Neil the Horse and suppressed comics memory : dolls, funny animals, and entertainment work
Notice bibliographique
Résumé
The 1980s are often described as a decade of maturity, marked by iconic works such as Alan Moore's Swamp Thing run and Neil Gaiman's Sandman, the multiplication of darker superheroes, and, of course, widely acclaimed personal works such as Art Spiegelman's Pulitzer Prize winning Maus.The late 1970s and 1980s also saw the rise of creator-owned publishers bringing out independent or alternative comics, understood as "alternatives to mainstream comics" (Grace and Hoffman xii), that did not shy away from breaking, and mocking, the rules of conventional publications, which often relied heavily on formulaic seriality and generic codes.Canadian cartoonist Dave Sim's parodic (and ideologically problematic) Cerebus, first published by Sim and Denise Loubert's Aardvark-Vanaheim press, is in many ways the hallmark of 1980s independent publishing.Embracing black and white, targeting adults, and occupying a grand total of 6000 pages, the Cerebus stories initially started as floppies of twenty pages issued between 1977 to 2003 (Hoffman 129-30).These stories were eventually published as "phonebooks" which were thick paperbacks or protographic novels collecting all of the issues from one storyline.Cerebus inverts mainstream comics tropes, starting with the funny animal genre: the eponymous (anti-)hero of the series is a grumpy violent aardvark, reversing, and simultaneously commenting on, the mostly innocuous funny animals from earlier twentieth century comics and cartoons.He partakes in fantasy-laden, long-winded and largely ridiculous adventures loaded with satire.Such self-reflexive twists permeate many alternative and independent comics.In the case of Neil the Horse, this self-reflexivity takes the unusual form of remembering and celebrating comics for their whimsicality and "childishness" of style and storytelling.This essay will examine Neil the Horse in the light of three specific "media memories": the comics of largely ignored non-adult readers, specifically girl's comics; children's comics and funny animal comics; musical comedy; and the labor of comics-making.In using the term media memories (Ahmed), I emphasize how memories of media (musicals; newspaper strips) and genres (girl's comics; funny animal comics), as far as the two can be separated, layer the Neil the Horse stories.These media and genres are evoked through the incorporation and reworking of their distinctive forms and features as well as the associations and affective connotations they stimulate.Distinctive features discussed below include the anthropomorphic animals that are staples of funny animal comics or paper dolls that are frequently associated with girls' comics.These features have strong associations with childhood and can generate effects such as the bittersweet joy of nostalgic remembering.I propose the term media memories because, instead of being intertextual or intermedial references or instances of remediation (cf.Bolter and Grusin), the media and genres evoked in Neil the Horse buttress the narrative with layers of media history and connotations.The Lives of Neil the Horse Also published by Aadvark-Vanaheim and later by Loubert's Renegade Press, 1 Katherine Collins' Neil the Horse is one of many forgotten oddities: it recounts the idiosyncratic adventures of Neil, a Disney-like, banana-eating horse; an anti-funny animal, cigarsmoking cat called Soapy; and Mademoiselle Poupée who, true to her name, is a beautiful 1 Charlton Comics also published a Neil the Horse story (in color) in the "all new" Charlton Bullseye #2 (1981).
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,004 | 0,011 |
| Communication savante | 0,005 | 0,004 |
| Science ouverte | 0,000 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,011 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».