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Doctoral Dissertations





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Entries marked orhave been added or revised since July 7, 2013. See also:


  • Suomalainen sarjakuvantutkimus vuoteen 2000 - luettelo kirjoista ja kirjoituksista: II OPINNДYTTEET (A huge list of Finnish academic work on comics)
  • AbschluЯarbeiten zum Thema Comic (German-Language university-level works)

  • Comic Related MS/PhD Thesis (a brief list of primarily American work)

For more information on comics in academia, see our Academic Resources page.
Also, consider joining theComics Scholars Discussion List.
Note: Degrees awarded are Ph.D. unless otherwise specified.

Abderrahmane, Azzi. 1985. French Structuralism and its Contribution to Sociological Theory. University of North Texas. DAI.

Adams, J.N. P. (Jeff). 2003. Graphic Novels and Social Realism - Three Case Studies: Keiji Nakazawa’s Barefoot Gen , Art Spiegelman’s Maus and Joe Sacco’s Palestine . University of Liverpool (UK). Supervised by Dr. Jonathan Harris in the Art History/Architecture department, and examined by Prof. Eric Fernie (former director of the Courtauld Institute, London).


Adams, Kenneth Alan. 1980. Family and Fantasy: Dread of the Female and the Narcissistic Ethos in American Culture. Brandeis University. DAI.


Albertini, William Oliver, Jr. 2004. Catching Discourse: Contagion, Narrative, and United States Cultures at the Century's Turn. University of Virginia. Advisers: Eric Lott, Jennifer Wicke. UMI.

Andersson, Lars M. 2000. A Jew is A Jew is a Jew. Representations of 'The Jew' in Swedish Comic Press 1900-1930s . Lund University (Sweden), Department of History. On-line information; more.

Bailey, Cellastine P. 2000. Teaching Writing and Creating Change in a Multicultural / Urban Elementary Classroom. University of Massachusetts Amherst. DAI.

Beaty, Bart. 1999. All Our Innocences: Fredric Wertham, Mass Culture and the Rise of the Media Effects Paradigm, 1940-1972. McGill University, Communications.

Best, Mark Timothy. 2002. Secret Identities: American Masculinities and the Superhero Genre in the Fifties. Indiana University. DAI.

Blair, Christopher Allan. 2002. To Protect the Children: An Examination of Arguments for the Content Regulation of Mass Media. University of Memphis. DAI.


Blakely, W. Paul. 1957. A Study of Seventh Grade Children's Reading of Comic Books as Related to Certain Other Variables. The University Of Iowa. DAI.

Bogart, Leo. 1951. The Comic Strips and their Adult Readers: A Study of Male Workers in a New York City Neighborhood. The University Of Chicago. DAI.

Bongco, Mila Francisca. 1995. Reading Comics: Analysing Language, Culture and the Concept of Superheroes in Comicbooks. Dissertation Abstracts International, 1996 Sept; 57 (3): 1115A. U of Alberta.


Brauer, Stephen Michael. 1999. Containing the Criminal: American Crime Narratives, 1919-1941 . (Theodore Dreiser, F. Scott Fitzgerald, James M. Cain, Anita Loos, William Faulkner, Richard Wright.) New York University. DAI.

Brown, Charles Marvin. 2002. The Culture of Culture Industries: Art, Commerce, and Faith in the Christian Retailing and Entertainment Industry. Southern Illinois University at Cabondale. DAI.

Brown, Eric H. 1982. Wholistic Reading Comprehension through Comic Book Art Production. Ed.D. Columbia University Teachers College. DAI.

Brown, Jeffrey A. 1997. New Heroes: Gender, Race, Fans and Comic Book Superheroes . University of Toronto. Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 1998 Dec; 59 (6): 1818.


Carpenter, Stanford Wayne. 2003. Imagining Identity: Ethnographic Investigations into the Work of Creating Images of Race, Gender, and Ethnicity in Comic Books . Rice University, Cultural Anthropology. Rice University, Cultural Anthropology. Thesis Committee: Benjamin Lee, Professor, Department of Anthropology; George E. Marcus, Joseph D. Jamail Professor, Chair, Department of Anthropology; George Smith, Professor, Department of Art and Art History; Julie Taylor, Professor, Department of Anthropology


Carr, John Leonard. 1988. Leigh Brackett: American Science Fiction Writer--Her Life and Work. The Ohio State University. DAI.

Carter, Vicki K. 2000. Learning from work: Thinking aversively about 'Dilbert.' (Scott Adams) D.Ed. Pennsylvania State University. DAI.


Castaldi, Simone. 2002. Fumetti cannibali: Il fumetto adulto italiano tra gli anni settanta e ottanta. Brown University. DAI.


Catogni, Jacqueline. 1990. Cigarette Smoking through the Franco-Belgian Strip Cartoon from the Century's Beginning to the Present Day. Dr. d'Etat. Universite de Bourgogne (France). DAI.


Chai, Su-ching. 1996. A Study of Elementary School Students' Use of Libraries for Study and Leisure Reading in Taichung City, Taiwan, the Republic of China. Ed.D. University of Tennessee. DAI.


Chute, Hillary L. 2006. Contemporary Graphic Narratives: History, Aesthetics, Ethics . English, Rutgers University, English. Committee Members: Marianne DeKoven (director), Carolyn Williams, Harriet Davidson. Outside readers: Marianne Hirsch, Jared Gardner. Three parts of the diss have been published:


"The Texture of Retracing in Marjane Satrapi's Persepolis ." WSQ: Women's Studies Quarterly 36.1&2 (Spring/Summer 2008): 92-110.
"'The Shadow of a Past Time': History and Graphic Representation in Maus ." Twentieth-Century Literature 52.2 (Summer 2006): 1-32.
"Temporality and Seriality in Art Spiegelman's In the Shadow of No Towers ." American Periodicals 17.2 (2007): 228-244.


Cokely, Carrie Lynn. 2002. Discovering the Magic: Readings, Interpretations and Analyses of the Wonderful Worlds of Disney. Syracuse University. DAI.


Collomb, Sandrine Aimee. 2001. Le devoir de memoire: Forme et fonction dans l'oeuvre de Jean Rouaud. University of Cincinnati. DAI.

Coogan, Peter Macfarland. 2002. The Secret Origin of the Superhero: the Origin and Evolution of the Superhero Genre in America. Michigan State University.


Craft, Jason Todd. 2004. Fiction Networks: The Emergence of Proprietary, Persistent, Large-Scale Popular Fictions. [DC universe] Universtity of Texas at Austin. Advisers: Adam Z. Newton, John M. Slatin. UMI.

Cusack, John Bernard. 1969. The American Weekly Humor Magazine in the Nineteenth Century. Boston University.

Davidson, Sol M. 1959. Culture & the Comic Strips. New York University.

Davis, Julie Anne. 2000. 'Dilbert' as Organizational Analyst. Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 2001 June; 61 (12): 4755.U of Kansas.


Dean, Michael Patrick. 2000. The Ninth Art: Traversing the Cultural Space of the American Comic Book. Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 2001 Feb; 61 (8): 2957. U of Wisconsin, Milwaukee.


Desaulniers, Claude Michиle. 1994. Un Exemple de crйativitй dans la bande dessinйe: Les Langages d'Achille Talon. Universite Laval (Canada). DAI, 1996 Feb; 56 (8): 3103A.


Di Fazio, John Sebastian. 1973. A Content Analysis to Determine the Presence of Selected American Values Found in Comic Books During Two Time Periods, 1946-1950, 1966-1970. The University Of Iowa. DAI.


Dorrell, Larry Dean. 1980. Comic Books and Circulation in a Public Junior High School Library. University of Missouri - Columbia. DAI.

Duncan, Ralph Randolph, II. 1985. Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form. Louisiana State University. DAI, 1991 June; 51 (12): 3942A.


Dunley, Kathleen Ann. 2007. The Space Between: Ruins, Narratives, and History . University of Colorado at Boulder. 321 pages; AAT 3284468


Eastman, Jacqueline Fisher. 1998. A Study of The 'Madeline' Books of Ludwig Bemelmans. University of Alabama. DAI.

Fauvel, Marie-Louise. 1989. L'Aventure d'une Ecriture: La Bande Dessinйe d'Essai. University of Wisconsin - Madison.

Flanigan, Beverly Olson. 1981. American Indian English in History and Literature: The Evolution of a Pidgin from Reality to Stereotype. Indiana Univesity. DAI.

Fuglsang, Ross Stuart. 1997. Motorcycle Menace: Media Genres and the Construction of a Deviant Culture. University of Iowa. DAI.


Fukushima, Yoshiko. 2000. Japanese Contemporary Theatre in the 1980s: Noda Hideki and the Manga Discourse of Japan. New York University. DAI.

Gabillet, Jean-Paul. 1994. Le comic-book: Un objet culturel Nord-Am й ricain. Universitй Michel de Montaigne-Bordeaux.


Gagnon, Jean-Claude. 1980. L'acte de lecture essai d'analyse experimentale sur la lecture d'une sequence narrative sous forme de bande dessinee. Universite Laval (Canada). DAI.

Garlitz, Ivy. 1998. The Old Country: An Experiment in Modes of Writing on the Jewish-American Experience in Poetry, Fiction, and Popular Culture. University of East Anglia in Norwich (UK). [Parts of the critical chapters of the dissertation were published in Comics Forum magazine. ]

Gibson, Mel. 2002. Remembered Reading: Memory, Comics and Post-war Constructions of British Girlhood. University of Sunderland.

Gordon, E.B. 1970. The Significance of Political Caricature during the Reign of Louis Philippe, 1830-1835. Philadelphia [Query: Ph.D or Master's level?]


https://dissertationswritingservice.com , Ian Lewis. 1993. Envisioning Consumer Culture: Comic Strips, Comic Books and Advertising in America, 1890-1945. University of Rochester. Dissertation Abstracts International, 1993 July; 54 (1): 291A.


Hanson, Amy Suzanne. 1996. Application of an Instrument for Evaluating Child Sexual Abuse Prevention Programs. University of Illinois at Urbana-Champaign. DAI.

Harkins, Anthony Andrew R. 1999. The Hillbilly in Twentieth-Century American Culture: The Evolution of a Contested National Icon. University of Wisconsin - Madison. DAI.

Harrison, Michael Preston. 2009. Comics as Text and Comics as Culture: Queer Spain through the Lens of a Marginalized Medium . University of California, Irvine, Dept. of Spanish and Portuguese. Dr. Jill Robbins and Dr. Luis Avilйs, co-chairs, Dr. Ana Marнa Amar Sбnchez, committee member.



Hatfield, Charles William. 2000. Graphic Interventions: Form And Argument in Contemporary Comics [Dissertation on Hernandez Bros, autobiography and Chester Brown.] U of Connecticut, Department of English. Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 2000 Oct; 61 (4): 1386.


Hayward, Jennifer Poole. 1992. Trash, Strips, and Soap: Serial Fictions and Mass Audiences, 1836-1992. Princeton University. DAI.

Heisler, Florence Anna. 1944. Characteristics of Elementary-School Children Who Read Comic Books, Attend the Movies, and Prefer Serial Radio Programs. New York University. DAI.


Helenelund, Elisabeth. 1982. Sprеket i Muminserien : en syntaktisk analys. Helsingin yliopisto, pohjoismaisten kielten lisensiaatintyц. Published as Sprеket i Muminserien en syntaktisk analys. Meddelanden frеn Institutionen fцr nordisk sprеk och nordisk litteratur vid Helsingfors universitet. Serie B,; nr 9 (Helsinki: Yliopistopaino, 1985; ISBN 9514537033). WorldCat.

Helsby, Wendy Frances. 1999. Comics in Education: The Link between Visual and Verbal Literacies: How Readers Read Comics. DAI, Section C: Worldwide, 2000; 61 (3): 643-44. U of Southampton.


Hemmer, Kurt Richard. 2000. Cowboys Crashing: The Beat Generation and the American Western Outlaw . (Brenda Frazer, Michael McClure, Edward Dorn, William S. Burroughs) Washington State University.DAI.


Higgins, Mildred M. 1969. Adult Literary Responses to Comic Strip Narratives Among Inmates of a Correctional Institution. ERIC ED040342.


Hilbish, Dabney Melissa. 1990. Relax, It's Only a Movie: Representations of War in The Vietnam Combat Film. University of Maryland College Park. DAI.


Hill, Michael James. 2003. A Study of Contemporary Australian Comics, 1992-2000 with Particular Reference to the Work of Naylor, Smith, Danko and Ord. Macquarrie University (Sydney, Australia), Division of Society, Culture, Media and Philosophy.


Abstract: Beneath the surface of the many layers of artistic and cultural practice in contemporary Australian society there is a spirited and lively activity known variously as the underground, independent comics scene or ‘small press’. This is the subject of this thesis. These terms and activity refer to the work of the creators of contemporary alternative comics. This thesis involves an examination of the Australian alternative comics scene in the last decade of the twentieth century. Within the context of Australian art and graphics, this alternative scene operates on a very small scale. Involving approximately 150 creative participants, it is a loosely structured network of creators of self-financed, self-published, and self-distributed comics. Mostly located in the larger urban environments down the eastern coast of Australia from far North Queensland to Adelaide, Melbourne and Tasmania in the south, it is not easily apparent but exists somewhat like an underground art movement.
Despite the steady stream of overseas influences, this Australian alternative comics scene has managed to display a sense of vitality and a local identity. An examination of the work reveals a wide range of subjects, a plurality of graphic styles, a level of self-reflexivity and widespread use of autobiographical material. Many of the participants in the movement have positioned themselves on the creative ‘edge’ antagonising, irritating, satirising and testing the acceptable limits of visual expression. In so doing they take advantage of what is a relatively unregulated outlet of creativity and visual communication. The graphic humour of their work adds to the visual culture of the country and contributes to the ongoing critique of Australian life. No subject is sacred and so Prime Ministers, Premiers, politicians and party members, pop stars, princesses and parents, Olympic mascots and sporting champions, subcultures and even the creators themselves have been the target of these artists’ pens as they seek to satirise the state of Australian affairs. From its position on the margins, its critical viewpoint is often expressed with humour.
In addition to employing artistic practices in their work, these creators also make use of design strategies. In particular, their use of visual communication techniques facilitates its conveyance to a small but nevertheless widespread audience. In its own limited way Australian alternative comics not only contribute to the visual cultural life of Australia but also work as an aid to an understanding of it. They add to the ongoing critique of Australian society, and provide an inviting and creative outlet for these fearless commentators and satirists. This thesis represents a basic description and critique of their practice.


Hill, Trent Gregory. 1993. In Subordination of the Word: Literature, Culture, and the 'American Celebration', 1948-1963 . (Censorship, Charles Olson, Norman Mailer, Ralph Ellison, Modernism). Duke University. DAI.


Holcomb, Jack Andrew. 2000. Playing Popular Culture: A Folkloristic Perspective on Role-Playing Games and Gamers. University of Louisiana at Lafayette. DAI.


Ilundain-Agurruza, Jesus Maria. 2000. . In the Realms of Art: A Conceptual Inquiry of the Genesis of the Work of Art. University of Illinois at Chamapgne-Urbana. DAI.


Jahrling, Savannah Lee. 1998. The Persistence of the Romantic Paradigm in Popular Art in the Late Twentieth Century. (Robert John) University of Wisconsin - Madison. DAI.


Jasinowski, Rosemary Wright. 2002. Morimura Yasumasa: A Cross-Cultural Study in the Self-Portrait, Self-Definition and the Creative Process. New York University. DAI.

Jobs, Richard Ivan. 2002. Riding the New Wave: Youth and the Rejuvenation of France after World War II. Rutgers - The State University of New Jersey - New Brunswick. DAI.

Johnson, Crystal A. 1997. Schizoid Defenses, Transitional Phenomena and Humor in Bureaucratic Corporate Life. DAI, Section B: The Sciences and Engineering, 1997 Oct; 58 (4): 2165-66. Wright Institute.


Kannenberg, Eugene Paul, Jr. 2002. Form, Function, Fiction: Text and Image in the Comics Narratives of Winsor McCay, Art Spiegelman, and Chris Ware. University of Connecticut, Department of English. Committee Members: Thomas J. Roberts; Robert J. Hasenfratz; Jerry R. Phillips. DAI, Section A: The Humanities and Social Sciences (DAIA) 2002 Nov; 63 (5): 1821. Abstract no: DA3054240. Read proposal - includes publication information. See also: Dr. Kannenberg's website, ComicsResearch.org.


Abstract: This dissertation highlights the importance of critical attention to the design elements in comics narratives. It borrows terminology and reading strategies from other approaches to visual literature, such as artist’s books and shaped poetry, developing new terminology suited to the discussion of the graphic appearance of text when it appears in a graphic environment. This apparatus will prove beneficial to other forms of visual communication in which a work’s visual form constitutes part of its message. It then applies those techniques to the works of three cartoonists who have produced design-intensive comics.
This analysis focuses on three broad themes: (1) The development of comics storytelling from the single comics page to the larger “book experience”; (2) The struggle between art and commerce which is enacted via the publication methods of comics; and (3) The growing opportunities for personal expression in the comics form.
Winsor McCay, who created Little Nemo in Slumberland and Dreams of the Rarebit Fiend at the beginning of the twentieth century, was one of America’s earliest professional strip cartoonists, as well as one of the first American animators. Finding his work constrained to the newspaper page, with no opportunities for his work to grow into a more permanent form, McCay moved into the realm of animation to explore personal themes that his work for William Randolph Hearst increasingly would not allow. His formal and thematic innovations on the comics page, however, influenced generations of cartoonists to follow, including Art Spiegelman, the Pulitzer Prize-winning author of Maus , whose underground comics work, freed from the editorial and commercial constraints, explored the formal aspects of cartooning in the long form. His eventual role as small publisher himself opened doors for new cartoonists who thrived in smaller comics venues apart from the traditional newspaper or comic book page. Chris Ware, creator of The Acme Novelty Library , uses the freedom and opportunities created by Spiegelman and other alternative publishers to explore form and theme in ways that explicitly acknowledge the importance of design, in both images and the text within them, throughout the course of his comics narratives.


Karp. Etta E. 1954. Crime Comic Book Role Preferences. New York University.


Kasanof, Nina. 1992. The Illustrations of Everett Shinn and George Luks. University Of Illinois At Urbana-Champaign. DAI.


Kasen, Jill Helene. 1978. Portraits from the Dream: The Myth of Success in the Comic Strip, 1925-1975. Rutgers University. WorldCat.

Kern, Adam Lewis. 1997. Blowing Smoke: Tobacco Pouches, Literary Squibs, and Authorial Puffery in the Pictorial Comic Fiction (Kibyфshi) of Santф Kyфden (1716-1816). Harvard University, East Asian Languages and Civilizations. Forthcoming: The Geisha's Forbidden Comicbook (tentative title; accepted for publication by the Asia Center, Harvard University Press).


Kindborg, Mikael. 2003. Concurrent Comics : Programming of Social Agents by Children. Linkцping universitet , Science and Technology. On-line information.


King, Lucy Charlotte Peeples. 1985. Vers Un Enseignement De La Culture/Civilisation. D.M.L. Middlebury College. DAI.


Kipniss, Marc. 1993. Pomo-Pop: Analyzing Postmodernism and Popular Culture. University of Washington. DAI.

Kraemer, Christine Hoff. 2008. The erotic fringe : sexual minorities and religion in contemporary American literature and film . Boston University, Religious and Theological Studies. Advisers: Peter S. Hawkins and Susan L. Mizruchi. Full text available through ProQuest/UMI. Contact: http://inhumandecency.org/christine / chkraemer13@gmail.com


Kraft, Karl R. 1990. The Use of Comic Strips and Single-Panel Cartoons as an Outreach to Unchurched Young Adults through the Broad Street United Methodist Church, Burlington, New Jersey. D.Min. Drew University. DAI.

Krinsky, Charles Jay. 1998. Rebels without a Closet: The Construction of Juvenile Delinquency, Masculinity, and Male Sexuality in American Culture, 1945-1961. University of California, Irvine. DAI.

Kurzrok, Allan. 1993. 'The Kids from 'Help' Look at Loss and Life': The Inception, Conceptual Framework and Creation of a Comic Strip and Psychodynamically Established Text for Increasing Psychological Awareness and Motivating Insight Orientation and Personal Growth in the Lay Public. Union Institute (Ohio). DAI.


Lamanno, April Arthur. 2007. Exploring the Use of Graphic Novels in the Classroom: Does Exposure to Non-Traditional Texts Increase the Reading Comprehension Skills and Motivation of Low-Functioning Adolescent Readers? Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 2008 Apr; 68 (10): 4243. Pennsylvania State U.


Lanyi, Ronald Levitt. 1977. Comic Book Creativity as Displaced Aggression. University of California-Davis.


Lee, Chris and Jack Adams-Webber. 1987. A 'Projective' Test of the Golden Section Hypothesis [psychological evaluation of comic strip characters]. Social Behavior and Personality 15(2):169-175. [query: is this truly a thesis or dissertation?]


Lee, Tain-Dow. 1986. Reforming Film Study at the Level of Higher Education in Taiwan, The Republic of China. The Ohio State University. DAI.


Lefиvre, Pascal. 2003. Willy Vandersteens Suske en Wiske in de krant (1945-1971). Een theoretisch kader voor een vormelijke analyse van strips [Willy Vandersteen's Suske en Wiske in the dailies (1945-1971): A theoretical framework for the formal analysis of comics]. Katholieke Universiteit Leuven, Faculteit Sociale Wetenschappen [Social Sciences]. on-line information.


English abstract: Although there are similarities between various media,comics present stories in a unique way: they make use of sequences of drawings,including texts in balloons or boxes. Remarkably, this unique formal communication system has not been studied in depth by the academic world. Compared with the considerable number of theoretical works on literature, film or theatre, the medium of comic art is still very poorly served by the scholars. Since the end of the 1960's, however, some studies have been published. Nevertheless, three decades later,no single academic work has thoroughly covered the various formal techniques of comics.Therefore this study sets out to describe these in a systemic way. Inspired by what Bordwell and Thompson (1977 &2001) have done for cinema,the approach here can be outlined in two basic questions: how does an entire comic function and how do comic techniques contribute to its form? Of course, parts of my work do clearly rely on previous theoretical thinking on comics, but also findings from other fields such as cinema, the study of perception, cognitive psychology, art history and literature are used. Thus, a new comprehensive view on aspects such as drawing, text, panel arrangement and narration is presented.
Moreover these general theoretical and analytical findings are tested in a case study of the most popular Flemish comic strip for decades: Suske en Wiske (in English translated as Spike and Suzy , Willy and Wanda or Bob and Bobette ). Though the Flemish dailies are still publishing new stories of Suske en Wiske , this study focusses on the 71 stories made by Willy Vandersteen (1913-1990) for the newspapers De Nieuwe Standaard and De Standaard between 1945 and 1971. This analysis shows that Suske en Wiske has a unity and a set of concrete formal techniques,evolving in time.Culture, tradition, personal qualities of the author(s),etc.,they were all influential in the choice of resources; but very important was also the way in which these comics were published.The publication format (namely two tiers in a newspaper) influenced the total concept of the series,both style and content.
Though Vandersteen did not create many new techniques,his combination of a continuity strip with various forms of humor (including self-referential humor), a (fake) family setting, wild imagination and criticism of hot topics is quite unique.


Lipper, Mark M. 1974. Comic Caricatures in Early American Newspapers as Indicators of the National Character. DAI, 1974; 34: 5896A(So. Ill.).


Lococo, Mark Edward. 1995. 'Burned Behind My Eyes': The Dissolution of Invincibility through Performances of the Vietnam War. Northwestern University, Department of Performance Studies. DAI. [War toys, comic books, short stories, poetry]


Lovata, Troy R. 2000. An Exploration of Archaeological Representation: People and the Domestic Dog on the Great Plains of North America. The University of Texas at Austin, Department of Anthropology. Advisoir: Sam Wilson, Ph.D.; committee: Drs. Kenneth Foote (then Texas, now Colorado), Silvia Tomaskova (North Carolina), Fred Valdez (Texas) and Pauline Strong (Texas). "I did a short comic about making a comic book dissertation for the Society of American Archaeology's journal back in 2005. It can be found here, starting on page 22. "


Lunning, Nancy French. 2000. Comic Books: Sex and Death at the Edge of Modernity. DAI, Section A: The Humanities and Social Sciences, 2000 June; 60 (12): 4225. U of Minnesota.


Macdonnell, Francis Michael. 1991. Insidious Foes: The Axis Fifth Column and the American Home Front, 1938-1942. Harvard University. DAI.


Makemson, Harlan E. 2002. Images of Scandal: Political Cartooning in the 1994 Presidential Campaign. University of North Carolina.


Malach, Michele Marie. 2000. You'd Better Dust Off Your Own Black Suit: The FBI in Recent American Film and Television. University of Texas at Austin. DAI.


Marston, Emily Wright. 1982. A Study of Variables Relating to the Voluntary Reading Habits of Eighth Graders. Ed.D. Harvard University. DAI.


Martin, George Ira. 1992. Secondary English Students' Responses to Classics Illustrated Comic Books. Ed.D. University of Virginia. DAI.

Mattozzi, Alvise. 1998. Nuvole Sotterranee. Alaisi Socio-Semiotica del Fumetto Underground . Universita' Degli Studi di Siena, Facolta di Lettere e Filosofia, Corso di Laurea in Scienze della Communicazione. Relatore: Ch.mo Prof. Omar Calabrese.


McFadden, Margaret Theresa. 1996. Anything Goes: Gender and Knowledge in the Comic Popular Culture of the 1930s. Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 1997 May; 57 (11): 4796. Yale U, 1996 [note: uncertain if this diss mentions comics or not]


McKinney, Edgar Duane. 1990. Images, Realities, and Cultural Transformation in the Missouri Ozarks, 1920-1960. University Of Missouri - Columbia. DAI.


McQuillan, Elizabeth. 2001. The Reception and Creation of Post-1960 Franco-Belgian BD. University of Glasgow.

Merino, Ana. 2001. Las dimensiones narrativas del comic del mundo Hispanico en los limites de la modernidad. (Spain, Mexico, Argentina, Cuba.) University of Pittsburgh. DAI.

Mickelson, Holly Michelle. 2002. Replacing Memory: Comics, Survivorship, and Narrative Rupture in Art Spiegelman's Maus Project. Purdue University. Abstract on-line.

Miller, Jeffrey Alan. 2001. Critical Analysis of Comic Strips: A Semiological Approach. (Roland Barthes.) Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 2001 Oct; 62 (4): 1271. State U of New York, Buffalo.


Monnin, Katie M. 2008. Perceptions of New Literacies with the Graphic Novel 'Bone.' Kent State University. Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 2008 Dec; 69 (6): 2188.


Murray, Ross. 2009. Changing Bodies: Representations of Metamorphic Comic Characters. University of Western Sydney, Australia.


Nash, Susan Smith. 1996. Apocalypse in Twentieth-Century Literature, Film, and Cultural Texts: The Persistence and Questioning of the Messianic Vision. The University of Oklahoma. DAI.


Neff, William Albert. 1977. The Pictorial and Linguistic Features of Comic Book Formulas . University of Denver. review by Neil Cohn


Nelson, Sandra G. 1993. J. Minor Gwynn: 1897-1971. (Textbook Writing, North Carolina) Ed.D. University of South Carolina. DAI.


Neustadt, Robert Alan. 1995. (Con)Fusing Signs: Three Spanish-American Encounters with(in) the Postmodern Position. Alejandro Jodorowsky, Guillermo Gomez-Pena and Diamela Eltit. (Mexico, Chile) University Of Oregon. DAI.

Nguyen, Nhu-Hoa. 2009. Narration graphique : l’ellipse comme figure et signe peircйen dans la bande dessinйe . Universitй du Quйbec а Montrйal (UQAM) Mutifaculty (philosophy, communication and literary studies); program: Ph. D. in semiology. Advisors: Dr. Franзois Latraverse (philosophy) & Dr. Philippe Sohet(communication).


Abstract: Cette thиse a pour but d’analyser le phйnomиne de l’ellipse dans la narration graphique afin d’y asseoir son rфle souverain. L’йtude rend explicite la nature et le fonctionnement d’une technique d’йcriture fondamentale qui jusqu’а prйsent a йtй reconnue de faзon brиve, instinctive ou implicite. S’articulant autour de trois axes, ses dйfinitions, ses expressions et la logique de son interprйtation, la thиse examine la nature et les caractйristiques de l’ellipse avant de vйrifier son opйrationnalitй dans les bandes dessinйes et de faire la lumiиre sur les йtapes infйrentielles que traverse toute interprйtation possible de la figure.
Pour ce faire, le premier axe revisite les concepts existants dans quelques champs d’йtude principaux, soit la rhйtorique, la linguistique, la littйrature et la cinйmatographie. Une fois l’assise thйorique gйnйrale posйe, le deuxiиme axe porte un regard sur les diverses expressions de ces concepts en bande dessinйe а travers une centaine d’occurrences puisйes dans une vaste collection internationale, en particulier la France, les Йtats-Unis et le Japon. Le troisiиme axe dйtermine le trajet interprйtatif de ces expressions au moyen de la trichotomie infйrentielle (abduction – dйduction – induction) du philosophe pragmatiste Charles S. Peirce.
Les recherches menйes ont rйvйlй qu’une comprйhension plus complиte de l’ellipse passait par d’autres figures rhйtoriques de nature semblable qui, elles aussi, adoptent le non-dit et le non-montrй comme lieux d’expression. La cohabitation avec ces figures et la confrontation de diverses conceptions de l’ellipse а travers diffйrents domaines ont permis de synthйtiser les rйsultats en une dйfinition applicable gйnйralement. Elles ont aussi donnй lieu а une typologie gйnйrale, qui peut кtre modifiйe pour s’adapter aux besoins particuliers; en l’occurrence, on s’est retrouvй avec une taxonomie plus dйtaillйe des ellipses en bande dessinйe qui couvre les formes des plus courues aux moins courantes. L’application de la classification а l’expression concrиte de la bande dessinйe a aussi rйvйlй que le transfert des notions rhйtoriques amиne une modification notable du statut figural des procйdйs elliptiques, qui prйsentent un double comportement, tantфt sans aucun changement sйmantique, tantфt avec modification de sens.
Par ailleurs, le processus d’interprйtation par l’infйrence peircйenne a fourni l’outil nйcessaire pour confirmer le travail incessant d’interprйtation d’une bande dessinйe, dйterminer de faзon logique l’existence d’une ellipse dans sa lecture et йlucider la concordance entre les genres de raisonnement logique et les types d’ellipse. Ainsi les ellipses dйductives procurent un sentiment de satisfaction dans la pratique de lecture de progression, alors que les ellipses abductives et inductives rйjouissent davantage le lecteur de la comprйhension, а qui elles ouvrent des horizons riches de possibilitйs et de probabilitйs.


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Zitawi, Jehan Ibrahim. 2004. The Translation of Disney Comics in the Arab World: A Pragmatic Perspective. Centre for Translation and Intercultural Studies (CTIS), School of Modern Languages, University of Manchester, UK. External examiner: Dr. Zahia Salhi, Middle Eastern Studies, University of Leeds; internal examiner: Penny Brown, French Studies, University of Manchester. Email: jehan.zitawi@adu.ae or jehanzitawi@yahoo.co.uk


Abstract: The vast majority of studies drawing on pragmatics have focused on conversation and face-to-face interaction, with little or no attention paid to written text. Like much of pragmatic theory, Brown and Levinson’s politeness theory also focuses on spoken discourse. At the same time, politeness theory claims to offer a universal framework for the study of politeness across different cultures and, one would therefore assume, across different genres of discourse. This study attempts to examine the applicability of the Brown and Levinson model to a particularly challenging genre, namely Disney comics, and to extend the model beyond monolingual and monocultural contexts, to look at politeness strategies in translation between two very different cultures. The study thus sets out to test politeness theory to ascertain whether it can offer credible and coherent explanations of the potential for comics in translation to threaten the face(s) of Arab readers, and whether it can provide a robust framework for describing the pragmatic strategies employed by translators seeking to maintain the face(s) of Arab readers.
The study argues that Brown and Levinson’s politeness theory can be fruitfully applied to Disney comics translated from English into Arabic, provided we can demonstrate that (a) it is possible to identify a composite speaker and composite hearer in Disney comics, and (b) Disney comics can be read as face threatening texts (FTTs). Disney comics are simply texts that have writers and readers. However, the complex nature of this discourse and the attempt to contextualise it within a totally different culture – Arab culture – point to certain limitations of the Brown and Levinson model. At the same time, they enable us to propose ways in which the model may be refined to read the nuances of complex discourses, such as Disney comics, that are normative and manipulative in nature while presenting themselves as benign entertainment.
The data used in this study consists of 278 Disney comic stories: 140 English stories and 138 Arabic stories translated and published by Dar Al-Hilal in Egypt , Al-Futtaim/ITP in Dubai , and Al-Qabas in Kuwait . The English stories appeared between 1962 and 2000. The Arabic stories appeared between 1993 and 2003. Most of these comics are aimed at 6-13 year-olds.
The starting point of the analysis is a conventional application of Brown and Levinson’s politeness theory to original and translated Disney comics, looking specifically at three sources of face threat in this context: verbal and/or visual signals that can be considered taboo or at least unpalatable to the reader; the raising of sensitive or divisive topics (e.g., Jewish and Christian imagery and colonial ideologies, stereotyping and ridiculing the target reader); and the use of address terms and other status-marked identifications that may be misidentified in an offensive or embarrassing way, either intentionally or accidentally. Politeness strategies used by Arab publishers and translators in the data examined in this study include all three categories proposed by Brown and Levinson: Don’t do the FTA; Do the FTA on record with mitigation; and Do the FTA baldly with no mitigation. However, the study also reveals a number of weaknesses inherent in the Brown and Levinson model and highlights the need to refine politeness theory in order to make it more applicable to the analysis of complex genres such as comics and complex types of face threat encoded in discourses which are normative in nature but which present themselves as benign.


Zurier, Rebecca. 1988. Picturing The City: New York in the Press and the Art of the Aschan School, 1890-1917. (Volume I: Text. Volume Ii: Text And Illustrations; Illustrations Not Microfilmed As Part Of Dissertation) Yale University. DAI.
Back to top of page || Master's Theses || Undergradate Theses Sources: Apart from general Internet searches, the following resources were consulted: The Modern Language Association Bibliography, 1969-2002; The Comics Research Bibliography; The Comics Scholars Discussion List; Dissertation Abstracts International; The Dreaming; Michigan State University Library's Catalog Info on "Dissertations About Comics" ; WorldCat; personal corresponences. Special thanks to Martin de la Iglesia, Fabio Gadducci, Mark Rogers, Michael Rhode, and Leonard Rifas.


Publicity: Information about this site was originally posted to the Comics Scholars Discussion List. Thanks to the following resources for mentioning this site: EGON; Hijinx Comics; ЎJournalista!: The Comics Journal' Weblog by Dirk Deppey (9th item down).