Walking Corpses & Conscious Plants: Possibilist Ecologies in ...

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Bingham 14 Works Cited Cavarero, Adriana. Horrorism: Naming Contemporary Violence. Trans. William McCuaig. New York: Columbia University Press, 2009. 1-146. Kirkman, Robert, Charles Adlard, Tony Moore, and Cliff Rathburn. The Walking Dead Compendium 1. Berkeley: Image Comics, 2009. Ledbetter, Mark. Victims and the Postmodern Narrative, Or, Doing Violence to the Body: An Ethic of Reading and Writing. Houndsmill, Basingstoke, Hampshire: Macmillan, 1996. Lewis, David K. On The Plurality Of Worlds . Oxford: Blackwell Publishing Ltd, 1986. McCloud, Scott. Understanding Comics: The Invisible Art. Ed. Mark Martin. New York: Harper Perennial, 1993. – Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. eds. Kate Travers and John Williams. New York: Harper, 2006. Moore, Alan, writer. Swamp Thing: The Saga of the Swamp Thing. Art by Stephen Bissette & John Totleben. New York: DC Comics, 1987. 13-35. Yagisawa, Takashi, "Possible Objects." The Stanford Encyclopedia of Philosophy, (Winter 2009 Edition). Ed. Edward N. Zalta. .
Bingham 15 Chapter I: The History of Comics and its Connection to Politics: Assessing the importance images have had in informing public ideals and ethical standards “And you who wish to represent by words the form of man and all the aspects of his membrification, relinquish that idea. For the more minutely you describe the more you will confine the mind of the reader, and the more you will keep him from the knowledge of the thing described. And so it is necessary to draw and describe.” (Leonardo Da Vinci, reproduced Inge pg. 132) Graphic narratives, or stories which rely on images to convey information and advance plot, have been used for centuries to record political developments or illustrate significant changes in power relations. In order to have the resources to create and exhibit a work commemorating a particular event, though, one must have the capital to perform such a task and anticipate an audience to receive it after its completion. Thus historiography reveals that subjectivity, or individual perception, is strongly related to political subjection. The mass produced comic strips which appeared weekly in newspaper publications during the late nineteenth century exemplify the rapid growth of industrialization as commodities while simultaneously representing attitudes about the values of the period through their content. The predecessors of this honed sequential art form reveal a great deal about the time periods in which they were made. Graphic narratives existed even before the printing press was invented in the middle of the fifteenth century. A commissioned embroidery known as the Bayeux Tapestry illustrates William the Conqueror's acquisition of power as the first Norman king of England. Depicting the events of 1066 through pictorial representations and accompanying descriptions stitched in Latin, the work preserves a historical record from a distinct perspective (McCloud Understanding 12). This artifact conveys information about monarchism, the power relations between individuals living in that system, and their relationship to religious ideology. Comics historian Scott McCloud identifies several
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Page 3 and 4: Bingham 3 I owe an extreme debt of
Page 5 and 6: Bingham 5 Introduction My project e
Page 7 and 8: Bingham 7 personal growth through t
Page 9 and 10: Bingham 9 beliefs. Seeing a possibl
Page 11 and 12: Bingham 11 zombie exceeds death as
Page 13: Bingham 13 the validity of singular
Page 17 and 18: Bingham 17 Swamp Thing. According t
Page 19 and 20: Bingham 19 instructional profession
Page 21 and 22: Bingham 21 Another artist who worke
Page 23 and 24: Bingham 23 action into panels (Cohn
Page 25 and 26: Bingham 25 sponsorship. He designed
Page 27 and 28: Bingham 27 Charles Moulton. Marston
Page 29 and 30: Bingham 29 Frederick Wertham prompt
Page 31 and 32: Bingham 31 “graphic novel” was
Page 33 and 34: Bingham 33 what is or isn't a graph
Page 35 and 36: Bingham 35 Works Cited Benton, Mike
Page 37 and 38: Bingham 37 Chapter II: Transfusion
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Bingham 65 with yourself? Not me. I
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Bingham 67 immediate proximity of t
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Bingham 69 experience, or the human
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Bingham 74 Works Cited Berger, Arth
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Bingham 76 APPENDIX A Fig. 1. Openi
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Bingham 78 Fig. 7. Fig. 8.
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Bingham 101 Chapter III: Speaking o
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Bingham 103 preserved, yet not enti
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Bingham 105 increasingly more discu
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Bingham 107 Wrightson only drew the
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Bingham 109 by the inexorable progr
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Bingham 111 appeared. Though the tw
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Bingham 113 General Avery Carlton S
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Bingham 115 dismembered body which
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Bingham 117 sheltered from or not e
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Bingham 119 authority. This subtle,
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Bingham 121 the center of the page
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Bingham 123 affect. Apart from this
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Bingham 125 acts of fictional chara
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Bingham 127 resemblance, their comp
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Bingham 129 experience. The creator
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Bingham 131 justified. What follows
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Bingham 135 If we read each charact
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Bingham 137 able to issue an urgent
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1 According to comics historian Rob
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Bingham 140 - Interview by David Ro
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