenced, or Evolved? A Typology to Aid the Categorization of New and Developing Arts.Claire Anscomb - 2023 - Journal of Aesthetics and Art Criticism 81 (3):317-329.
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