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Touching Memory: Pittsburgh, with Frank Santoro.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Touching Memory: Pittsburgh, with Frank Santoro./
作者:	McCabe, Patrick "Paddy".
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	41 p.
附註:	Source: Masters Abstracts International, Volume: 82-12.
Contained By:	Masters Abstracts International82-12.
標題:	English literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28490363
ISBN:	9798516001130

Touching Memory: Pittsburgh, with Frank Santoro.
McCabe, Patrick "Paddy".

Touching Memory: Pittsburgh, with Frank Santoro. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 41 p.

Source: Masters Abstracts International, Volume: 82-12.

Thesis (M.A.)--Northeastern University, 2021.

This item is not available from ProQuest Dissertations & Theses.

Frank Santoro's 2019 publication Pittsburgh (from the New York Review of Comics) embraces a rough, DIY aesthetic that sets it apart from other conventional graphic narratives. Tape, paper cutouts, faded marker lines, and frantic posture sketches occupy the book's pages, challenging notions of what a "finished" comics page must look like. This thesis examines the role of this distinctive visual surface, and specifically asks what Santoro's alternative modes of comics construction and mark-making might mean given the book's autobiographical context; Pittsburgh is an account of Santoro's lifelong relationship with Pittsburgh and its people, and is wrought entirely from memory (drawings of particular rooms, for example, are drawn without the use of source materials). Pittsburgh's visual surface is critical to the book's narrative in three key ways. The first two are connected: first, Pittsburgh's visual surface allows Santoro to express his memory as he experiences it, and second, the visual surface intimately involves the reader in his memories through its haptic visuals and text. By lending his graphic memoir an intensely handmade, "unprofessional" visual surface, Santoro can physically materialize his memories in a way that is true to how they occur in his mind; Santoro's marks also collapse boundaries between the reader and the world of the book, thus bringing the reader into Santoro's memory. Third, Santoro's marks collapse temporal boundaries, asking the reader to be aware of the present while simultaneously representing the past. Pittsburgh's visual surface, then, also allows the book to function as a memorial to the bygone Pittsburgh of Santoro's youth. Though many individuals, relationships, and working class community spaces have been lost to time, Pittsburgh brings these things physically into the present, thereby maintaining an active relationship with them.

ISBN: 9798516001130Subjects--Topical Terms:

516356
English literature.
Subjects--Index Terms:

Pittsburgh

Touching Memory: Pittsburgh, with Frank Santoro.
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300 $a 41 p.
500 $a Source: Masters Abstracts International, Volume: 82-12.
500 $a Includes supplementary digital materials.
500 $a Advisor: Chute, Hillary.
502 $a Thesis (M.A.)--Northeastern University, 2021.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a Frank Santoro's 2019 publication Pittsburgh (from the New York Review of Comics) embraces a rough, DIY aesthetic that sets it apart from other conventional graphic narratives. Tape, paper cutouts, faded marker lines, and frantic posture sketches occupy the book's pages, challenging notions of what a "finished" comics page must look like. This thesis examines the role of this distinctive visual surface, and specifically asks what Santoro's alternative modes of comics construction and mark-making might mean given the book's autobiographical context; Pittsburgh is an account of Santoro's lifelong relationship with Pittsburgh and its people, and is wrought entirely from memory (drawings of particular rooms, for example, are drawn without the use of source materials). Pittsburgh's visual surface is critical to the book's narrative in three key ways. The first two are connected: first, Pittsburgh's visual surface allows Santoro to express his memory as he experiences it, and second, the visual surface intimately involves the reader in his memories through its haptic visuals and text. By lending his graphic memoir an intensely handmade, "unprofessional" visual surface, Santoro can physically materialize his memories in a way that is true to how they occur in his mind; Santoro's marks also collapse boundaries between the reader and the world of the book, thus bringing the reader into Santoro's memory. Third, Santoro's marks collapse temporal boundaries, asking the reader to be aware of the present while simultaneously representing the past. Pittsburgh's visual surface, then, also allows the book to function as a memorial to the bygone Pittsburgh of Santoro's youth. Though many individuals, relationships, and working class community spaces have been lost to time, Pittsburgh brings these things physically into the present, thereby maintaining an active relationship with them.
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