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Disfigural Dynamisms of the Pictographic Theater: Towards a Deleuzian Phenomenology of the Embodied Comics Experience

Year 2022, Volume: 39 Issue: 2, 406 - 420, 30.12.2022
https://doi.org/10.32600/huefd.994665

Abstract

Vivian Sobchack’s Merleau-Pontian phenomenology of embodied film experience is applicable, with certain modifications, to the embodied comics experience, especially when considering her analyses of Gestalt closure, bodily affectivity, and synaesthesia. We adopt these concepts yet with a different aim, namely, to account for shocking, disorienting, and decompositional embodied comics experiences of dramatically deformed bodies. For this task, we employ Gilles Deleuze’s philosophy of shocking sensations and their role in promoting the “body without organs.” While it can be depicted in comics, like it is in Francis Bacon’s paintings, the visual experience of such a figure may also communicate these disordering forces to the viewing reader’s body as well, thereby shockingly disrupting their own inner workings. We test the potential applicability of these Deleuzian concepts by examining deformational bodies in Peter Bagge, Mary Fleener, and Craig Thompson, which will demonstrate the potential aptness of a Deleuze-inspired analysis of physiological shocks in the comics experience.

References

  • Bagge, P. (1987). Neat stuff #7. Agoura Hills, Calif.: Fantagraphics.
  • Bagge, P. (1993). Hate #12. Seattle, Wash.: Fantagraphics.
  • Bagge, P. (1994). Hate #15. Seattle, Wash.: Fantagraphics.
  • Bagge, P., & Roth, G. (2013). The least insane of cartoonists. Episode 22 of Virtual memories. Podcast interview. Retrieved from http://chimeraobscura.com/vm/podcast-the-least-insane-of-cartoonists
  • Barbe, A. (1982a). Cinéma #1. Grenoble, France: Glénat.
  • Barbe, A. (1982b). Cinéma #2. Grenoble, France: Glénat.
  • Deleuze, G. (1981a). Course 1981.11.10, part 2. Bibliothèque nationale de France/Gallica; La voix de Gilles Deleuze en ligne (Université Paris 8); Web Deleuze; The Deleuze Seminars (Purdue University). Transcription by Lise Renaux, augmented and translated by Charles Stivale. Paris. Retrieved from https://gallica.bnf.fr/ark:/12148/bpt6k128261x ; http://www2.univ-paris8.fr/deleuze/article.php3?id_article=36 ; https://www.webdeleuze.com/textes/294 ; https://deleuze.cla.purdue.edu/seminars/cinema-movement-image/lecture-01
  • Deleuze, G. (1981b). Course 1981.11.24, part 3. Bibliothèque nationale de France/Gallica; La voix de Gilles Deleuze en ligne (Université Paris 8); Web Deleuze; The Deleuze Seminars (Purdue University). Transcription by Marc Ledannois, augmented and translated by Charles Stivale. Paris. Retrieved from https://gallica.bnf.fr/ark:/12148/bpt6k128266t ; http://www2.univ-paris8.fr/deleuze/article.php3?id_article=82 ; https://www.webdeleuze.com/textes/296 ; https://deleuze.cla.purdue.edu/seminars/cinema-movement-image/lecture-03
  • Deleuze, G. (1995). Kant’s critical philosophy: The doctrine of the faculties (H. Tomlinson & B. Habberjam, Trans.). London: Athlone.
  • Deleuze, G. (2003). Francis Bacon: The logic of sensation (D. Smith, Trans.). London & New York: Continuum.
  • Deleuze, G. (2004). Desert islands and other texts, 1953–1974 (D. Lapoujade, Ed.; M. Taormina, Trans.). Los Angeles: Semiotext(e).
  • Deleuze, G. (2005a). Cinema 1: The movement-image (H. Tomlinson & B. Habberjam, Trans.). London: Continuum.
  • Deleuze, G. (2005b). Cinema 2: The time-image (H. Tomlinson & R. Galeta, Trans.). London: Continuum.
  • Deleuze, G. (2006). Two regimes of madness: Texts and interviews 1975–1995 (D. Lapoujade, Ed.; A. Hodges & M. Taormina, Trans.). New York: Semiotext(e).
  • Deleuze, G., & Guattari, F. (1983). Anti-Oedipus: Capitalism and schizophrenia, 1 (R. Hurley, M. Seem, & H. Lane, Trans.). Minneapolis, Minn.: University of Minnesota.
  • Deleuze, G., & Guattari, F. (1994). What is philosophy? (H. Tomlinson & G. Burchell, Trans.). New York: Columbia University.
  • Deleuze, G., & Guattari, F. (2004). A thousand plateaus: Capitalism and schizophrenia, 2 (B. Massumi, Trans.). London: Continuum.
  • Embree, L. (1980). Merleau-Ponty’s examination of Gestalt psychology. Research in Phenomenology, 10, 89–121.
  • Fleener, M. (1993). Slutburger #4. Montreal: Drawn and Quarterly.
  • Fleener, M., & Roth, G. (2014). Our lady of organized vituperationn. Episode 45 of Virtual memories. Podcast interview. Retrieved from http://chimeraobscura.com/vm/podcast-our-lady-of-organized-vituperation
  • Groensteen, T. (2007). The system of comics (B. Beaty & N. Nguyen, Trans.). Jackson, Miss.: University Press of Mississippi.
  • Groensteen, T. (2013). Comics and narration (A. Miller, Trans.). Jackson, Miss.: University Press of Mississippi. Hague, I. (2012). Beyond the visual: The roles of the senses in contemporary comics. Scandinavian Journal of Comic Art, 1(1), 98–110.
  • Hague, I. (2014). Comics and the senses: A multisensory approach to comics and graphic novels. London & New York: Routledge.
  • Hatfield, C. (2005). Alternative comics: An emerging literature. Jackson, Miss.: University Press of Mississippi.
  • Hatfield, C. (2009). The art of tensions. In J. Heer & K. Worcester (Eds.), A comics studies reader (pp. 132–148). Jackson, Miss.: University Press of Mississippi.
  • Husserl, E. (1989). Ideas pertaining to a pure phenomenology and to a phenomenological philosophy, Book 2: Studies in the phenomenology of constitution (R. Rojcewicz & A. Schuwer, Trans.). Dordrecht: Kluwer.
  • Husserl, E. (2001). Analyses concerning active and passive synthesis: Lectures on transcendental logic (A. Steinbock, Trans.). Dordrecht: Kluwer.
  • Iser, W. (1972). The reading process: A phenomenological approach. New Literary History, 3(2), 279–299.
  • Kant, I. (1998). Critique of pure reason (P. Guyer & A. W. Wood, Eds. & Trans.). Cambridge: Cambridge University.
  • Kant, I. (2000). Critique of the power of judgment (P. Guyer, Ed.; P. Guyer & E. Matthews, Trans.). Cambridge: Cambridge University.
  • Kennedy, J. (1982). Metaphor in pictures. Perception, 11, 589–605.
  • Lia, S. (2008). Fluffy. Milwaukie, Oreg.: Dark Horse.
  • Lia, S. (2011). Please God, find me a husband! London: Cape.
  • Marey, É.-J. (1885). La méthode graphique dans les sciences expérimentales et principalement en physiologie et en médicine. Paris: Masson.
  • McCloud, S. (1993). Understanding comics: The invisible art. Northampton, Mass.: Kitchen Sink.
  • McCloud, S. (2006). Making comics: Storytelling secrets of comics, manga, and graphic novels. New York: Harper.
  • McCloud, S. (2015). The sculptor. New York: First Second.
  • McCloud, S., & Roth, G. (2015). Scott McCloud – Tumblings. Episode 137 of Virtual memories. Podcast interview. Retrieved from http://chimeraobscura.com/vm/episode-137-scott-mccloud
  • Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, Trans.). London & New York: Routledge & Kegan Paul.
  • Merleau-Ponty, M. (1963). The structure of behavior (A. Fisher, Trans.). Boston: Beacon.
  • Merleau-Ponty, M. (1964). Sense and non-sense (H. Dreyfus & P. Dreyfus, Trans.). Evanston, Ill.: Northwestern University.
  • Merleau-Ponty, M. (1992). The nature of perception: Two proposals. In H. Silverman & J. Barry (Eds.), & F. Williams (Trans.), Texts and dialogues: On philosophy, politics, and culture (pp. 74–84). Amherst, N.Y.: Humanity.
  • Merleau-Ponty, M. (2010). Child psychology and pedagogy: The Sorbonne lectures 1949–52 (T. Welsh, Trans.). Evanston, Ill.: Northwestern University.
  • Miodrag, H. (2013). Comics and language: Reimagining critical discourse on the form. Jackson, Miss.: University Press of Mississippi.
  • Peirce, C. S. (1965). Collected papers of Charles Sanders Peirce (Two volumes in one), Vol. 1: Principles of philosophy, Vol. 2: Elements of logic (C. Hartshorne & P. Weiss, Eds.). Cambridge, Mass.: Belknap of Harvard University.
  • Rosa, D. (2010). The life and times of Scrooge McDuck companion. Los Angeles: Boom.
  • Rosensohn, W. (1974). The phenomenology of Charles S. Peirce. Amsterdam: Grüner.
  • Schneider, G. (2013). Resisting narrative immersion. Studies in Comics, 4(2), 333–354.
  • Shores, C. (2012). Body and world in Merleau-Ponty and Deleuze. Studia Phaenomenologica, 12, 181–209.
  • Simondon, G. (1992). The genesis of the individual. In J. Crary & S. Kwinter (Eds.), Zone 6: Incorporations (pp. 297–319). New York: Zone.
  • Smith, D. (2012). Essays on Deleuze. Edinburgh: Edinburgh University.
  • Sobchack, V. (1992). The address of the eye: A phenomenology of film experience. Princeton: Princeton University.
  • Sobchack, V. (2004). Carnal thoughts: Embodiment and moving image culture. Berkeley & Los Angeles: University of California.
  • Thompson, C. (2015). Blankets. Montreal: Drawn and Quarterly.
  • Ware, C. (1994a). ACME novelty library, #2. Seattle: Fantagraphics.
  • Ware, C. (1994b). ACME novelty library, #3. Seattle: Fantagraphics.
  • Ware, C. (2000). Jimmy Corrigan: The smartest kid on earth. New York: Pantheon.
  • Ware, C. (2005). The ACME novelty library annual report to shareholders and Saturday afternoon rainy day fun book. New York: Pantheon.
  • Warren, E. (writer), & Robertson, D. (pencils). (1998). Transmetropolitan #5. New York: DC Comics.

Piktografik Tiyatronun Biçimsiz Dinamizmleri: Bedenleşmiş Çizgi Roman Deneyiminin Deleuzecü Fenomenolojisine Doğru

Year 2022, Volume: 39 Issue: 2, 406 - 420, 30.12.2022
https://doi.org/10.32600/huefd.994665

Abstract

Vivian Sobchack’ın bedenleşmiş film deneyimine ilişkin Merlau-Pontyci fenomenolojisi; özellikle Sobchack’ın Gestalt tamamlaması, bedensel duygulanım ve sinestezi analizlerini dikkate aldığımızda bedenleşmiş çizgi roman deneyimine bazı değişiklikler ile uygulanabilir. Fakat bu kavramlara farklı bir amaca yönelik olarak şöyle ki; çarpıcı biçimde deforme edilmiş bedenlerin şok edici, kafa karıştırıcı ve ayrıştırıcı bedenleşmiş çizgi roman deneyimlerini açıklamak için başvuruyoruz. Bu iş için Gilles Deleuze felsefesinin şok edici duyumsamalarını ve onların Organsız Beden’i kurmadaki rolünü kullanıyoruz. Çizgi romanlarda tasvir edilebilen böyle bir figürün görsel deneyimi, Francis Bacon tablolarında da olduğu gibi düzensizleştiren güçleri okuyucunun bedenine iletebilir; böylece kendi iç işleyişini şok edici bir biçimde bozabilir. Bahsedilen Deleuze konseptlerinin potansiyel uygulanabilirliğini; Peter Bagge, Mary Fleener ve Craig Thompson’daki deformasyonel bedenleri inceleyerek test edeceğiz ve bu, şokların Deleuze’den esinlenen fenomenolojik analizinin çizgi roman deneyimindeki potansiyel yatkınlığını gösterecek.

References

  • Bagge, P. (1987). Neat stuff #7. Agoura Hills, Calif.: Fantagraphics.
  • Bagge, P. (1993). Hate #12. Seattle, Wash.: Fantagraphics.
  • Bagge, P. (1994). Hate #15. Seattle, Wash.: Fantagraphics.
  • Bagge, P., & Roth, G. (2013). The least insane of cartoonists. Episode 22 of Virtual memories. Podcast interview. Retrieved from http://chimeraobscura.com/vm/podcast-the-least-insane-of-cartoonists
  • Barbe, A. (1982a). Cinéma #1. Grenoble, France: Glénat.
  • Barbe, A. (1982b). Cinéma #2. Grenoble, France: Glénat.
  • Deleuze, G. (1981a). Course 1981.11.10, part 2. Bibliothèque nationale de France/Gallica; La voix de Gilles Deleuze en ligne (Université Paris 8); Web Deleuze; The Deleuze Seminars (Purdue University). Transcription by Lise Renaux, augmented and translated by Charles Stivale. Paris. Retrieved from https://gallica.bnf.fr/ark:/12148/bpt6k128261x ; http://www2.univ-paris8.fr/deleuze/article.php3?id_article=36 ; https://www.webdeleuze.com/textes/294 ; https://deleuze.cla.purdue.edu/seminars/cinema-movement-image/lecture-01
  • Deleuze, G. (1981b). Course 1981.11.24, part 3. Bibliothèque nationale de France/Gallica; La voix de Gilles Deleuze en ligne (Université Paris 8); Web Deleuze; The Deleuze Seminars (Purdue University). Transcription by Marc Ledannois, augmented and translated by Charles Stivale. Paris. Retrieved from https://gallica.bnf.fr/ark:/12148/bpt6k128266t ; http://www2.univ-paris8.fr/deleuze/article.php3?id_article=82 ; https://www.webdeleuze.com/textes/296 ; https://deleuze.cla.purdue.edu/seminars/cinema-movement-image/lecture-03
  • Deleuze, G. (1995). Kant’s critical philosophy: The doctrine of the faculties (H. Tomlinson & B. Habberjam, Trans.). London: Athlone.
  • Deleuze, G. (2003). Francis Bacon: The logic of sensation (D. Smith, Trans.). London & New York: Continuum.
  • Deleuze, G. (2004). Desert islands and other texts, 1953–1974 (D. Lapoujade, Ed.; M. Taormina, Trans.). Los Angeles: Semiotext(e).
  • Deleuze, G. (2005a). Cinema 1: The movement-image (H. Tomlinson & B. Habberjam, Trans.). London: Continuum.
  • Deleuze, G. (2005b). Cinema 2: The time-image (H. Tomlinson & R. Galeta, Trans.). London: Continuum.
  • Deleuze, G. (2006). Two regimes of madness: Texts and interviews 1975–1995 (D. Lapoujade, Ed.; A. Hodges & M. Taormina, Trans.). New York: Semiotext(e).
  • Deleuze, G., & Guattari, F. (1983). Anti-Oedipus: Capitalism and schizophrenia, 1 (R. Hurley, M. Seem, & H. Lane, Trans.). Minneapolis, Minn.: University of Minnesota.
  • Deleuze, G., & Guattari, F. (1994). What is philosophy? (H. Tomlinson & G. Burchell, Trans.). New York: Columbia University.
  • Deleuze, G., & Guattari, F. (2004). A thousand plateaus: Capitalism and schizophrenia, 2 (B. Massumi, Trans.). London: Continuum.
  • Embree, L. (1980). Merleau-Ponty’s examination of Gestalt psychology. Research in Phenomenology, 10, 89–121.
  • Fleener, M. (1993). Slutburger #4. Montreal: Drawn and Quarterly.
  • Fleener, M., & Roth, G. (2014). Our lady of organized vituperationn. Episode 45 of Virtual memories. Podcast interview. Retrieved from http://chimeraobscura.com/vm/podcast-our-lady-of-organized-vituperation
  • Groensteen, T. (2007). The system of comics (B. Beaty & N. Nguyen, Trans.). Jackson, Miss.: University Press of Mississippi.
  • Groensteen, T. (2013). Comics and narration (A. Miller, Trans.). Jackson, Miss.: University Press of Mississippi. Hague, I. (2012). Beyond the visual: The roles of the senses in contemporary comics. Scandinavian Journal of Comic Art, 1(1), 98–110.
  • Hague, I. (2014). Comics and the senses: A multisensory approach to comics and graphic novels. London & New York: Routledge.
  • Hatfield, C. (2005). Alternative comics: An emerging literature. Jackson, Miss.: University Press of Mississippi.
  • Hatfield, C. (2009). The art of tensions. In J. Heer & K. Worcester (Eds.), A comics studies reader (pp. 132–148). Jackson, Miss.: University Press of Mississippi.
  • Husserl, E. (1989). Ideas pertaining to a pure phenomenology and to a phenomenological philosophy, Book 2: Studies in the phenomenology of constitution (R. Rojcewicz & A. Schuwer, Trans.). Dordrecht: Kluwer.
  • Husserl, E. (2001). Analyses concerning active and passive synthesis: Lectures on transcendental logic (A. Steinbock, Trans.). Dordrecht: Kluwer.
  • Iser, W. (1972). The reading process: A phenomenological approach. New Literary History, 3(2), 279–299.
  • Kant, I. (1998). Critique of pure reason (P. Guyer & A. W. Wood, Eds. & Trans.). Cambridge: Cambridge University.
  • Kant, I. (2000). Critique of the power of judgment (P. Guyer, Ed.; P. Guyer & E. Matthews, Trans.). Cambridge: Cambridge University.
  • Kennedy, J. (1982). Metaphor in pictures. Perception, 11, 589–605.
  • Lia, S. (2008). Fluffy. Milwaukie, Oreg.: Dark Horse.
  • Lia, S. (2011). Please God, find me a husband! London: Cape.
  • Marey, É.-J. (1885). La méthode graphique dans les sciences expérimentales et principalement en physiologie et en médicine. Paris: Masson.
  • McCloud, S. (1993). Understanding comics: The invisible art. Northampton, Mass.: Kitchen Sink.
  • McCloud, S. (2006). Making comics: Storytelling secrets of comics, manga, and graphic novels. New York: Harper.
  • McCloud, S. (2015). The sculptor. New York: First Second.
  • McCloud, S., & Roth, G. (2015). Scott McCloud – Tumblings. Episode 137 of Virtual memories. Podcast interview. Retrieved from http://chimeraobscura.com/vm/episode-137-scott-mccloud
  • Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, Trans.). London & New York: Routledge & Kegan Paul.
  • Merleau-Ponty, M. (1963). The structure of behavior (A. Fisher, Trans.). Boston: Beacon.
  • Merleau-Ponty, M. (1964). Sense and non-sense (H. Dreyfus & P. Dreyfus, Trans.). Evanston, Ill.: Northwestern University.
  • Merleau-Ponty, M. (1992). The nature of perception: Two proposals. In H. Silverman & J. Barry (Eds.), & F. Williams (Trans.), Texts and dialogues: On philosophy, politics, and culture (pp. 74–84). Amherst, N.Y.: Humanity.
  • Merleau-Ponty, M. (2010). Child psychology and pedagogy: The Sorbonne lectures 1949–52 (T. Welsh, Trans.). Evanston, Ill.: Northwestern University.
  • Miodrag, H. (2013). Comics and language: Reimagining critical discourse on the form. Jackson, Miss.: University Press of Mississippi.
  • Peirce, C. S. (1965). Collected papers of Charles Sanders Peirce (Two volumes in one), Vol. 1: Principles of philosophy, Vol. 2: Elements of logic (C. Hartshorne & P. Weiss, Eds.). Cambridge, Mass.: Belknap of Harvard University.
  • Rosa, D. (2010). The life and times of Scrooge McDuck companion. Los Angeles: Boom.
  • Rosensohn, W. (1974). The phenomenology of Charles S. Peirce. Amsterdam: Grüner.
  • Schneider, G. (2013). Resisting narrative immersion. Studies in Comics, 4(2), 333–354.
  • Shores, C. (2012). Body and world in Merleau-Ponty and Deleuze. Studia Phaenomenologica, 12, 181–209.
  • Simondon, G. (1992). The genesis of the individual. In J. Crary & S. Kwinter (Eds.), Zone 6: Incorporations (pp. 297–319). New York: Zone.
  • Smith, D. (2012). Essays on Deleuze. Edinburgh: Edinburgh University.
  • Sobchack, V. (1992). The address of the eye: A phenomenology of film experience. Princeton: Princeton University.
  • Sobchack, V. (2004). Carnal thoughts: Embodiment and moving image culture. Berkeley & Los Angeles: University of California.
  • Thompson, C. (2015). Blankets. Montreal: Drawn and Quarterly.
  • Ware, C. (1994a). ACME novelty library, #2. Seattle: Fantagraphics.
  • Ware, C. (1994b). ACME novelty library, #3. Seattle: Fantagraphics.
  • Ware, C. (2000). Jimmy Corrigan: The smartest kid on earth. New York: Pantheon.
  • Ware, C. (2005). The ACME novelty library annual report to shareholders and Saturday afternoon rainy day fun book. New York: Pantheon.
  • Warren, E. (writer), & Robertson, D. (pencils). (1998). Transmetropolitan #5. New York: DC Comics.
There are 59 citations in total.

Details

Primary Language English
Subjects Philosophy
Journal Section Articles
Authors

Corry Shores 0000-0002-2183-7286

Early Pub Date November 30, 2022
Publication Date December 30, 2022
Submission Date September 13, 2021
Acceptance Date January 31, 2022
Published in Issue Year 2022 Volume: 39 Issue: 2

Cite

APA Shores, C. (2022). Disfigural Dynamisms of the Pictographic Theater: Towards a Deleuzian Phenomenology of the Embodied Comics Experience. Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 39(2), 406-420. https://doi.org/10.32600/huefd.994665


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