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1
Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.
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Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.
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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.
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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (December 23, 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.
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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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Engel, E. A., and M. V. Deneko. "Linguacreative Foundations of the German Comic Book "Dig, Dag, Digedag"." Bulletin of Kemerovo State University 21, no. 4 (December 31, 2019): 1139–49. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1139-1149.
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The paper features linguistic and creative foundations in the German comic book "Dig, Dag, Digedag". Modern linguacultural, cognitive studies, and discursive practices are aimed at studying comics, which are a series of drawings with brief accompanying texts. However, comic books consist of two components – verbal and nonverbal, which means that graphic novels and strips have linguacreative foundations. The author performed philological and semiotic analyzes to identify the linguistic and creative foundations of the German comic book. The algorithm of the philological analysis included literary description of the time and place, the most original and interesting scenes in several editions, lexical expressive means and stylistic devices. The semiotic analysis featured the graphics related to the non-verbal component. The linguistic and creative foundations of the comic are manifested in original plots that allow its readers to escape from everyday and political problems through fun, exciting, and informative trips to Ancient Rome, Sicily, ancient Arab countries, the Moon and Mars, as well as to an uninhabited island. The carefully selected scientific and mundane knowledge is transmitted through verbal means and comic book graphics, making young readers expand their horizon. The use of such tools as hyperbole, metaphor, pun, as well as diverse vocabulary within the text of the comic, also suggests linguistic creativity of the German comic book "Dig, Dag, Digedag".
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Dozier, Ayanna. "Wayward Travels." Feminist Media Histories 4, no. 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.
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Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black woman navigating racialized gender discrimination and pursuing her desires despite her “respectable status,” with sometimes terrifying results. In the process, it works to redress the paucity of scholarship on Black women's contributions to comic books and strips.
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Plekhanov, A. A. "The magazine Krokodil as a space of the Soviet comic strip in the 1940s." Shagi / Steps 9, no. 3 (2023): 192–217. http://dx.doi.org/10.22394/2412-9410-2023-9-3-192-217.
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The article is devoted to the history of Soviet comics in the 1940s through the example of the Krokodil magazine. The first part discusses stereotypes about the history of comics in the USSR, analyses the concept of the comic strip as the main form of comics in the Soviet period, and considers the use of Media studies as a framework. The purpose of the article is to examine the work of Krokodil as a space for the development of the Soviet comic strip, through R. Duncan’s and M. J. Smith’s communication model of the comic book. The second part explores the process of work of the magazine’s artists, the censorship by various gatekeepers’ actors, the typical features of the visual language of the Soviet comic strip, the distribution and perception of comic strips and the magazine itself. It is especially noted that the distinction between caricature and comic strip is not typical for the 1940s, and it will emerge only by the 1960s. The article also provides a parsing of a corpus of diaries from the 1940s, in which memories of Krokodil are highlighted. The hypothesis of H. Alaniz about the special role of comics during the Great Patriotic War is verified and questioned.
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Kühn Paulsen, Felix. "Rytme og netværk i Homo Metropolis." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (July 1, 2018): 47–59. http://dx.doi.org/10.7146/pas.v33i79.127527.
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This article investigates serialization in newspaper comic strips (exemplified by Danish Nikoline Werdelin’s strip Homo Metropolis) with a dual focus on publication structure and composition of individual strips. Reading the forms of Rhythm and Network as symptoms of serialization, the analysis seeks to outline the difference between meeting the comic strip in daily newspapers or in collected books. Furthermore, it investigates how the actual punchlines takes form through constant fluctuation between repetition and interruption. In this way, the article reads Homo Metropolis as an example of how serialized storytelling constantly negotiates the tension between the individual story/punchline and larger network of narratives.
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Li, Yuzhang. "The Development and Evolution of Narrative Characteristics from Comic Strips to Original Chinese Picture Books." Communications in Humanities Research 26, no. 1 (January 3, 2024): 216–26. http://dx.doi.org/10.54254/2753-7064/26/20232066.
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After nearly one hundred years of interpretation, comic strips can be chronologically sorted into emergent, prosperity, change and bottleneck. Through research, this paper discusses the comprehensive impact of social and economic factors on each of these periods and deduces and summarizes the characteristics of differentiated narratives. In the new period, Chinese comic strips gradually receded due to market factors, while original Chinese picture books grew. Although there is a difference in the visual presentation form between the two, they have partly inherited the characteristics of the comic strips in the 80's and 90's. The thesis conducts a comparative study on the differences and similarities between the two and discusses their creative value and contemporary significance.
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John, A. L. "Comic Books and Comic Strips: A Bibliography of the Scholarly Literature." Choice Reviews Online 44, no. 11 (July 1, 2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.
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Derkachova, Olga, Oksana Tytun, and Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 16–22. http://dx.doi.org/10.15330/msuc.2022.26.16-22.
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The article deals with the research on comics' educational and cultural potential, particularly inclusive comic books, and their influence on inclusive culture formation. Inclusive graphic stories have long been part of the readership abroad. Gradually, this tradition is becoming popular in the Ukrainian cultural space. The chronology of the implementation of inclusive education in Ukraine is established, a brief overview of the regulatory framework is given. There is more and more inclusive literature on the Ukrainian book market: it is both translations and works of domestic writers, it is literature for the youngest, teenagers, adults, and it is fiction and nonfiction. In 2019 the first inclusive comic book "Friends 2.0" appeared. It was published with the support of the Ukrainian Cultural Foundation within the framework of the Inclusive Art program. The comic book "Friends 2.0" is an illustrative material for the analysis. The given research identifies the features of inclusive literature and clarifies its role in forming a tolerant society. The main evolutionary steps of comics are conveyed (Egyptian drawings in the burial chambers, "Ocelot's Claw", The Bayeux Tapestry, William Hogarth’s caricatures, stories in drawings by Rodolphe Töpffer, "Max und Moritz" by Wilhelm Busch, "The Yellow kid" by Richard Outcault and others). The basic terms and concepts of comic book culture are explained, taking into account the specifics of their translation. The history of Ukrainian comics is written daily, undergoes great changes, forms the main slogans and ideas in which it operates and develops. Currently, Ukrainian comics are established as a separate literary and art genre. Inclusive "Friends 2.0". comics are five stories based on real events. Every story is a story of struggle and victory. These are the first inclusive stories in the Ukrainian cultural space. They proclaim that everyone in the world is important, that disability is not a sentence, the importance of adaptation and inclusion, faith and dreams that come true. The article highlights the structural and semantic components of the stories in the comic book "Friends 2.0", analyzes the role of the motto in the content of the stories of this book, the background of panels, characters, and more. The analysis of inclusive comic strips as achievements of comic book culture and as examples of graphic texts in which the inclusive component dominates is offered. It helps to identify a special type of superhero in "Friends 2.0". The educational potential of such comics and their influence on the context of inclusive culture are identified.
Keywords: inclusive literature, inclusive comics, comic book, diegesis, narrative, encapsulation, motto, superhero.
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Chireau, Yvonne. "Looking for Black Religions in 20th Century Comics, 1931–1993." Religions 10, no. 6 (June 25, 2019): 400. http://dx.doi.org/10.3390/rel10060400.
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Relationships between religion and comics are generally unexplored in the academic literature. This article provides a brief history of Black religions in comic books, cartoons, animation, and newspaper strips, looking at African American Christianity, Islam, Africana (African diaspora) religions, and folk traditions such as Hoodoo and Conjure in the 20th century. Even though the treatment of Black religions in the comics was informed by stereotypical depictions of race and religion in United States (US) popular culture, African American comics creators contested these by offering alternatives in their treatment of Black religion themes.
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Lefèvre, Pascal. "The Conquest of Space." European Comic Art 2, no. 2 (June 1, 2009): 227–52. http://dx.doi.org/10.3828/eca.2009.4.
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This article focuses on panel arrangements and page layouts of early comics published in Belgium in the five decades before the start of Tintin in 1929. It investigates the degree of standardisation in this pivotal period, in which the old system of graphic narratives with captions evolved to comics with balloons. The years between 1880 and 1929 boasted a variety of publication formats (broadsheets, illustrated magazines for adults and for children, comic strips, artists' books), within which one can see both similar and different conventions at work.
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Jiang, Yajun, and Lina Paola Ángel Jiménez. "Money Metaphors We Live By: Analyzing Chinese Comic Books based on CMA." International Journal of Literature Studies 4, no. 1 (January 18, 2024): 11–20. http://dx.doi.org/10.32996/ijts.2024.4.1.2.
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Chinese comic books appear to be filled with bright colors and interesting characters, but they also offer insight into the daily life relations and societal principles of modern China. In this study, we examined the construction and underlying meanings of money metaphors in Zhu Deyong’s comic book series We Are All Patients, and We Are All Patients 2: Love with an Idiot, using the conceptual metaphor theory (CMT). By mapping abstract concepts into more concrete and familiar domains, CMT conveys complex ideas, emotions, and social commentary in a way that readers can easily understand. We analyzed thirty-nine randomly chosen comic strips from Zhu’s comic books using Charteris-Black’s (2004) inductive method, conceptual metaphor analysis (CMA), to identify, explain, and interpret different metaphors. Through our analysis, we highlighted the most prominent money metaphors and how they relate to the current love and friendship relations made by modern Chinese people in their everyday lives. We found that money metaphors are classified into seven source domains: barrier, drug, tool, almighty, exchange, principle, and ambition.
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Borodo, Michał. "Exploring the Links Between Comics Translation and AVT." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 68. http://dx.doi.org/10.21992/t9xk9x.
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For a very young but steadily developing subfield of Translation Studies such as the translation of comics it seems only natural to look to other research areas within the discipline for inspiration and research methods. This is also one of the aims of the present article, which will attempt to point to certain similarities between comics translation and the subdiscipline of Translation Studies known as AVT (Audiovisual Translation) and the field of subtitling in particular. Both films and comic books are multimodal texts based on the interplay between the verbal and the visual. What is more, both films and comic books are primarily based on dialogue, which is nevertheless transcribed and communicated in writing in both subtitled films and translated comics. Text will, in both cases, usually appear in clearly specified areas, that is at the bottom of the screen (with some exceptions) in subtitled films, and in speech balloons (with some exceptions) in the case of comics. Furthermore, text may be condensed due to the existence of spatial and technical constraints, such as the limited number of characters that may appear at the bottom of the screen or the size of speech balloons and the type of the lettering employed in the case of comics. It is particularly the latter aspect, that is textual condensation related to both spatial constraints and the multimodal character of comics, that the article will focus on, investigating the first Polish translations of Calvin and Hobbes comic strips created by the American cartoonist Bill Watterson.
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Novaković, Nikola. "Carnivalesque humour in Ça, c’est Filarmo, Nic." Libri et liberi 8, no. 1 (October 31, 2019): 27–54. http://dx.doi.org/10.21066/carcl.libri.8.1.4.
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The article analyses the humour in Hermann Huppen and Morphée’s series of comic books about a boy called Nick, with primary focus on the third issue, Ça, c’est Filarmo, Nic [That’s Filarmo, Nick]. Drawing on Bakhtin’s theory of the carnivalesque, the article identifies a variety of humorous devices, including wordplay, puns, quotations, unusual transformations, and mésalliances. Special attention is paid to the visual level of the comic book. Humour is located in visual metamorphoses, invisible “phantom” panels, and the incongruity between words and images. The article also addresses the comic book’s intertextual ties with Little Nemo in Slumberland, a series of comic strips from the early 20th century, and compares the way authority is represented and challenged in the two texts. The impossible spaces that Nick traverses within the chronotope of the road are examined as places that invert the usual hierarchies and relations, allowing Nick to experience a level of agency usually reserved for adults. The end of Nick’s travels across the dreamscape is examined as both a departure and continuation of the pattern from Little Nemo, and as a logical conclusion of a temporary carnivalesque subversion of traditional structures that dominate the adult world.
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Erokhina, Tatiyana I., and Evgeni S. Zheltov. "Representation of the soviet era in national comics." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 185–92. http://dx.doi.org/10.20323/2499-9679-2021-1-24-185-192.
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The article studies representation of the soviet era images in the national comics culture. Paying attention to the popularity and relevance of soviet culture in contemporary mass culture, the authors emphasize the controversial nature of showing the «Soviet past». Analyzing the peculiarities of representation, which is a polysemantic concept and can pursue different goals, the authors focus on the «spectacular» function of representation typical of modern mass culture. The article givess a thorough analysis of national comics in which the representation of the soviet era is most obvious; moreover, the comic strips creators claim it is a deliberate technique. The authors of the article note that the representation of the soviet era can be featured in the plot of a comic book, with references to historical events or historical chronotope of the soviet era. The soviet era can be represented in the system of recognizable characters with possible prototypes in soviet culture. National comic books, addressed to the russian reader, can actualize the visual images of the soviet era. Analyzing various techniques and ways of showing the Soviet era in comics, the authors offer a functional analysis of representation, noting that resorting to the soviet era can serve different purposes and have both positive and negative connotations. The article examines different functions of the soviet era representation connected both with nostalgic trends in society and with ironic perception of the soviet past.
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Zahavi, Dan. "Manhattan Dynamite and no pancakes: Tradition and normality in the work of Tove Jansson." SATS 19, no. 1 (July 26, 2018): 5–19. http://dx.doi.org/10.1515/sats-2017-3001.
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Abstract It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition.
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Laksana, Sigit Dwi, Ayok Ariyanto, Moh Tajab, Aldo Redho Syam, and Lilis Sumaryanti. "Comic Strip Media Assisted by Digital Gamification: Increasing Student Behavior Targets and User Engagement in the Learning Process." E3S Web of Conferences 500 (2024): 05006. http://dx.doi.org/10.1051/e3sconf/202450005006.
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Comics multiplying must become the center of attention for educators, especially educators at the elementary school (SD) level. Seeing this, the world of education began to approach the comic media. Comic media has already started to be developed in the field of education, an expert in psychology who is famous for behavioristic theory, Edward Lee Thorndike, has researched comics, the results of this study reveal that a child is accustomed to reading comic books more than usual, for example within one month, the child reads a minimum of 1 comic book, this is the same as the child reading several textbooks every year, of course, this will affect reading skills/abilities for children and will increase mastery and vocabulary which is far more than usual. A child who doesn't like reading comics. It is by the expression. One picture is worth a thousand words, meaning that one image has the same value as a thousand words. Educational comic media is an innovative media that can be used as an alternative media to overcome learning difficulties for children, primarily covering matters related to material interests and understanding. Based on the distribution of learning outcomes in the experimental class, which obtained an average value of 73.79 (high) learning outcomes. While the results of the distribution of learning outcomes for the control class received an average value of learning outcomes of 47.75 (moderate). Based on the research conducted, the researcher obtained a value (Sig. (2-tailed)) of 0.000 <0.05, which means that comic strip media has a significant effect on student learning outcomes.
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Buldakova, Yulia V., and Dmitry A. Shishkin. "Comics in Russia: Transmedia Narrative and Publishing Strategies." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 115–30. http://dx.doi.org/10.17223/23062061/23/7.
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Mass culture creates genre-and-style phenomena that possess both the illusion of a simplified understanding and a complex aesthetic nature. Comics is a phenomenon reflecting trends in the development of mass culture at the turn of the 21st century. In comics, the plot and genre are secondary (graphic novel, various adaptations and retellings), the aesthetics is ambivalent (playful and serious; secular, amateurish and professional), the text has a complex artistic nature (creolisation, polycodedness, centaurism, transmedia features) and, at the same time, an essential goal for reaching commercial success and facilitated consumption/perception. The article aims to describe and analyse the genre-and-style features of the comic strip as a transmedia phenomenon of mass culture. These features give grounds for assessing the principles and tendencies of the presence of the comics in the domestic book market, in particular, the ways of forming the publishing repertoire. The general trend of the modern study of comics (in addition to analysing specific samples of the genre) is the reflection of visual aesthetics in the artistic structure of its text. It is the basis for the inclusion of this genre into mass literature. The peculiarity of the poetics of the comic book lies in the transmedia and sequenciality means that organise the dramatic narrative and visual plot as equal artistic spaces. In combination with the experience of visual media, the genre, style, and discourse of mass culture acquire attributes of transmedia, marginality, and transfer, i.e. tendencies to the mobility of the borders of the traditional genre-and-style system and going beyond them with the help of several different media (visualisation). They have an impact on the genre-and-style features of the comics, and the features of the multimedia information space built on repetition and convergence—sequels, remakes—are becoming more and more familiar. The intention to replicate recognisable stories readers demand encourages major publishers to rely on comic book remakes, comic book adaptations, comic book sequels. There is an extensive development “in depth and in breadth” of the already familiar successful plot, character, aesthetic discourse. Publishing houses are not interested in expanding the thematic repertoire of the comic book, but they seek to update and deepen the reading experience through the emergence of national genre patterns, the discovery of new authors’ names. This leads to a non-linear dynamics in both book publishing and book selling practices in the comics industry and in the genre. The change in the range of comic books is mainly due to various types of remakes, including plot (plot and style, when the aesthetics of the narrative changes) variants of a well-known story. Thus, publishers are faced with common problems in their marketing strategies: objective, related to the lack of understanding of the genre nature and existence of comics, and specifically publishing—the emergence of special technological operations in the production of comics as a publication.
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Oroh, Kevin, Nurmin Samola, and Paula Hampp. "AN ANALYSIS OF THE DIFFERENCES BETWEEN COMIC AND MOVIE BY STAN LEE: IRON MAN." Journal of English Culture, Language, Literature and Education 10, no. 1 (June 1, 2022): 168–78. http://dx.doi.org/10.53682/eclue.v10i1.4054.
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This research aims to find out the differences between comics and movie by using a qualitative method, effective to describe the problem and give more explanation about this comic and movie Iron Man. This research was conducted in Comic (Tales of Suspense: Iron Man) and Movie Iron Man (2008). To fulfill the research objective, the researcher took an experimental study involving a sample of a movie with a duration of 2 hours 6minutes and a comic strip of 13 pages. Data is obtained through analysis in books and comics, reading, and seeing the problems obtained. The data in the comics show more past events at that time than the data in the movie. in the comics it shows realistic events in the 1963 era and the values or data shown in the movie are more into the modern era. Based on the results of the research, the researcher concludes that the comics and the Iron Man film have differences that make each story with the right elements, stories that have suggestions through time
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Bunok, Grazella monary, Nihta V. F. Liando, and Alloysius Rettob. "TENTH-GRADE STUDENTS’ READING HABIT." SoCul: International Journal of Research in Social Cultural Issues 2, no. 1 (May 19, 2023): 496–504. http://dx.doi.org/10.53682/soculijrccsscli.v2i1.2769.
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The present study tries to find out how students’ reading behavior in this digital era, especially during Covid 19 pandemic by assessing SMA students’ preference for online materials, their preferred language when reading online materials, the online reading habits of the students, and the amount of time they spend in reading online every day. The study was a survey that involved 44 tenth graders at SMA Negeri 1 Tabukan Utara in Likungan, Sangihe. The data were collected using a questionnaire adapted from Abidin, Pour-Mohammadi, & Jesmin (2011). The data collected were analyzed in percentages. Results of the analysis indicated that (1) the most common activities they are interested in are chatting, surfing the internet, and games, (2) concerning online reading materials, they prefer reading e-books, e-mail, stories, or novels, and comic strips/jokes. The majority of the respondents 89% prefer reading online reading materials in Indonesia, and (3) male respondents read more news, e-mails, and comic strips/jokes. Female respondents, on the other hand, preferred reading e-magazines, e-books, and movie reviews, and (4) the highest percentage of respondents (43%) spent 1-3 hours online daily reading. It is concluded that female respondents spent more time on online reading compared to their male counterparts.
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Suseno, Edy. "TEACHING GRAMMAR TO YOUNG LEARNERS USING COMIC STRIPS AND GTM AND THE IMPACT ON THEIR SPEAKING SKILLS." Jurnal Pendidikan Bahasa Inggris Indonesia 8, no. 2 (November 26, 2020): 19–30. http://dx.doi.org/10.23887/jpbi.v8i2.3034.
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Practicing speaking in EFL to the young learners especially to the fifth graders is challenging. They do not have enough vocabulary in their repertoire so that it is often difficult for them express their ideas in the foreign language.They also could not construct appropriate sentences to reflect how well they have learnt so far. For this reason, the implementation of the grammar-translation method may be needed to help them focus on grammatical aspect of the foreign language to enhance their perspective in learning grammar and reading comprehension. Moreover, the use of books, podcast, comic strips and electronic dictionary could support the process of treatment. By implementing this kind of method, the students could enhance their speaking skills. They also have the opportunity to experience with language use and support their progress in speaking. This kind of development could be seen from the result of the pre-test and post-test. The progress of development was significant which reflect the positive impact of comic strips and GTM on children speaking skills
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Monica, Monica, and R. Drajatno Widi Utomo. "KONSEP SISTEM SINTAKTIK VISUAL DALAM KOMIK TAHILALATS." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 3, no. 2 (June 9, 2021): 245. http://dx.doi.org/10.25105/jsrr.v3i2.9434.
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<p>Abstract<br />One of the famous comic strips in Indonesia since 2014 is Tahilalats (Instagram @tahilalats). With its<br />simple visual characteristics, Tahilalats comics are able to become interesting, recognizable, sustainable,<br />and comfortable comics to watch. This study will discuss the design elements in Tahilalats comics<br />that form a syntactic visual system as an effort to achieve consistency in each episode. This study<br />uses qualitative methodologies and descriptive analysis methods with Charles Morris’ semiotic theory<br />and literacy methods by collecting data from books, journals, articles, and pages on the internet that<br />are related to the object. Through this research, it can be concluded that the syntactic visual system<br />makes comics look interrelated and when there are too many episodes, it will be seen as a unified design<br />that distinguishes it from other similar comics. The results of this study are expected to be useful for<br />designers and comic artists to understand a good syntactic system in sustainable design works..<br /><strong>Keywords: comic, design elements, syntactic</strong></p><p><strong></strong><br />Abstrak<br />Salah satu komik strip yang terkenal di Indonesia sejak tahun 2014 adalah Tahilalats (Instagram @tahilalats). Dengan ciri khas visual yang sederhana, komik Tahilalats mampu menjadi komik yang menarik, mudah dikenali, berkesinambungan, dan nyaman untuk dilihat.<br />Penelitian ini akan membahas elemen desain dalam komik Tahilalats yang membentuk sistem visual sintaktik sebagai upaya mencapai konsistensi dalam tiap episodenya. Penelitian ini menggunakan metode kualitatif dengan pendekatan teori semiotika Charles Morris. Data dikumpulkan menggunakan metode literasi yang memiliki keterkaitan dengan objek. Melalui penelitian ini dapat disimpulkan bahwa sistem sintaktik visual membuat komik terlihat<br />saling berkaitan. Selain itu ketika episode yang dibuat sangat banyak akan terlihat sebagai satu kesatuan desain yang mempunyai pembeda dari komik sejenis lainnya. Hasil penelitian ini diharapkan dapat berguna bagi desainer komunikasi visual terutama komikus agar dapat memahami sistem sintaktik visual dalam karya desain yang berkesinambungan.<br /><strong>Kata kunci: komik, elemen desain, sintaktik</strong></p>
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Naudillon, Françoise, and Matt Reeck. "Popular Art Forms in the DRC." Journal of World Literature 6, no. 2 (June 22, 2021): 197–215. http://dx.doi.org/10.1163/24056480-00602005.
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Abstract Popular literary forms have experienced a remarkable vitality in the Democratic Republic of the Congo. While it is difficult to define popular literature, it is necessary to recognize within Francophone literature the existence of types of texts that escape the attention of both discursive and institutional practices of legitimization, texts that are consigned to the margins of the dominant literary canon. In fact, these texts transgress the conventions of these literary “sub-genres,” such as detective novels, dime novels, exoticist novels, novels of manners, as well as graphic novels or comics. The success of Zamenga Batukezanga (1933–2000), still the most widely read and recognized writer in the DRC, as well as the recent rise of comic book writer Jérémie Nsingi, the author of many fanzines and small-run comic strips, reflect how these genres reconstruct canons and illustrate the emergence of a popular social imaginary.
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Babić, Dragan B. "SKICA ZA PORTRET: GAVRILO PRINCIP U STRIPU." Nasledje Kragujevac XX, no. 56 (2023): 29–40. http://dx.doi.org/10.46793/naskg2356.029b.
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One full century after the assassination in Sarajevo, Gavrilo Princip continues to capture a lot of attention, both for his character and the symbolic potential of his act that changed the course of history. That is why his appearance in modern comic books does not come as a sur- prise, and this paper is going to focus on two titles – Linije fronta, a nine-book collection by var- ious artists published between 2014 and 2020, as well as Atentat – s one strane patnje, a graphic novel written by Boris Stanić and Guido van Hengel. The nature of these two pieces, as well as numerous differences that set them apart – technical, organizational, stylistic, poetic, ideologi- cal, and thematic – cause a different representation of the First World War and the assassination in Sarajevo, on the one hand, and the character of Gavrilo Princip, on the other. These similari- ties and differences will be a part of the analysis, and by emphasizing them, we will try to reach a more detailed view of the position of Gavrilo Princip in the world of modern comic books.
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de Aguillar Pinho, Maria Luiza Carvalho, Angela Maria Cavalcanti da Rocha, Celso Roberto de Aguillar Pinho, and Cristiane Junqueira Giovannini. "“Monica and Friends”: the challenge to internationalize." Emerald Emerging Markets Case Studies 7, no. 2 (June 22, 2017): 1–26. http://dx.doi.org/10.1108/eemcs-06-2016-0139.
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Subject area International business or International marketing. Study level/applicability The case is recommended for undergraduate and graduate courses in the fields of international business and international marketing. The aim is to show students the problems that a family business in the animation industry faces while growing and internationalizing. Specifically, the case discusses the entry mode selection and market selection challenges faced by an emerging market company in the comic book and animation industry to operate overseas and compete with entertainment giants such as Disney and DC Comics. The case enables the instructor to discuss international market selection theories and evaluate entry modes. For graduate students, the international market selection can be further developed by using more robust concepts such as psychic and cultural distance. Case overview This case examines the trajectory of a pioneering company in the comic book and animation industries, and in the licensing of trademarks in Brazil. Mauricio de Sousa Productions was founded in 1959 and is considered to be one of the most successful cultural producers in the country. According to a leading Brazilian public opinion research agency, 97 per cent of Brazilian children and 96 per cent of their parents are familiar with the Monica and Friends characters. As one of the main players in the publishing market, with 86 per cent of market share, Mauricio de Sousa Productions has a product portfolio that goes beyond Monica and Friends comic strips: the company’s show on the Cartoon Network ranks third in audience viewing in the country and the company has produced animated movies, books, shows and games. However, despite its experience in publishing comic books in several countries, Mauricio de Sousa Productions (MSP)’s worldwide operations have not been as profitable and sustainable as expected. Aiming at expanding its global presence, MSP’s top management decided in 2014 to review the company’s internationalization strategy and operations to enhance the firm’s performance. Expected learning outcomes The case highlights the key factors facing firms when expanding from an emerging markets. Students are expected to discuss and evaluate options, thus developing their knowledge and decision processes related to family-owned business challenges and opportunities, international market selection theories and international market entry mode. Developing strategies to face challenges as those presented by competitors such as Disney should bring opportunities to students to think outside models and weigh risks. Finally, the case gives students opportunity to base their decision processes and evaluations on logistics problems as well as psychic and cultural distances. It also compels the students to appreciate the various challenges involved in exploiting international market with animation content and intellectual properties as a service. Supplementary materials Company presentation to use in the discussion introduction can be found in: www.monicaandfriends.com/content/video.php Subject code CSS 5: International business.
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Milošević, Milan. "Idea of exploitation in comic books : The Punisher." Kultura, no. 165 (2019): 121–33. http://dx.doi.org/10.5937/kultura1965121m.
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Roberts, Garyn G. "Understanding the Sequential Art of Comic Strips and Comic Books and Their Descendants in the Early Years of the New Millennium." Journal of American Culture 27, no. 2 (June 2004): 210–17. http://dx.doi.org/10.1111/j.1537-4726.2004.00131.x.
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Ramos, Paulo Eduardo. "Os formatos da tira no ensino." REVISTA INTERSABERES 12, no. 25 (May 23, 2017): 84. http://dx.doi.org/10.22169/intersaberes.v12i25.580.
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RESUMO Um dos impactos da indústria cultural nas histórias em quadrinhos foi a criação de formatos regulares para a construção de tiras. Necessidade dos jornais, o molde fixo foi o modo encontrado de padronizar a produção para levar o mesmo produto a mais de um diário. Este artigo tem como objetivo demonstrar como esses diferentes formatos narrativos têm sido apropriados por materiais didáticos brasileiros. A exposição procurará demonstrar que a variedade de moldes narrativos tem explicações em seu processo de produção e circulação. É algo que, se contextualizado ao aluno, ajudaria no processo de identificação do gênero e de construção do sentido, permitindo uma leitura mais crítica daquele conteúdo. Palavras-chave: Formato. Tira. Ensino. ABSTRACT One of the impacts of culture industry towards comic books was the creation of regular formats for comic strips. The regular format was the way to standardize them for newspapers. The following paper has the objective of showing how Brazilian textbooks have used such different narrative formats. It will try to show that the each narrative format has its own characteristics in its production and circulation process. Such explanation could help students identifying the comic strip genre as well as its content construction, which would allow them to have a critical point of view when reading it. Keywords: Format. Comic strip. Teaching. RESUMEN Uno de los impactos de la industria cultural en las historietas fue la creación de formatos estándar para la construcción de tiras. Una necesidad de los periódicos, el molde fijo fue el camino encontrado para estandarizar la producción para llevar el mismo producto hasta más de una revista. En este artículo se pretende demostrar cómo estos diferentes formatos narrativos han sido apropiados para los materiales de enseñanza brasileños. La exposición tratará de demostrar que la variedad de moldes narrativos tiene explicaciones en su proceso de producción y circulación. Es algo que, si contextualizado al estudiante, ayuda en la identificación del género y en la construcción del sentido, lo que permite una lectura más crítica de ese contenido. Palabras-clave: Formato. Tira. Enseñanza.
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Redwood, Henry, and Alister Wedderburn. "A cat-and-Maus game: the politics of truth and reconciliation in post-conflict comics." Review of International Studies 45, no. 04 (May 14, 2019): 588–606. http://dx.doi.org/10.1017/s0260210519000147.
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AbstractSeveral scholars have raised concerns that the institutional mechanisms through which transitional justice is commonly promoted in post-conflict societies can alienate affected populations. Practitioners have looked to bridge this gap by developing ‘outreach’ programmes, in some instances commissioning comic books in order to communicate their findings to the people they seek to serve. In this article, we interrogate the ways in which post-conflict comics produce meaning about truth, reconciliation, and the possibilities of peace, focusing in particular on a comic strip published in 2005 as part of the Sierra Leone Truth and Reconciliation Commission Report into the causes and crimes of the 1991–2002 Civil War. Aimed at Sierra Leonean teenagers, the Report tells the story of ‘Sierrarat’, a peaceful nation of rats whose idyllic lifestyle is disrupted by an invasion of cats. Although the Report displays striking formal similarities with Art Spiegelman's Maus (a text also intimately concerned with reconciliation, in its own way), it does so to very different ends. The article brings these two texts into dialogue in order to explore the aesthetic politics of truth and reconciliation, and to ask what role popular visual media like comics can play in their practice and (re)conceptualisation.
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Pawletko, Beata. "Trauma, pamięć, afekt: echa terroru w powieści graficznej Сурвило Olgi Ławrientiewej." Studia Rossica Posnaniensia 47, no. 2 (December 25, 2022): 47–60. http://dx.doi.org/10.14746/strp.2022.47.2.3.
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The article analyzes Olga Lavrenteva’s graphic novel Survilo, which echoes the terror, especially the Stalinist repression and the blockade of Leningrad. Lavrenteva is a graphic artist, author of comic books, representative of the third generation, who presents the story of her grandmother, Valentina Survilo, and her relatives in an unconventional form. Translated into the language of comic books, this family story focuses on the fate of many inhabitants of the Soviet Union. At the same time, as if on the sidelines, Lavrenteva raises an important issue – the coexistence of memory and affect, which is the result of long-term silence. Survilo is not only a record of the past but also of the emotional states of her grandmother, the paralyzing fear that accompanied her, i.e. the physical and psychological costs that the survivors had to bear. Lavrenteva’s graphic novel successfully fits into the new practices of commemoration and witnessing, which are still a novelty in Russia, carrying a great potential for critical revision of the dark past, and – above all – for building a community of memory based on the foundations of intergenerational dialogue.
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Johnson, Gareth J. "Comic Books and Comic Strips in the United States through 2005: An International Bibliography2007149John A. Lent. Comic Books and Comic Strips in the United States through 2005: An International Bibliography. Westport, CT and London: Praeger Publishers 2006. vii + 345 pp., ISBN: 978 0 313 33883 0 £59.99/$104.95 Bibliographies and Indexes in Popular Culture, No. 13." Reference Reviews 21, no. 3 (April 3, 2007): 40–41. http://dx.doi.org/10.1108/09504120710738328.
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Perrot, Jean. "Keep the thread up! From humour to poetry. Silence as a spur to read and speak." Ondina - Ondine, no. 6 (September 7, 2021): 23–35. http://dx.doi.org/10.26754/ojs_ondina/ond.202164513.
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The purpose of this article is to proceed with a semiotic examination of several wordless picturebooks focussed on the use of a thread, Considering that it is the visual image which first and foremost prompts the meaning in iconotexts, we shall deal with it more particularly through the examination of two French picturebooks: the first one by Robert Scouvart, Histoire d’un fil (The Story of a Thread, Magnard 1990) shows how a single thread can magically delineate different characters introduced in an alluring play on words. The book will offer a distanced staging of the reading process through a humorous use of stereotypes close to those resorted to in comic strips. In the second part of my presentation we shall deal with Boutique Tic Tic, (Shop Pop Pop) by Frédéric Clément, (Albin Michel Jeunesse, 2018) a poetical description introduced under the aesthetic spell of Lewis Carrol’s The Adventures of Alice in Wonderland, as suggested by the image of the white rabbit winking from a globe on the cover page. The book in the end will tell how a magical thread can unexpectedly and poetically have a « golden voice » during « a long minute of silence of Big Ben »… An original achievement fully illustrating Sandra Becket’s declaration that « the ‘interactive’ and ‘cinematic’ qualities of similar productions [...] make them books for the ‘digital age.’ (2012, p. 99)
Keywords: the magic thread, album without words, Histoire d'un fil, Boutique Tic Tic, humour, poetry.
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Mulvey, Jeremy. "Pictures with words." Information Design Journal 5, no. 2 (January 1, 1987): 141–58. http://dx.doi.org/10.1075/idj.5.2.04mul.
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This paper addresses the relationship of pictures and words in illustrated books and newspapers. The author introduces and discusses Roland Barthes' distinction between anchor and relay relationships, and a further development of this distinction by Alain-Marie Bassy. In an anchor relationship, the interpretation of an illustration is anchored to one of its possible meanings by a caption or other linguistic explanation. In a relay relationship, words and pictures are mutually reliant, as in a comic strip. The author suggests that 'defining the relationships between picture and text in this way, has implications for layout.'
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Amey, Evgenia. "The distant snowy land where rounded creatures dwell." Matkailututkimus 19, no. 2 (December 14, 2023): 6–31. http://dx.doi.org/10.33351/mt.124944.
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With the release of the Moominvalley (2019–) animated TV series, the Moomin characters have once again appeared on screens across the world. Whether this newest adaptation of Tove Jansson’s books and comic strips will initiate a new ‘Moomin boom’ remains to be seen. Nevertheless, the re-appearance of the Moomins in domestic (Finnish) and international media has sparked a resurgence of nostalgia among audiences already familiar with the characters. The present study examines what meanings are attributed to the Moomin stories and sites associated with them in the context of media-induced tourism. The study draws on seven English-language press articles featuring authors’ observations and reflections on their visits to places with connections to the Moomins and/or Tove Jansson in Finland. The personal importance of Jansson’s works and associated locations for these members of the audience is revealed through analysis of the notions of belonging and nostalgia in their accounts. On a wider sociocultural level, the findings demonstrate that values associated with Jansson’s texts are (re)negotiated in new contexts and found relevant in times of contemporary socioeconomic, political and environmental crises, and that it reflects in how places with connections to her and her works are viewed and experienced. The data further show that themes in the Moomin books are viewed in parallel to what is perceived as Finnish values, such as care for others, equality and respect for nature. Finland is also imagined as a fairytalesque land, both the home of the writer and even of the Moomins themselves.
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Vignali, Cristina. "De Poème-bulles à Orfi aux enfers : ennoblissement et clarification de Poema a fumetti de Dino Buzzati." Équivalences 48, no. 1 (2021): 109–20. http://dx.doi.org/10.3406/equiv.2021.1591.
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In 1969, Dino Buzzati published his Poema a fumetti, a sui generis book, whose nature lies mid-way between the illustrated poems and comic strips genres, and in which the artist provides us with a updated myth of Orpheus that has been altered by the sixties (1960s)’ contemporaneousness. Two French language translations of Poema a fumetti will consecutively be written : the first one was performed by Max Gallo and Antoine Ottavi and was published a year only after the publication of the original Italian language book at Laffont. It was entitled Poème-bulles (1970). Another translation was thereafter done by Charlotte Lataillade and published by Actes Sud, and was entitled Orfi aux enfers (2007). The analysis of the incipit highlights the translator’s will to elucidate and clarify which erases the effects of suspension creating mystery around the introductory place from which begins Orfi’s wandering through all the poem.
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ADAMS, JIMI. "Glee's McKinley High: Following Middle America's sexual taboos." Network Science 3, no. 2 (May 13, 2015): 293–95. http://dx.doi.org/10.1017/nws.2015.16.
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Writers for popular media frequently draw on insights known about social networks in developing their plotlines and character biographies (whether in books, television, movies, etc.). Perhaps most known to network analysts in this respect, Freeman (2000) presents a collection of network concepts represented in comic strips. These depictions often are consistent with the patterns network analysts observe in real-world empirical examples. For example, the long-running sitcom Friends exhibited strong homophily (McPherson et al., 2001) or assortative mixing on race and socioeconomic status among the main characters. Other times the violation of these typical patterns can serve to generate dramatic tension or a source of comedy. For example transitivity—or the tendency of one's friends to also become friends (Holland & Leinhardt, 1972)—is absent in the movie Hush where Jessica Lange's character plots to kill the daughter-in-law she does not like. P-O-X social balance (Heider, 1948) describes the tendency for friends to share common interests, which was violated to comedic effect in the Seinfeld episode where Jerry's character simply cannot accept his date's refusal to try a taste of the pie he finds delicious, bothering him for days and ultimately leading to his ending the relationship.
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Gavrilă, Ana-Maria. "Understanding Jerusalem and its Cross-Cultural Dilemmas in Guy Delisle’s Jerusalem: Chronicles From the Holy City." Acta Universitatis Sapientiae, Philologica 7, no. 1 (December 1, 2015): 133–44. http://dx.doi.org/10.1515/ausp-2015-0042.
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Abstract Guy Delisle’s Jerusalem: Chronicles from the Holy City (2011) is a nonfictional graphic novel which narrates the experiences during a year that the Canadian artist and his family spent living far from home, in the occasionally dangerous and perilous city of the ancient Middle East. Part humorous memoir filled with “the logistics of everyday life,” part an inquisitive and sharp-eyed travelogue, Jerusalem is interspersed with enthralling lessons on the history of the region, together with vignettes of brief strips of Delisle’s encounters with expatriates and locals, with Jewish, Muslim, and Christian communities in and around the city, with Bedouins, Israeli and Palestinians. Since the comic strip is considered amongst the privileged genres able to disseminate stereotypes, Jerusalem tackles cultural as well as physical barriers, delimiting between domestic and foreign space, while revealing the historical context of the Israeli-Palestinian present conflict. Using this idea as a point of departure, I employ an imagological method of interpretation to address cross-cultural confusions in analysing the cartoonist’s travelogue as discourse of representation and ways of understanding cultural transmission, paying attention to the genre’s convention, where Delisle’s drawing style fits nicely the narrative techniques employed. Through an imagological perspective, I will also pay attention to the interaction between cultures and the dynamics between the images which characterise the Other (the nationalities represented or the spected) and those which characterise - not without a sense of irony - his own identity (self-portraits or auto-images). I shall take into account throughout my analysis that the source of this graphic memoir is inevitably a subjective one: even though Delisle professes an unbiased mind-set from the very beginning, the comic is at times coloured by his secular views. Delisle’s book is a dark, yet gentle comedy, and his wife’s job at the Doctors Without Borders paired with his personal experiences are paradoxically a gentle reminder that “There’ll always be borders.” In sum, the comic medium brings a sense of novelty to the imagological and hermeneutic conception of the interpretation of cultural and national stereotypes and/or otherness in artistic and literary works.
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Shirbanova, Anna A., Kseniia N. Dergunova, and Ivan A. Delazari. "“Mit vielen Kupfern”: The Second Kamchatka Expedition as multimodal discourse in the diaries of G.W. Steller and the comic strip by T.E.Bak." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 609–30. http://dx.doi.org/10.21638/spbu09.2023.313.
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The article discusses some literary incarnations of the Second Kamchatka Expedition led by V.Bering as stages of a multimodal discourse that corresponds to an important trend of literary evolution between the 18th and 21st centuries: the negotiation between the verbal and pictorial modes of representational design, particularly with respect to visual information. The study focuses on border cases of conditional literariness, in G.Genette’s terminology: nonfiction and comics. The diaries of an Expedition participant, German traveler and naturalist G.W. Steller, the illustrated editions of those diaries in three languages (German, English, and Russian), and the American cartoonist T.E.Bak’s graphic novel based on Steller’s narrative belong to different media, whose multimodality (the use of several sensorial and semiotic channels of communication within one art and/or medium) is explicit to various extent but crucial in terms of both authorial intention and readerly perception. The article lists three main functional types of visual data transmission (cartographic, panoramic, and experiential) in the documentary travelogue and the comic strip. A discursive continuity is revealed in how those modes and types combine from Steller (1774) to Bak (2013). Together, the two authors’ books exemplify a multimodal discourse, whose formal and medial properties are determined by their disposition to represent and transmit the experience of new land exploration. Such a task was natural for Steller the explorer, but Bak “inherits” it by virtue of discursive inertia despite his total lack of commitment to the goals of academic report writing.
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Lin, Wen. "Mapping the urban conditions in the digital age, one building at a time: A case of A Little Bit of Beijing." Journal of Urban Cultural Studies 9, no. 1 (June 1, 2022): 65–88. http://dx.doi.org/10.1386/jucs_00049_1.
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This article provides a close reading of a book entitled A Little Bit of Beijing published in 2013, which has been well received by the Chinese public. The book presents detailed and meticulous architectural style diagrams, comic strips and panoramic drawings of three urban districts in Beijing. These visualizations provide evocative depictions of the buildings along with their interior spaces in these urban areas, calling for more attention to the role of ‘ordinary’ buildings of small shops in understanding these urban neighbourhoods. In this article, I analyse this book project with a focus on its visualizations through two dimensions: understanding the urban conditions that shape and are visualized by these visualizations and understanding the visualizations as a form of mapping. For the first dimension, I argue that the urban conditions underpinning, and depicted by, A Little Bit of Beijing resonate with the notion of ‘messy urbanism’. For the second dimension, I contend that A Little Bit of Beijing constitutes a form of slow mapping. Viewed from these two dimensions, these visualizations show subversive possibilities in addressing urban transformation issues in China as well as questioning the more conventional ways of mapping urban spaces.
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Gomes, Vitor. "Ensaio sobre uma fenomenologia da resiliência em Charlie Brown: contextos interrelacionais em Peanuts." REVISTA INTERSABERES 15, no. 36 (November 10, 2020): 764–84. http://dx.doi.org/10.22169/revint.v15i36.1953.
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RESUMOTrata-se de um artigo, com características de ensaio transdisciplinar, que desvela aspectos constituintes de uma fenomenologia da resiliência do menino Charlie Brown, das tiras Peanuts. Apresenta o Charlie Brown em suas interrelações, constituição autoimagética e comportamental na interação com outros personagens: Linus, seu melhor amigo (estrutura de suporte); Lucy, a garota com a necessidade sádica de ser sua algoz (desestrutura) e Sally, sua irmã caçula, sobre a qual exerce relação de zelo (empoderamento). Em termos metodológicos, realiza os seguintes procedimentos: define os limites “do que” e “quem” seriam observados, identificando quais personagens teriam maior diálogo com o protagonista. Seleciona um espaço-tempo de análise, no caso, uma série de tiras dos personagens publicadas no período de 1961 a 1962. Conclui que a relação entre os interlocutores revela um conjunto de suportes que potencializam comportamentos de resiliência psicológica e que, frustrando expectativas, o personagem central demonstra relação de superioridade diante das adversidades e do autoconceito negativo, desenvolvendo resiliência em contraposição ao que poderia ser psicologicamente autodestrutivo. Palavras-chave: Resiliência; História em quadrinhos; Fenomenologia. ABSTRACTIt is an article, with transdisciplinary essay characteristics, that reveals constituent aspects of a phenomenology of resilience of the boy Charlie Brown, from the comic strips Peanuts. It presents Charlie Brown in his interrelations, self-imaginary and behavioral constitution in the interaction with other characters: Linus, his best friend (support structure), Lucy, the girl with the sadistic need to be his tormentor (destructuring) and Sally, her younger sister, on which he exerts a relationship of zeal (empowerment). In methodological terms, we performed the following procedures: we traced the limits of "what" and "who" would be observed, identifying which characters had greater dialogue with the protagonist. We selected a space analysis time, in this case, a series of comic strips of the characters published in the period from 1961 to 1962. It is concluded that the relationship between his interlocutors reveals a set of supports that enhance behaviors of psychological resilience and that, frustrating expectations, the main character demonstrates a relationship of superiority in the face of adversity and the negative self-concept, revealing resilience as opposed to what could be psychologically self-destructive.Keywords: Resilience; Comic books; Phenomenology. RESUMENSe trata de un artículo, con características de ensayo transdisciplinario, que desvela aspectos constituyentes de la fenomenología de la resiliencia en el niño Charlie Brown, de las tiras cómicas Peanuts. Presenta a Charlie Brown en sus interrelaciones, en la construcción de la autoimagen y comportamiento en la interacción con otros personajes: Linus, su mejor amigo (estructura de soporte); Lucy, la chica con la necesidad sádica de ser su verdugo (des-estructura) y Sally, su hermana menor, sobre la que ejerce relación de celo (empoderamiento). En términos metodológicos, el estudio realiza los siguientes procedimientos: traza los límites "de lo que" y "quiénes" serán observados, identificando qué personajes establecen más diálogo con el protagonista. Selecciona un espacio-tiempo de análisis, en el caso, una serie de tiras de los personajes publicadas en el período de 1961 a 1962. Concluye que la relación entre los interlocutores revela un conjunto de soportes que potencian comportamientos de resiliencia psicológica y que, frustrando expectativas, el personaje central demuestra relación de superioridad ante las adversidades y el autoconcepto negativo, demostrando resiliencia en contraposición con lo que podría ser psicológicamente autodestructivo.Palabras-clave: Resiliencia; Novelas Gráficas; Fenomenología.
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Obielodan, Omotayo Olabo, Amos Ochayi Onojah, Adenike Aderogba Onojah, Oyeronke Olufunke Ogunlade, and Kefas Olumide Aliu. "The Extent at Which Undergraduate Students Use the Internet for Reading." Indonesian Journal Of Educational Research and Review 4, no. 3 (December 1, 2021): 400. http://dx.doi.org/10.23887/ijerr.v4i3.41631.
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This study aims to investigate the extent at which undergraduate students use the internet for reading. The study specifically, (i) Examine the extent at which undergraduate students use the internet for reading, (ii) Investigate the difference on the extent of the use of internet for reading of male and female undergraduate students, (iii) Examine the difference of extent of the internet usage on reading of undergraduate students based on areas of specialization. The study was a descriptive research of survey type. A structured questionnaire designed by the researcher was used in data collection. A simple random sampling technique was used to select 150 respondents that were involved in this study from the University of Ilorin, Ilorin, Nigeria. Frequency count, mean and percentages were used to answer the research questions. Hypothesis one was tested with independent t-test while hypothesis two was tested using Analysis of Variance (ANOVA). All hypothesis were tested at 0.05 level of significance. The findings established that Undergraduates always use the internet for reading online news, E books, Email, Health information, Jokes, Comic strips, Fashion, Food/Nutrition and Sales information. Also, there was no significant difference between the extent of the internet usage on reading of undergraduate students based on gender and areas of specialization. It was however recommended that there is a need for extensive training program organized at regular interval so that all categories of users can improve their efficiency in the use of the internet.
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Soedarso, Nick. "Komik: Karya Sastra Bergambar." Humaniora 6, no. 4 (October 30, 2015): 496. http://dx.doi.org/10.21512/humaniora.v6i4.3378.
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Comic book is a literary medium which communicates via images. It has been part of Indonesian culture since a long time. Back to the 9th century, reliefs of Borobudur temple are proves of the early comic culture in Indonesia. Each relief panel of the Borobudur temple was made with a series of sequential scenes that depict many scenes of the 8th century’s daily life in ancient Java and the story of Sudhana and Manohara. It was made with the same principle of any comics nowadays. This article is a literature study with data gathered from both printed and electronic media. Field observation was done as well to obtain concrete data. Based on the result, comics can be categorized by its forms and formats, such as comic strip, comic book, and graphic novel. With stunning images and increasing in genres, comics easily become one of mass culture. Comics had a lowbrow reputation for much of its history, but nowadays it recieves more and more positive recognition and within academia. Its contribution to the field of entertainment, education, and imagination, especially to the young generation, makes comics as one of the important means of communication.
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Kemp, Steven. "An interview with Tony Husband." Neuropsychologist 1, no. 5 (May 2018): 80–81. http://dx.doi.org/10.53841/bpsneur.2018.1.5.80.
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Tony Husband is a cartoonist whose work has featured in many newspapers, books and magazines as well as on TV and in theatre. His comic strip Yobs, which he draws for Private Eye, is one of the best-known in Britain. He has recently published two graphic novels documenting his experiences of his father’s dementia and his son’s struggles with addiction.I was fortunate to bump into Tony and his wife at a favourite Lake District hotel in 2017, and we quickly struck up an interesting conversation in the hotel bar. Tony told me about his work and his recent books. I was taken by the sincerity of the stories they told about Tony’s father and his son, and how poignant and alive the stories were. I quickly realised that Tony was a famous cartoonist and his cartoon illustrations made these books accessible to a wide audience. Tony was kind enough to give a very well-received talk at an annual meeting I arrange (the Northern Neuropsychology Research Group). Whilst the books resonate with current patient and public involvement in health care, they are deeply personal and moving. These are stories of loss, hope and acceptance told with disarming and acceptable honesty. Professionals, patients and families will find meaning and solace in Tony’s books.I am delighted to interview Tony and learn more about how a world renowned cartoonist utilised his professional skills and personal experience to produce material that will help others.
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Imhof, Robin. "Book Review: Characters on the Couch: Exploring Psychology through Literature and Film." Reference & User Services Quarterly 56, no. 3 (April 3, 2017): 215. http://dx.doi.org/10.5860/rusq.56n3.215b.
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Inspired by what appears to be a growing trend for training mental health care professionals, the author (Dean A. Haycock, a freelance science and medical writer) conceived of this work as a resource guide to help students assess psychological conditions and psychiatric disorders using fictional characters drawn from literature and film. The entries contain 101 profiles of mostly well-known fictional characters found in novels, novellas, short stories, plays, poems, graphic novels, comic books, and films. The characters’ psychological profiles are highlighted by using key quotes to demonstrate their particular disorder. For example, the diagnosis of Dorian Gray in Oscar Wilde’s novel The Picture of Dorian Gray from his uttering, “How sad it is! I shall grow old and horrible, and dreadful. But this picture will remain always young. . . . If only it were the other way!” (134) indicates that his most defining trait is (surprise!) narcissism. Charlie Brown, from the comic strip Peanuts, with his declaration, “My anxieties have anxieties” (146) is evidently a neurotic with avoidant personality disorder, and so forth. It may be helpful for the non-specialist to know that the arrangement of the selections in the “Mental and Personality Disorders” subdivision is presented in the order found in the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders and that the six “Positive Psychological Traits” are those identified by Christopher Peterson and Martin Seligman in their pioneering work in the field of positive psychology.
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Park, Jin Seo, Dae Hyun Kim, and Min Suk Chung. "Anatomy comic strips." Anatomical Sciences Education 4, no. 5 (June 1, 2011): 275–79. http://dx.doi.org/10.1002/ase.224.
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Johnson, Michael. "Miller, Ann. Reading Bande Dessinée: Critical Approaches to French-Language Comic Strip. Bristol & Chicago: Intellect Books, 2007. 364 pp. $40." Contemporary French Civilization 33, no. 1 (January 2009): 219–22. http://dx.doi.org/10.3828/cfc.2009.11.
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Moroz, Nina A. "“Dr. Seuss of Beasts and Men: the Cartoonist’s Experience and the Illustrated Tales of the 1930–1950s." Literature of the Americas, no. 15 (2023): 250–75. http://dx.doi.org/10.22455/2541-7894-2023-15-250-275.
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The paper deals with the first decades in the work of Dr. Seuss (the pseudonym of Theodor Geisel, 1904–1991), one of the most prominent children’s authors of the 20th century. Seuss was not only the author of children’s tales, but also a talented artist who illustrated his own books and whose manner was deeply influenced by his 15-year experience as a cartoonist. In 1920–1940s he worked for different print media, from humor magazines to a political newspaper, drew cartoons and commercial advertisements. Our aim is to study the mutual influence of Seuss-thecartoonist and Seuss-the-writer and illustrator. Our main focus is the “bestiary” of Dr. Seuss, the animal characters of his cartoons and tales. Seuss created his first eccentric animals in the series of cartoons and anecdotes for a weekly satirical magazine Judge in 1927; he blended the Victorian tradition of nonsense and the features of newspaper cartoons and comic strips of the first decades of the 20th century. The motif of eccentricity is developed in the first children’s tales that Seuss published at the turn of the 1930–40s. The same motif is significantly transformed in his political cartoons for a daily newspaper PM in 1941–1942. Seuss puts the familiar animal images into the context of World War II and gives them different political meaning, from the totalitarian insanity of the Axis leaders to the carelessness and blindness of the “America First” supporters. Interestingly enough, Dr. Seuss used in his political cartoons some plot elements of his tales for children, as well as his old sketches and drawings. In its turn, his post-war tales are peculiar parables that absorb the political issues of the previous historical period. Creating his images of tyrants, Seuss makes use of the techniques of political cartoons. He puts his human and animal characters into the situations of tyranny or isolationism, that can be overcome with the help of common sense.
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Chung, Beom Sun, Eun-mi Park, Sang-Hee Kim, Sook-kyoung Cho, and Min Suk Chung. "Comic Strips to Accompany Science Museum Exhibits." Journal of Education and Learning 5, no. 4 (September 22, 2016): 141. http://dx.doi.org/10.5539/jel.v5n4p141.
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<p>Science museums make the effort to create exhibits with amusing explanations. However, existing explanation signs with lengthy text are not appealing, and as such, visitors do not pay attention to them. In contrast, conspicuous comic strips composed of simple drawings and humors can attract science museum visitors. This study attempted to reveal whether comic strips contribute to science exhibitions. More than 20 comic strips were chosen that were associated with exhibits in a science museum. The individual episodes were printed out and placed beside the corresponding exhibits. A questionnaire was administered to museum visitors to evaluate the effects of the comic strips. Most visitors responded that the comic strips were helpful in understanding the exhibits and in familiarizing themselves with the science. Participants also described the comic strips’ deficiencies which will be considered for future revisions. Comic strips are likely to enhance interest in and comprehension of science exhibitions. Furthermore, these strips are expected to enrich science museums in various ways such as establishing their uniqueness.</p>
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Pratiwi, Anisa, and Tara Mustikaning Palupi. "Digital Comic Strips as Multi-Modal Text for Learning Interpersonal and Transactional Text in Junior High School: A Content Analysis." Stairs 3, no. 1 (May 31, 2022): 43–52. http://dx.doi.org/10.21009/stairs.3.1.5.
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This research aimed to analyze the content of the digital comic strips for learning interpersonal and transactional text at Junior High School levels. The research was conducted based on the research questions: (1) How is the suitability of the digital comic strips used for grade 8 Junior High School in terms of the content of the interpersonal and transactional text? (2) How do the digital comic strips meet the criteria of digital learning material? The research used qualitative content analysis the instrument of which was adapted from the Indonesia Minister of Education and Culture Indonesia Syllabus and three Digital Learning Material Framework. The data was sourced from the digital comic strips uploaded on social media and comic strips web. It was revealed that 95% of all of the digital comic strips already have the language features that the Indonesia Education and Culture Minister stated on the syllabus, also accomplish the digital material learning criteria from accessibility and content by The National Center for Accessible Educational Resources (AEM), PRIMO (Peer-Reviewed Instructional Materials Online) Selection Criteria, and Petri Nokelainen. The findings revealed promising future to use digital comic strips as an instructional reading materials.