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The Aesthetics of Comics by David Carrier, X

From Gary Larson's The Far Side to George Herriman's Krazy Kat, comic strips have two obvious defining features. They are visual narratives, using both words comic books and pictures to tell stories, comic books and they use word balloons to represent the speech comic books and thought of depicted characters. Art historians have studied visual artifacts from every culture; cultural historians have recently paid close attention to movies. Yet the comic strip, an art form known to everyone, has not yet been much studied by aestheticians or art historians. This is the first full-length philosophical account of the comic strip. Distinguished philosopher David Carrier looks at popular American comic books and Japanese comic strips to identify comic books and solve the aesthetic problems posed by comic strips comic books and to explain the relationship of this artistic genre to other forms of visual art. He traces the use of speech comic books and thought balloons to early Renaissance art comic books and claims that the speech balloon defines comics as neither a purely visual nor a strictly verbal art form, but as something radically new. Comics, he claims, are essentially a composite art that, when successful, seamlessly combine verbal comic books and visual elements. Carrier looks at the way an audience interprets comics comic books and contrasts the interpretation of comics comic books and other mass-culture images to that of Old Master visual art. The meaning behind the comic can be immediately grasped by the average reader, whereas a piece of museum art can only be fully interpreted by scholars familiar with the history comic books and the background behind the painting. Finally, Carrier relates comics to art history. Ultimately, Carrier's analysis of comics shows why this popular art is worthy of philosophical study andproves that a better understanding of comics will help us better understand the history of art.
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