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Viewing The Whale: Space, Time, And The Imagination In "Moby-Dick" And Comics, Garrett Sterling Bond

Senior Projects Spring 2016

In defining ‘comics’ as a genre in his groundbreaking Understanding Comics, scholar Scott McCloud considers images in narratives more generally as operating within a representative space between the storyteller and the objects they describe. This project extracts from comics a structural theory of reading as a subjective visual experience, by comparing the framing of images in Herman Melville’s Moby-Dick with that in works of graphic narrative, primarily Richard McGuire’s Here, Chris Ware’s Building Stories, and Matt Kish’s Moby-Dick in Pictures: One Drawing for Every Page. In order to consider comics as works of narrative, McCloud emphasizes the …

The Graphic Gregor Samsa: Can Kafka's Creature Be Brought To Life?, Samantha J. Sacks

Senior Projects Spring 2016

Senior Project submitted to The Division of Languages and Literature of Bard College.

Drawing Out The Intangible: A Study Of The Depiction And Reinterpretation Of Memory In Two Comics, Malkie Scarf

Senior Projects Spring 2016

Senior Project submitted to The Division of Languages and Literature of Bard College.

This project is concerned with how we remember, represent, and reinterpret personal history, and it addresses what happens when the intangible stuff of memory and personal experience (lacking any stable visual appearance) are materialized into a visual format – that is, into the medium of comics, comprised of both images and words. Two stand-alone comic books deeply invested in this task of reinterpreting personal memories are at the fore of this analysis: David B.'s Epileptic and David Mazzucchelli's Asterios Polyp.