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Pauline Uchmanowicz 한국만화애니메이션학회 2010 만화애니메이션연구 Vol.- No.18
A globally popular publishing format in the inaugural decade of the 21st Century, the graphic novel emerged over the course of the previous one, evolving from comic book pulp to auteur sequential art - from ephemeral to archival object. Innovations in the cartooning idiom have accompanied the graphic novel tsunami and an accelerating visual-verbal semiotics surged around its sign, resulting in rededicated critical interest in reading and writing about comics. A neo-comics formalism that seeks to illuminate this semiotic matrix in 21st Century cartooning spaces requires extended application of binomial rhetoric to identify and interpret multiple potentialities of its images and words. As a demonstration I will decode Satrapi's Persepolis, then briefly compare examples of its comics patterning to examples found in recent North American graphic narratives. A globally popular publishing format in the inaugural decade of the 21st Century, the graphic novel emerged over the course of the previous one, evolving from comic book pulp to auteur sequential art - from ephemeral to archival object. Three decades after Will Eisner re-coined the term "graphic novel" (attributed to Richard Kyle in Chute, 2008:453) to market his illustrated chronicle of tenement life, A Contract with God (1978), and subsequently owing to conferment of a 1992 Pulitzer Prize to Art Spiegelman for his pictorial Holocaust account, Maus (1986-1991), widespread re-branding of comics under the graphic novel logo has redirected both product commodification in the marketplace and genre identification in the academy. According to Mark Siegel, editorial director at New York City's avant-garde comic book press First Second, who spoke in a telephone interview, "More and more styles and possibilities are now available for graphic illustrators and writers whose works blur categories and span readership." Alongside fiction of all kinds, the graphic-lit expanse presently includes memoirs, biographies, history, how-to guides, comics journalism, genre theory, and visual essays. A worldwide convergence of comics-lit supporters - booksellers, newspaper and magazine editors, film directors, museum curators, librarians, and academics - likewise has encouraged the medium's legitimation and mainstream acceptance (Wiener, 2004:54.). Globalization meanwhile is enabling the graphic format's migration across the geopolitical literary landscape, as exemplified by Qajar dynasty-descended Marjane Satrapi's two-volume graphic memoir Persepolis, an Iranian-girlhood portrait originally written and published in French and widely translated in 2003-2004. "All this activity means that every major publishing house is jumping on the bandwagon. In the next couple of years there will be wave after wave of illustrated stories flooding the world," predicts editor Siegel. Innovations in the cartooning idiom have accompanied the graphic novel tsunami and an accelerating visual-verbal semiotics surged around its sign, resulting in rededicated critical interest in reading and writing about comics. Once mainly undertaken on the fringes of popular culture by practicing cartoonists and comic book fans (Buhle, 2003), comics scholarship in North America has undergone significant development since the late 1960s, when Arthur Asa Berger unsettled the academic community by choosing "Li'l Abner" as the theme of his doctoral dissertation, next pioneering quantitative methodology in his monograph The Comic-Stripped American, published in 1973. To date, a grand narrative of the comic book-cum-graphic novel's history of proliferation has emerged, necessary for rationalizing its speculative position and relative significance in the enlarged narrative of literary studies. Other comics scholarship has tended to focus on the medium's sociological and aesthetic aspects, with comics pedagogy lately another burgeoning strand. Comics form has received less attention, Eisner's landmark Comics and Sequent
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