| abstract |
Comic studies, an interdisciplinary field encompassing history, anthropology, and literature studies, has witnessed significant growth. However, despite its evolution, a notable gap exists in the analysis of comic fan letters, a key aspect of understanding the readership and the dynamic between creators and consumers. This dissertation explores the limited existing works in this area, such as Jeffrey A. Brown's Black Superheroes, Milestone Comics, and Their Fans and John A. Walsh et al.'s chapter on fan mail analysis from "Empirical Comics Research." While these works offer insights, they merely scratch the surface of this emerging aspect of comic studies.
The proposed research aims to fill this gap by focusing on fan letters printed in four selected comic-book series from the 1980s: The New Teen Titans, The Uncanny X-Men, Love and Rockets, and Teenage Mutant Ninja Turtles. These series, representing mainstream, self-published, and alternative genres, provide a diverse backdrop for studying reader reactions. Analyzing printed letters allows a glimpse into the social relationships and interactions between readers and creators, shedding light on the social and audience history of comics during this crucial period.
The methodology combines qualitative and quantitative approaches, using both contextual analysis of letters and statistical examination of gender ratios. Inspired by Pierre Bourdieu's social distinction theory, the study aims to explore potential differences in concerns and interactions between mainstream and indie comic-book readers. By leveraging Bourdieu's framework, the research seeks to unravel the complexities of cultural consumption within the comic-book audience, going beyond conventional sales statistics.
The dissertation structure, akin to Jonathan Rose's audience-focused approach in The Intellectual Life of the British Working Classes, dedicates separate chapters to each comic series. These chapters contextualize the series, delve into publication history, and highlight creators. Examining examples of letters, their context within the narrative, and creator responses forms the core of each chapter. The concluding chapter synthesizes findings, offering a comprehensive understanding of comic-book audiences in the 1980s and proposing potential directions for future research in this understudied domain.
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