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E-raamat: Theory of Narrative Drawing

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Theory of Narrative DrawingSuurem pilt
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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.

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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)

1 Drawing, Depicting and Imagining
1(120)
1.1 Drawing's Devices
1(27)
1.1.1 Causes and Consequences: An Aetiological Characterisation of Drawing
1(13)
1.1.2 Generalising Some Potential Resources of the Human Body
14(10)
1.1.3 Generalising the Role of Environmental and Social Modulations
24(4)
1.2 Drawing's Affordances
28(33)
1.2.1 Graphiotactic Realisation of the General Potential Resources of the Body
28(9)
1.2.2 Visual Language
37(11)
1.2.3 Depiction
48(13)
1.3 Drawing's Institution
61(27)
1.3.1 An Institutional Description of the General Potential Resources of the Body
62(2)
1.3.2 Affect
64(2)
1.3.3 The Body as Cause and Consequence
66(4)
1.3.4 Propositional Realisations of Non-propositional Structures
70(4)
1.3.5 Examples of the Visible Representations of Emotional Sensations
74(14)
1.4 Imagining
88(14)
1.4.1 Theorising Perception and Visualisation
88(6)
1.4.2 Properties and Categories
94(4)
1.4.3 Fiction
98(4)
1.5 Conventional Imagining
102(19)
Notes
106(15)
2 Narrative
121(40)
2.1 The Intersubjective Basis of Discourse
121(14)
2.2 Narrative Realisation of Intersubjects
135(11)
2.2.1 Further Implications of an Aetiological Characterisation of Representations
142(4)
2.3 An Epistemological System of Discourse Characterised as Narrative
146(15)
Notes
156(5)
3 Drawing Demonstration One: Expounding Another's Thought in the Style of That Thought
161(56)
3.1 `Mediagenius' and the Comic Strip Register
162(10)
3.1.1 The Comic Strip Register's `Mediagenius' and Intersubjectivity
166(6)
3.2 Self and Self-perception
172(1)
3.3 The Theoretically Neutral Subject
173(1)
3.4 Terms of Drawing Demonstration One
174(43)
3.4.1 Drawing Demonstration One
178(2)
3.4.2 Drawing Demonstration One (a) Method
180(9)
3.4.3 Drawing Demonstration One (a) Analysis
189(4)
3.4.4 Drawing Demonstration One (b) Method and Analysis
193(7)
3.4.5 Demonstration One (c) Method and Analysis
200(12)
3.4.6 Drawing Demonstration One Conclusion
212(3)
Notes
215(2)
4 Drawing Demonstration Two: Time and Self-Observation
217(34)
4.1 Pierre Menard's Project
218(4)
4.2 Seth, Arno and Brown
222(2)
4.3 Appropriation
224(5)
4.3.1 Levine and Evans
226(3)
4.4 Self-Observation and Social Consensus
229(1)
4.5 Madden's Exercises with Drawing Style
230(9)
4.6 Drawing Demonstration Two
239(12)
4.6.1 Drawing Demonstration Two Method
240(3)
4.6.2 Drawing Demonstration Two Analysis
243(5)
Notes
248(3)
Bibliography 251(12)
Index 263
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.
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