According to the Western tradition, a "great divide" separates human beings from non-human animals. Such a boundary underlies the anthropocentric interpretation of the world and the power system that ...ecofeminists call 'anthroparchy'. Given its capacity to break the rules, it is possible to assume that humour can undermine this hegemonic vision. To test such a hypothesis, the article examines the work of three American cartoonists who, albeit with different techniques and strategies, open a crack in this direction: Charles M. Schulz (Peanuts), Gary Larson (The Far Side) and Dan Piraro (Bizarro). II confine che, secondo la tradizione occidentale, separa gli esseri umani dagli animali non umani e alla base dell'interpretazione antropocentrica del mondo e del sistema di potere che le ecofemministe definiscono come "anthroparchy". Data la sua capacita di rompere le regole, e possibile ipotizzare che l'umorismo riesca a scalfire questa visione egemonica. Per verificare una simile ipotesi, l'articolo prende in esame l'opera di tre disegnatori statunitensi che, seppure con tecniche e strategie different', aprono uno spiraglio in questa direzione: Charles M. Schulz (Peanuts), Gary Larson (the Far Side) e Dan Piraro (Bizarro). Keywords: Antropocentrismo, antroparcato, umorismo, fumetti, Charles M. Schulz (Peanuts), Gary Larson (the Far Side) e Dan Piraro (Bizarro); anthropocentrism, anthroparchy, humor, cartoons, Charls M. Schulz (Peanuts), Gary Larson (the Far Side), Dan Piraro (Bizarro).
Il confine che, secondo la tradizione occidentale, separa gli esseri umani dagli animali non umani è alla base dell'interpretazione antropocentrica del mondo e del sistema di potere che le ...ecofemministe definiscono come "anthroparchy". Data la sua capacità di rompere le regole, è possibile ipotizzare che l'umorismo riesca a scalfire questa visione egemonica. Per verificare una simile ipotesi, l'articolo prende in esame l'opera di tre disegnatori statunitensi che, seppure con tecniche e strategie differenti, aprono uno spiraglio in questa direzione: Charles M. Schulz (Peanuts), Gary Larson (the Far Side) e Dan Piraro (Bizarro).
Since the passing of Charles M. Schulz in 2000, the legacy of America's most well-known comic strip Peanuts has been the subject of much conversation, particularly in regard to its persistence beyond ...the life of its creator. In the introduction, Lee describes the book as further considering "the historical and cultural context that shaped and reflected Schulz's 17,897 strips by contextualizing the comic strip in the larger Cold War milieu" (3). ...in "Cold War Snoopy, or, Do Beagles Dream of Electric Bunnies?," Brandt closes the collection with an exploration of Snoopy's "playbeagle" persona, which emerged as a "retreat from his human masters' demands" for coping "with anxieties and uncertainties as the Cold War progressed" (194).
Early on, she worked in general medicine, persuading the neighbourhood children to lie down on the sidewalk and cough, in an attempt to literally "stamp out" the common cold: "No germ has ever been ...able to build up a defence against being stepped on!" She will "treat any patient who has a problem and a nickel", and once charged Charlie Brown US$143 for an unsolicited slide-show of his faults. Another time, haunted by the meaninglessness of his losses, he decides to spend the rest of his life lying in a dark room, only to emerge, stooped and shattered, when he realises he has to feed the dog.
This article reflects on the future of comics in an interconnected globalized world where, it is argued, digital technologies both accelerate change in partly-uncharted territories, and redefine the ...contemporary disenchantment with information flows. As a case study, the author uses their project Peanuts minus Schulz and discusses the ethos of post-digital conceptual comics and how distributed digital labor is used as an opaque, material and possibly disruptive compositional practice.
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