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Πού είναι ο Λούντβιχ να μας θαυμάσει; :lol: Επειδή με έχει απασχολήσει αρκετά το θέμα, όσο ψάχνω, τόσο βρίσκω ενδιαφέροντα ευρήματα πάνω στην ακαδημαϊκή κάλυψη των Disney κόμικς γενικώς. Δεν μιλάμε για άρθρα που έχουν δημοσιευτεί σε περιοδικά, διαδίκτυο, βιβλία κλπ. Αναφερόμαστε καθαρά στον ακαδημαϊκό τομέα. Διπλωματικές εργασίες που μπορεί να έχουν γίνει στα πλαίσια κάποιου μεταπτυχιακού ή διδακτορικού, όπως και δημοσιεύσεις στα λεγόμενα journals, τα οποία θα μπορούσαν να αποδοθούν ως «επιστημονικά περιοδικά». Δημοσιεύσεις δηλαδή που μπαίνουν στην διεθνή βιβλιογραφία και συμβάλουν στην επιστημονική κοινότητα.


Για να μην φτιάχνουμε κάθε φορά διαφορετικό θέμα, θα βάζουμε εδώ πέρα ό,τι βρίσκουμε, για να έχουμε σουλουπωμένα τα πάντα. Κάποια τα είχα βάλει και παλιότερα σε ξεχωριστά threads, όμως τα βάζω κι εδώ μαζί με διάφορα άλλα ακόμα. Ακολουθούν χρονολογικά:



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  • PhantomDuck changed the title to Ακαδημαϊκές μελέτες & δημοσιεύσεις σε journals περί Disney




Διπλωματική μεταπτυχιακού (Master's thesis) από το πανεπιστήμιο της πόλης Τούρκου της Φινλανδίας. Ο ελληνικός τίτλος μεταφράζεται στα ελληνικά ως: «Ο οδηγός ιστορίας του θείου Ντον και του θείου Σκρουτζ. Απεικονίσεις του παρελθόντος στα Ντίσνεϋ κόμικς του Ντον Ρόσα». 2011, από τον/την Petra Kotro. Αναλυτικότερα:




Unca Don and Unca Scrooge’s Guide to
Representations of the Past in the Disney
Comics of Don Rosa


School of History, Culture and Arts Studies
European Heritage, Digital Media and the Information Society
Master’s Thesis
Petra Kotro
April 2011



Abstract / περίληψη στα αγγλικά:


Rosa has stopped time in the duck universe to the 1950’s: the
decade when Barks created his most noted stories. There is a special feel of
historicalness in Rosa’s duck stories, as his characters recall events that occurred in both
Rosa’s own stories as well as Barks’. Rosa has shed new light to the past of the
characters by writing and illustrating the history of Scrooge McDuck, one of the most
beloved Disney characters. Rosa is also adamant that the historical facts used in his
stories are always correct and based on thorough research.
The methodological tools used in the analysis of the comics come from the fields of
comic book studies, film theory, and history culture. Film and comics are recognized by
many scholars as very similar media, which share elements that make them comparable
in many ways. This thesis utilizes studies on historical film, narrative and genre, which
provide valuable insight and comparisons for analysis.
The thesis consists of three main chapters, the first of which deconstructs the duck
universe in the stories in order to understand how the historicalness in them is created,
and which outside elements might affect them, including the genre of Disney comics,
publishers, and the legacy of Barks. The next chapter focuses on The Life and Times of
Scrooge McDuck series, i.e. the stories which are located in the past. Such stories
feature similar representations of history as for example Westerns. They also compress
and alter history to meet the restrictions of the medium of comics. The last part focuses
on the adventure stories which draw inspiration from for example mythology, and take
the characters to strange and mystical, but yet historical worlds. Such treasure-hunting
stories show similarity to the action-adventure genre in film and for example their
stereotypical representations of foreign cultures. Finally, the chapter addresses the
problematic of historical fiction and its capability to write history.
Keywords: comics, comic books, Disney, historical fiction, historical culture, imaginary
history, mythology.



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Διδακτορική διατριβή (PhD), πάλι σχετικά με το έργο του Don Rosa, και πάλι από την Φινλανδία. Αυτήν την φορά, ο υπεύθυνος είναι η Katja Kontturi από τον τομέα ανθρωπιστικών επιστημών του πανεπιστημίου της Γυβάσκυλα. Δυστυχώς η μελέτη είναι περί τις ~300 σελίδες, όλες στα Φινλανδικά, επομένως δεν μπορούμε να καταλάβουμε πολλά. Παρ' όλ' αυτά, βάζω τα βασικά στοιχεία από την περίληψη που είναι στα αγγλικά. Στα ελληνικά θα μπορούσε να μεταφραστεί ως «Λιμνούπολη - Η πύλη ανάμεσα σε δύο κόσμους. Τα Ντίσνεϋ κόμικς του Ντον Ρόσα ως μεταμοντέρνα φαντασία». 2014 από την Katja Kontturi.





Duckburg - a gate between two worlds.
Don Rosa's Disney Comics as Postmodern Fantasy.

University of Jyväskylä, 2014, 298 p.
Jyväskylä Studies in Humanities,
ISSN 1459-4331; 239
ISBN 978-951-39-5985-2


Abstract / περίληψη στα αγγλικά:


This dissertation deals with the Disney comics by Don Rosa and analyzes both their fantastic and postmodern features. Rosa combines different fantasy worlds with references to genuine history thus creating unique narratives. The aim of this thesis is to examine how comics as a form depict the elements of fantasy genre both visually and textually. The study notes how Rosa has altered the conventional Disney comics with his detailed style of drawing that is influenced by the underground comix movement. In addition, Rosa widens the form of Disney comics with different narrative choices. Transcending the frame borders and using intertextual references to different media are also essential for the research.

The research is based on literary theories of fantasy genre (Maria Nikolajeva) as well as theories postmodernism (Brian McHale and Linda Hutcheon). Furthermore, it applies the analytic tools of comics (Scott McCloud) and close reading in analyzing the form and contents of Rosa’s comics.

The primary corpus of the study is Don Rosa’s original comics published between the years 1987–2006 of which 48 relevant comics have been chosen based on their dealings with fantasy worlds, fantastic and historical events as well as postmodern features.

With the help of Maria Nikolajeva’s division of fantasy worlds and Sisko Ylimartimo’s views on the fantastic features of fine arts, this thesis analyzes the ways comics portray different fantasy worlds and depict the transition between the worlds. However, the concepts of fine arts cannot be applied directly in comics analysis because of the different narrative strategies comics use. This thesis provides numerous visual examples how Rosa creates a fantastic narrative in textual and visual level.

The aim of this dissertation is to create a model for analyzing fantastic features in comics. With the help of familiar Disney comics the model offers concrete examples how visual and textual fantasy can be broken down and analyzed thoroughly. The model has four key elements: the story of comic, comic’s visual narrative, background information offered by the author and reader’s cultural competence. All of these must be taken into account before one can make claims of comic’s fantastic features.

In his comics, Rosa uses many of the fantasy worlds that Maria Nikolajeva has discovered in her research of children’s fantasy literature. However, based on findings of this thesis, Nikolajeva’s division should be expanded with worlds that are based on myths, and more importantly with the worlds that can only be accessed by the parting of the mind and body. Also, Rosa’s concept of fantasy time differs from the general fantastic concept concerning the passing of primary time in time travel stories.

In addition to fantastic features, Rosa’s comics contain several postmodern world-building elements: he introduces the history and culture of the actual world in his fiction, makes intertextual references and parodic comments as well as challenges the notion of high and low culture. Rosa’s postmodern narrative methods like transcending the frame borders in metaleptic way, offer new meanings to analysis: how the transition between the normal world and the fantasy world may appear in comics.

The study argues that Rosa has brought the concept of history and memory to Disney comics. He chooses to make references and write sequels to the works of his predecessor, noted Disney artist Carl Barks. Rosa’s ducks remember their history and make references to the previous events that took place in their past: in Barks’ comics. By creating a coherent history to characters that in general live in episodic format narratives, Rosa has broken the conventions of Disney comics. Even the taboo of death has been violated, since Rosa has shown how Scrooge McDuck’s father passes away.

Rosa’s depiction shows Duckburg as a special place between the normal primary world and the fantastic secondary world which is one of the key arguments in this dissertation. The city is located in the map of the United States yet it is still a fictional place. Supernatural and fantastic events take place in Duckburg in the hands of the inventor Gyro Gearloose and the sorceress Magica DeSpell. However, Duckburg isn’t a secondary fantasy world since it’s accecible by regular people. And it’s not completely part of the primary world either for the supernatural occurred. It forms a liminal space, a gate between the two worlds essential for fantasy fiction. Rosa notes that Duckburg was a regular village before Scrooge McDuck arrived and helped creating the city. The relevance of ducks’ presence is essential for the fantasy in Rosa’s comics.

Rosa’s fan position’s strong influence is visible in his works and his ambitious intention of making Carl Barks (not Disney) comics has made possible to challenge the conventions of regular Disney comics. Reading Rosa’s comics require media literacy as well as cultural competence. This first doctoral dissertation that analyzes the contents of Disney comics provides a straightforward method for reading and interpreting comics in general. As the society moves more and more into social media and online networks, it is important to understand how images and text work together and form narratives. That’s one reason we should understand how comics construct their meanings.



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Δημοσίευση σε journal (επιστημονικό περιοδικό) και συγκεκριμένα στο Fafnir – Nordic Journal of Science Fiction and Fantasy Research το οποίο ασχολείται με τον τομέα του φανταστικού. Ο τίτλος του άρθρου στα ελληνικά, θα μπορούσε να μεταφραστεί ως: Παρωδία επιστημονικής φαντασίας στην ιστορία του Ντον Ρόσα "Η επίθεση των απαίσιων διαστημικών ζωυφίων". Αναφαίρεται στην ομώνυμη ιστορία του Rosa, δηλαδή αυτήν εδώ. Την έχουμε δει στο Κόμιξ #193 (Α' περίοδος), Κόμιξ #37 (Β' περίοδος) και Βιβλιοθήκη Κόμιξ 4. Ερευνάει το πώς ο Rosa χρησιμοποιεί και σατηρίζει τεχνάσματα επιστημονικής φαντασίας του '50. 2017 από την Katja Kontturi.




Science fiction parody in Don Rosa's

"Attack of the the Hideous Space-Varmints"



Fafnir – Nordic Journal of Science Fiction and Fantasy Research,

Volume 3, Issue 4, pages 52–64.


Abstract / περίληψη στα αγγλικά.



This article concentrates on the comic “Attack of the Hideous Space Varmints” (1997) by Disney artist Don Rosa. The comic deals with Earthlings who invade the territory of one-eyed aliens. The aim is to study Rosa’s comic from a parodic perspective: how Rosa uses science fiction tropes characteristic to the 1950s cinema and comics and ridicules them. My methods consist of close reading followed by formalist comic analysis. While doing so, I also utilize the concept of metalepsis. The analysis will be supported by theoretical works on science fiction and the postmodern view of parody. One important source is Kimmo Ahonen’s recent doctoral dissertation concerning invasion films that offers background material concerning the societal conditions and the era in the United States that Rosa utilizes in his comic – the 1950s.


The article offers a new perspective on how funny animal comics as a narrative form can discuss the themes of invasion and “the Other”, and present them both in a parodic manner. The aim of the article is also to suggest that the whole subgenre of Disney comics should be more comprehensively introduced to the field of comics studies as a serious research topic.



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Δημοσίευση. Μπήκε στο journal Villains. Global Perspectives on Villains and Villainy Today. Στα ελληνικά θα μπορούσε να μεταφραστεί ως: «Η τριανδρία του κακού: Κύριοι κακοποιοί στον Ντόναλντ του Ντον Ρόσα». Αναλύει τον λόγο για τον οποίο οι κύριοι κακοί στις ιστορίες του Rosa είναι οι Μουργόλυκοι, ο Χρυσοκούκης και η Μάτζικα. 2011 πάλι από την Katja Kontturi.




The Triumvirate of Evil:

Major Villains of Don Rosa's Donald Duck.




Villains : Global Perspectives on Villains and Villainy Today

Inter-Disciplinary Press

     Oxford, United Kingdom, 2011
Article Pages: 137-146
ISBN: 978-1-84888-052-8


Abstract / περίληψη στα αγγλικά:



In this paper I present Don Rosa‟s depiction on Duckburg‟s major villains: The Beagle Boys, Magica DeSpell and Flintheart Glomgold. What is their main goal in life? How they‟ve become villains in the Duck universe and what made them enemies of Scrooge McDuck?

The Beagle Boys are a bunch of old time robbers, who want easy money. They are “lovable goofs”, who would never want to hurt Scrooge; they just want to rob his fortune. Magica the Spell is an Italian sorceress, who lives on the mountainside of the volcano Vesuvius in Sicily. She relies on magical tools to get what she wants. Her main goal in life is to steal Scrooge‟s first dime. She needs it for an ancient spell: by melting the dime in a specific way she would have the touch of Midas.

Flintheart Glomgold lives in the Valley of Limpopo in South Africa. He‟s got all of his fortune by stealing, cheating and by other dishonest means. Flintheart doesn‟t want anything from Scrooge, he just wishes Scrooge would suffer and die in the most painful way. The Triumvirate of Evil consists of different types of villains. They all have different goals, yet they share the same enemy.

Key Words: Comic, Disney, Donald Duck, Don Rosa, evil twin, sorceress, villain, witch.





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Δημοσίευση στο περιοδικό Europhysics News. Στα ελληνικά μπορεί να αποδοθεί ως: «Διεισδύοντας σε θησαυροφυλάκια, η δομή του πάγου και του νερού». Ο συγκεκριμένος ερευνητής καταπιάνεται με μία ιδέα που είχε παρουσιαστεί από τον Carl Barks, στην ιστορία Το νέο θησαυροφυλάκιο του Σκρουτζ Μακ Ντακ, στην οποία ο Σκρουτζ γεμίζει νερό το θησαυροφυλάκιο για να αποτρέψει την ληστεία των Μουργόλυκων, όμως για κακή του τύχη πιάνει κρύο και το νερό σπάει το κτήριο. 2015 από τον Franco Bagnoli.






Bursting Money Bins,

The ice and water structure.





Popular Physics (physics.pop-ph); Physics Education (physics.ed-ph)
Journal reference: Europhysics News, 46 3 (2015) 15-16
DOI:  10.1051/epn/2015301
Cite as: arXiv:1604.06563 [physics.pop-ph]


Abstract / περίληψη στα αγγλικά:



In the classic comics by Carl Barks, “The Big Bin on Killmotor Hill” [1], Uncle Scrooge, trying to
defend his money bin from the Beagle Boys, follows a suggestion by Donald Duck, and fills the
bin with water. Unfortunately, that night is going be the coldest one in the history of
Ducksburg. The water freezes, bursting the ``ten-foot walls'' of the money bin, and finally the
gigantic cube of ice and dollars slips down the hill up to the Beagle Boys lot.
That water expands when freezing is a well-known fact, and it is at the basis of an experiment
that is often involuntary performed with beer bottles in freezers. But why does the water
behave this way? And, more difficult, how can one illustrate this phenomenon in simple



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Δημοσίευση στο περιοδικό Europhysics News. Μετάφραση στα ελληνικά: «Λαχταριστά παγωτά στην Μονοτονία. Γιατί το αλάτι λιώνει τον πάγο;». Από τον ίδιο ερευνητή που είδαμε στο προηγούμενο ποστ. Εδώ πέρα βλέπουμε πως η αφορμή είναι η ιστορία του Don Rosa Επιστροφή στην Μονοτονία, την πόλη δηλαδή με τα τετράγωνα αυγά που δημιούργησε ο Barks. Αναλύει την διαδικασία που ακολούθησαν τα ανιψάκια για να φτιάξουν παγωτό για τους κατοίκους της κοιλάδας. 2016, Franco Bagnoli. 





Delicious ice creams in Plain Awful.

Why does salt thaw ice ?




Popular Physics (physics.pop-ph); Physics Education (physics.ed-ph)
Journal reference:  Europhysics News, 47 2 (2016) 26-27
DOI: 10.1051/epn/2016204
Cite as: arXiv:1604.06564 [physics.pop-ph]



Abstract / Περίληψη δεν βάζω επειδή είναι μικρό το άρθρο, αλλά και επειδή δεν βολεύει η μορφοποίηση για copypasta.


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Δημοσίευση στο (Re)Presenting Magic, (Un)Doing Evil: Of Human Inner Light and Darkness. Στα ελληνικά μεταφράζεται ως «Όχι μυαλά, απλώς Βουντού: Ένα ζόμπι στα Ντίσνεϋ κόμικς του Ντόναλντ Ντακ». Αναφέρεται (προφανώς) στο Μπόμπυ το Ζόμπι του Καρλ Μπαρκς που εμφανίστηκε στην ιστορία Βουνού Χουντού του Καρλ Μπαρκς και επαναχρησιμοποιήθηκε από τον Don Rosa.





Not Brains, Just Voodoo:
A Zombie in Disney's Donald Duck Comics.



(Re)Presenting Magic, (Un)Doing Evil: Of Human Inner Light and Darkness

Inter-Disciplinary Press

     Oxford, United Kingdom, 2012
Article Pages: 31-38
ISBN: 978-1-84888-052-8

Abstract / Περίληψη στα αγγλικά:


Popular culture has brought us fast raving zombies who feast not solely on human brains but also in their flesh turning everyone they wound into one of them. These days the more traditional zombies based on ancient Haitian voodoo are rare creatures. However, one of the biggest products of popular culture has delivered one traditional zombie and that is Disney’s Donald Duck comics.

Bombie the zombie was first introduced to the readers of Disney comics by Carl Barks, the noted Disney artist who has created most of the important characters of Duckburg – Scrooge McDuck for instance. In the comic ‘Voodoo Hoodoo’ (1949), Bombie had a spell on him to bring a voodoo doll to Scrooge from the depths of Africa all the way to Duckburg. Mistaking Donald for Scrooge, Bombie gave Donald the voodoo doll and put the shrinking curse upon him.

The second time the zombie appears is in the comic ‘The Empire-Builder from Calisota’ (1994) by Don Rosa, one of the most famous of the contemporary Disney artists. His tale tells how Bombie the zombie originally came to chase Scrooge McDuck for his devious deeds to an African tribe in the past. Rosa also shows the zombie in a third comic in which he is part of Scrooge McDuck’s dream narrative.

Barks’ creation, Bombie the zombie, is a tranquil being filling his purpose in life. He is not after brains, he is after finding the right person and punishing him for mischievous acts he did to an innocent tribe – just like the shaman of the tribe bewitched Bombie to do. Barks created the zombie to represent among others the racial questions of his time, but in the more recent comics Bombie can also be seen as representing the conscience of a certain duck.




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