Jared Gardner – författare

Countering assumptions about early American print culture and challenging our scholarly fixation on the novel, Jared Gardner reimagines the early American magazine as a rich literary culture that operated as a model for nation-building by celebrating editorship over authorship and serving as a virtual salon in which citizens were invited to share their different perspectives. The Rise and Fall of Early American Magazine Culture reexamines early magazines and their reach to show how magazine culture was multivocal and presented a porous distinction between author and reader, as opposed to novel culture, which imposed a one-sided authorial voice and restricted the agency of the reader.

Countering assumptions about early American print culture and challenging our scholarly fixation on the novel, Jared Gardner reimagines the early American magazine as a rich literary culture that operated as a model for nation-building by celebrating editorship over authorship and serving as a virtual salon in which citizens were invited to share their different perspectives. The Rise and Fall of Early American Magazine Culture reexamines early magazines and their reach to show how magazine culture was multivocal and presented a porous distinction between author and reader, as opposed to novel culture, which imposed a one-sided authorial voice and restricted the agency of the reader.

Countering assumptions about early American print culture and challenging our scholarly fixation on the novel, Jared Gardner reimagines the early American magazine as a rich literary culture that operated as a model for nation-building by celebrating editorship over authorship and serving as a virtual salon in which citizens were invited to share their different perspectives. The Rise and Fall of Early American Magazine Culture reexamines early magazines and their reach to show how magazine culture was multivocal and presented a porous distinction between author and reader, as opposed to novel culture, which imposed a one-sided authorial voice and restricted the agency of the reader.

This Norton Critical Edition includes:Jared Gardner’s insightful introduction and explanatory notes.Generous selections from four of Will Eisner’s major graphic novels and story collections, carefully chosen with student readers in mind.Will Eisner’s interviews and published writing on comics and the graphic novel genre from 1978 to 2000.Thirteen wide-ranging reviews and assessments of Eisner’s works.Critical essays by Andrew J. Kunka, Paul Williams, Jeremy Dauber, Greg M. Smith, and Derek Parker Royal.A chronology of Will Eisner’s life and work and a selected bibliography.

While it is well known that American writers of the early national period were preoccupied with differentiating their work from European models, Jared Gardner argues that the national literature of the United States was equally motivated by the desire to differentiate white Americans from blacks and Indians. Early American writers were drawn to fantasies of an "American race," and an American literature came to be defined not only by its desire for cultural uniqueness but also by its defense of racial purity. Gardner follows the shifts in American narrative's engagement with race, from Royall Tyler's Algerine Captive through the novels of Brockden Brown and Cooper, to Poe's tales and Douglass's autobiographies, narratives that differently sought to rewrite the intersections of racial and national identity the first generation had plotted. The larger story Master Plots describes is how the racial language of "slavery" and "savagery" helped nationalist writers plot a unique identity for the new nation and the cost this "master plot" exacted when the empty rhetoric of one generation confronted the historical facts of slavery and Native American Removal in the next.The question of what it meant to be an American had lost none of its severity and the desire for an answer none of its urgency. As early nationalist writers wrestled with the question, they proved how hard a question it is to answer and how great are the dangers in scripting its answers too easily.

When Art Spiegelman's Maus won the Pulitzer Prize in 1992, it marked a new era for comics. Comics are now taken seriously by the same academic and cultural institutions that long dismissed the form. And the visibility of comics continues to increase, with alternative cartoonists now published by major presses and more comics-based films arriving on the screen each year. Projections argues that the seemingly sudden visibility of comics is no accident. Beginning with the parallel development of narrative comics at the turn of the 20th century, comics have long been a form that invites—indeed requires—readers to help shape the stories being told. Today, with the rise of interactive media, the creative techniques and the reading practices comics have been experimenting with for a century are now in universal demand. Recounting the history of comics from the nineteenth-century rise of sequential comics to the newspaper strip, through comic books and underground comix, to the graphic novel and webcomics, Gardner shows why they offer the best models for rethinking storytelling in the twenty-first century. In the process, he reminds us of some beloved characters from our past and present, including Happy Hooligan, Krazy Kat, Crypt Keeper, and Mr. Natural.

When Art Spiegelman's Maus won the Pulitzer Prize in 1992, it marked a new era for comics. Comics are now taken seriously by the same academic and cultural institutions that long dismissed the form. And the visibility of comics continues to increase, with alternative cartoonists now published by major presses and more comics-based films arriving on the screen each year. Projections argues that the seemingly sudden visibility of comics is no accident. Beginning with the parallel development of narrative comics at the turn of the 20th century, comics have long been a form that invites—indeed requires—readers to help shape the stories being told. Today, with the rise of interactive media, the creative techniques and the reading practices comics have been experimenting with for a century are now in universal demand. Recounting the history of comics from the nineteenth-century rise of sequential comics to the newspaper strip, through comic books and underground comix, to the graphic novel and webcomics, Gardner shows why they offer the best models for rethinking storytelling in the twenty-first century. In the process, he reminds us of some beloved characters from our past and present, including Happy Hooligan, Krazy Kat, Crypt Keeper, and Mr. Natural.

When Art Spiegelman's Maus won the Pulitzer Prize in 1992, it marked a new era for comics. Comics are now taken seriously by the same academic and cultural institutions that long dismissed the form. And the visibility of comics continues to increase, with alternative cartoonists now published by major presses and more comics-based films arriving on the screen each year. Projections argues that the seemingly sudden visibility of comics is no accident. Beginning with the parallel development of narrative comics at the turn of the 20th century, comics have long been a form that invites—indeed requires—readers to help shape the stories being told. Today, with the rise of interactive media, the creative techniques and the reading practices comics have been experimenting with for a century are now in universal demand. Recounting the history of comics from the nineteenth-century rise of sequential comics to the newspaper strip, through comic books and underground comix, to the graphic novel and webcomics, Gardner shows why they offer the best models for rethinking storytelling in the twenty-first century. In the process, he reminds us of some beloved characters from our past and present, including Happy Hooligan, Krazy Kat, Crypt Keeper, and Mr. Natural.

The Comics of Charles Schulz collects new essays on the work of the creator of the immensely popular Peanuts comic strip. Despite Schulz’s celebrity, few scholarly books on his work and career have been published. This collection serves as a foundation for future study not only of Charles Schulz (1922–2000) but, more broadly, of the understudied medium of newspaper comics.Schulz’s Peanuts ran for a half century, during which time he drew the strip and its characters to express keen observations on postwar American life and culture. As Peanuts’ popularity grew, Schulz had opportunities to shape the iconography, style, andphilosophy of modern life in ways he never could have imagined when he began the strip in 1950. Edited by leading scholars Jared Gardner and Ian Gordon, this volume ranges over a spectrum of Schulz’s accomplishments and influence, touching on everything from cartoon aesthetics to the marketing of global fast food. Philosophy, ethics, and cultural history all come into play. Indeed, the book even highlights Snoopy’s global reach as American soft power.As the broad interdisciplinary range of this volume makes clear, Peanuts offers countless possibilities for study and analysis. From many perspectives—including childhood studies, ethnic studies, health and exercise studies, as well as sociology—The Comics of Charles Schulz offers the most comprehensive and diverse study of the most influential cartoonist during the second half of the twentieth century.With contributions by: Leonie Brialey, MJ Clarke, Roy T. Cook, Joseph J. Darowski, Ian Gordon, Gene Kannenberg Jr., Christopher P. Lehman, Anne C. McCarthy, Ben Owen, Lara Saguisag, Ben Saunders, Jeffrey O. Segrave, and Michael Tisserand.

With contributions by: Leonie Brialey, MJ Clarke, Roy T. Cook, Joseph J. Darowski, Ian Gordon, Gene Kannenberg Jr., Christopher P. Lehman, Anne C. McCarthy, Ben Owen, Lara Saguisag, Ben Saunders, Jeffrey O. Segrave, and Michael Tisserand.The Comics of Charles Schulz collects new essays on the work of the creator of the immensely popular Peanuts comic strip. Despite Schulz's celebrity, few scholarly books on his work and career have been published. This collection serves as a foundation for future study not only of Charles Schulz (1922-2000) but, more broadly, of the understudied medium of newspaper comics.Schulz's Peanuts ran for a half century, during which time he drew the strip and its characters to express keen observations on postwar American life and culture. As Peanuts' popularity grew, Schulz had opportunities to shape the iconography, style, and philosophy of modern life in ways he never could have imagined when he began the strip in 1950. Edited by leading scholars Jared Gardner and Ian Gordon, this volume ranges over a spectrum of Schulz's accomplishments and influence, touching on everything from cartoon aesthetics to the marketing of global fast food. Philosophy, ethics, and cultural history all come into play. Indeed, the book even highlights Snoopy's global reach as American soft power.As the broad interdisciplinary range of this volume makes clear, Peanuts offers countless possibilities for study and analysis. From many perspectives-including childhood studies, ethnic studies, health and exercise studies, as well as sociology - The Comics of Charles Schulz offers the most comprehensive and diverse study of the most influential cartoonist during the second half of the twentieth century.