Journal articles on the topic 'Comics, strips'
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1
Wahyudi, Luqman, and Sri Hesti Heriwati. "Social Criticism about the 2019 Election Campaign in the Comic Strip Gump n Hell." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (May 5, 2021): 56–66. http://dx.doi.org/10.33153/dewaruci.v16i1.3231.
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Comic strips are a top-rated entertainment product. Supported by growing information technology, comic strips today are very accessible to almost all people. In addition to serving as a medium of entertainment, comic strips are often used as a means of opinion and convey criticism creatively from the comic artist. One of the comic strips that are vocal in expressing social criticism is Gump n Hell comic strip by Errik Irwan Wibowo. This comic strip depicts political events that occur, then publishes the comics through social media. This research is qualitative descriptive research using Charles Sanders Peirce's semiotic theory to determine the meaning of social criticism in the comic strip Gump n Hell. The researcher took three Gump n Hell comic strip samples relating to the moment of the 2019 General Election to analyzed the meaning. From the study results, there was an implicit meaning in the comic strip, namely criticizing and satirizing specific political figures related to the phenomenon. Criticism in comics is represented subtly or indirectly through pop culture icons that become representations or parodies of exact political figures and wrapped in narratives according to political phenomena.
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Fitria, Tira Nur. "CREATION OF COMIC STRIPS USING CANVA IN TEACHING WRITING TO STUDENTS." ISLLAC : Journal of Intensive Studies on Language, Literature, Art, and Culture 7, no. 1 (June 29, 2023): 159. http://dx.doi.org/10.17977/um006v7i12023p159-176.
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This study simulates the making of comic strips using Canva in teaching writing skills. This research utilizes descriptive qualitative. The analysis shows that creating comic strips using Canva is easy and simple. Open Canva at www.canva.com/ on mobile/ desktop then sign in or register using email, Facebook, or Google. Search for "comics" to start designs. Browse templates, start with a blank page, or choose Canva's ready-made templates. Experiment with features comic designs then customize comics with color schemes, lawyers, font styles, and combinations of stickers, icons, and illustrations. Rearrange speech bubbles and frames, upload images, save/publish and share. Teachers can use Canva to create/design comic strips for writing English sentences/conversations. We can use the available comic strip template patterns or customize them as needed. For example, we create/design a comic strip about "My Daily Activity", we ask students to write sentences/essays of descriptive text according to the picture instructions in the comic strips from the activities of waking up to going to school using the present tense. We can ask students to write sentences/essays about "All About Me". We can ask students to write down what is depicted in the comic strips, for example, personal information including name, birthday, address, family, favorite, hobby, or ambition. Several ways need to be considered in creating comic strips such as the concept/story idea, storyline, and attractive image. For making interesting and educative learning comics, we can include an element of humor, insert material in character conversations, use casual language, and create attractive visuals.
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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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Hague, Ian, Nancy Pedri, José Alaniz, Stefano Ascari, and Silke Horstkotte. "Book Reviews." European Comic Art 7, no. 1 (March 1, 2014): 112–26. http://dx.doi.org/10.3167/eca.2014.070106.
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Daniel Stein and Jan-Noël Thon, eds, From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic NarrativeBarbara Postema, Making Sense of Fragments: Narrative Structure in ComicsShane Denson, Christina Meyer and Daniel Stein, eds., Transnational Perspectives on Graphic Narratives: Comics at the CrossroadsMélanie Van Der Hoorn, Bricks and Balloons: Architecture in Comic Strip FormThomas Hausmanninger, Verschwörung und Religion: Aspekte der Postsäkularität in den franco-belgischen Comics [Conspiracy and Religion: Aspects of Post-Secularity in Franco-Belgian Comics]
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Novitasari, Nine Febrie. "COMIC STRIPS IN ELT: REVISITING “THE WHEN AND HOW”." Getsempena English Education Journal 7, no. 2 (November 19, 2020): 269–82. http://dx.doi.org/10.46244/geej.v7i2.1035.
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Few know that comic strips can be used in educational contexts, particularly in English language classrooms. If associated with the purpose of language teaching, the use of comic strips is to facilitate students to develop their three learning domains: cognitive, affective, and psychomotor domains. Integrating comic strips in classroom activities will make the process of learning more meaningful. In Indonesian context, the teaching and learning process utilising comics is still rare to find. Most Indonesian EFL teachers usually only focus on enhancing students’ reading comprehension skill when using comic strips in their teaching. They ignore other objectives such as providing the students’ other language skills, introducing the culture embedded, or sharping students’ learning domains. Such a problem occurs because the teachers do not know and are not sure of how to find good and suitable comics for their students. In addition to that, many teachers admit that it is quite difficult to prove and to convince the parents that comics can be used as stimulating, pedagogically-suitable learning media. Concerning the issue, this paper presents a comprehensive explanation on the nature of comic that suits the purpose of EFL/ESL teaching and and offers some best practices for English teachers to utilize comic strips in their teaching. It is expected that after reading this paper, EFL teachers in Indonesia can explore their belief and practice in implementing comics and bring up a new trend in EFL classroom.
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Damayanti, Amilia Yuni, Joyeti Darni, and Hafidzatunnisa Hafidzatunnisa. "The effectiveness of Islamic comic media in increasing the attitude of healthy breakfast among students." Jurnal Gizi Indonesia (The Indonesian Journal of Nutrition) 9, no. 2 (June 30, 2021): 144–50. http://dx.doi.org/10.14710/jgi.9.2.144-150.
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ABSTRAK Background: As much as 73.4% of children aged ≥ 5 years in Indonesia have breakfast with the low nutritional quality of food consumption, as evidenced by the prevalence of 95.5% of children's less consumption of vegetables and fruits. Breakfast habits affect fiber and micronutrient levels. Communication and nutritional information can increase accuracy in breakfast behavior from childhood. Effective and efficient media are needed. So far, the media for children has prioritized illustrations without paying attention to the cultivation of moral values.Objectives: This study aimed to determine the effect of Islamic comic media on improving healthy breakfast attitudes among students.Materials and Methods: The research design was a quasi-experimental type. Subjects were taken by a simple random sampling method. Ninety-six students were divided into three groups. Group A was given nutrition education using Islamic comic media about health breakfast (n = 32). Group B was given nutrition education using Islamic comic strip media about health (n = 32). Group C was a control group (n = 32). The study used two types of nutrition promotion media: comics and comic strips, which are stories about healthy eating in Islam. The time for nutrition education intervention through comics and comic strips is 2x ± 35 minutes. The pretest was ± 25 minutes with ± 10 minutes explaining the instructions for filling out the questionnaire. The posttest was ± 25 minutes with a discussion for ± 10 minutes—nutritional attitudes related to health breakfast by answering a validated questionnaire. We used the Lickert scale to categorized nutritional attitudes. Statistical test was done by Wilcoxon and Mann Whitney test.Results: The distribution of nutrition attitudes of respondents increased after the provision of Islamic comics, both comics and comic strips about breakfast. The nutritional attitudes increased significantly in the Islamic comic media group (p = 0.000) and the Islamic comic strip media group (p = 0.000), from 78.75 to 92.96 and 78.61 to 92.88, respectively.Conclusions: There was a relationship between counseling and Islamic comic media regarding healthy breakfast towards the nutritional attitude of elementary school-age students.
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Salam, Babus, Iwan Joko Prasetyo, and Daniel Susilo. "IInterpretasi Dan Makna Kritik Sosial Dalam “Komik Strip Untuk Umum (Kostum)” Periode 1 Desember – 31 Desember 2017." LONTAR: Jurnal Ilmu Komunikasi 6, no. 2 (December 26, 2018): 96. http://dx.doi.org/10.30656/lontar.v6i2.949.
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Theres many ways can be done to appreciate the voices of messages and criticisms through creative ways, one of them through comics. One of the Indonesian comic artists who used comics as a medium of social criticism was Haryadhi through his "Komik Strip Untuk Umum (KOSTUM)” creation. KOSTUM Comics record the events that are happening and pour them into comic strips spread through social media. This research is a qualitative descriptive type using Roland Barthes' semiotics theory with two-stage significance (two orders of signification). From the results of the study, researchers found the implicit meaning that is to criticize and satirize the behavior of Indonesian people in a subtle way. Criticism expressed to comics is directed directly at the actors but is delicately wrapped with humorous portrayals through their characters. From the KOSTUM comics examined can be concluded that the social criticism described in the comic is an expression of the condition of the community related to the values that are used as a guideline for living in community groups.Keywords: Comics, Social Criticism, Semiotics, Roland Barthes
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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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Santos, Victor João da Rocha Maia, and Rosane Nunes Garcia. "HISTÓRIAS EM QUADRINHOS: BREVE HISTÓRICO, CONCEITOS E UTILIZAÇÃO NO ENSINO DAS CIÊNCIAS DA NATUREZA." Cadernos de Educação Tecnologia e Sociedade 12, no. 2 (August 6, 2019): 90. http://dx.doi.org/10.14571/brajets.v12.n2.90-100.
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Comics have always been and will always be a mass medium whose focus is entertainment; however, as a type of language, its use and adaptation for the educational environment is relatively recent. In the 1980s in Brazil textbooks started to display some comics. Nonetheless, only in 1997, with the creation of PCNs, were comics officially incorporated in the classroom pedagogical praxis. The term “comic strips” and its many variations have mainly negative connotations, which have persisted until now and which have impacted the potential of this type of language in Education. Nevertheless, Brazilian researchers in the area, such as Waldomiro Vergueiro, Sonia Luyten, Franciso Caruso, and others believe comic strips can be used as a pedagogical resource on every educational level, with no restrictions. Due to the fact that it is an autonomous language, comic strips are also a writing genre, which usually employs verbal and nonverbal aspects. Thus, reading the visual information that is present in comic strips can indicate a visual narrative that allows for an experience as intense as that of reading verbal aspects, since they complement one another. Therefore, comic strips are a medium that can aid formal learning of Natural Sciences thanks to its fast, dynamic and extremely visual reading, which facilitates the explanation of scientific content on any level of education, working as a motivator in the learning process.
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Beko, Lidija, and Dragoslava Mićović. "Strip i geoforenzika u nastavi engleskog jezika po CLIL metodi - stavovi studenata." Inovacije u nastavi 35, no. 1 (2022): 144–56. http://dx.doi.org/10.5937/inovacije2201144b.
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This paper has discussed the concept of integrating comic strips and geoforensics into CLIL English classes at university level and its potential and relevance to modern-day university education. Our assumption is that comic strips can greatly help to embrace geoforensics as an emerging interdisciplinary art that offers a whole new and previously unthought-of perspective to young geological engineers. As modern teaching is more demanding than that which relies entirely on the traditional pedagogical system, language teachers today, especially CLIL teachers, need to include as many different sources as possible in organizing teaching process. Motivation is, among other advantages, the reason why we think it is advisable to occasionally include comics in the learning process. At the end of this study, we conclude that the comic strips, despite their advantages, are not sufficiently analysed and represented in teaching. The research suggests that students recognize both linguistic, scientific, and aesthetic values of a comic strip, but are not sufficiently familiar with the possibility of including ethical aspects or logical reasoning in this new media of teaching. Raising the teacher's awareness of the need for introducing comics at all teaching levels of university study is yet to be analysed, and requires careful planning in order to be successfully achieved.
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Beko, Lidija, and Dragoslava Mićović. "Strip i geoforenzika u nastavi engleskog jezika po CLIL metodi - stavovi studenata." Inovacije u nastavi 35, no. 1 (2022): 144–56. http://dx.doi.org/10.5937/inovacije2201144b.
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This paper has discussed the concept of integrating comic strips and geoforensics into CLIL English classes at university level and its potential and relevance to modern-day university education. Our assumption is that comic strips can greatly help to embrace geoforensics as an emerging interdisciplinary art that offers a whole new and previously unthought-of perspective to young geological engineers. As modern teaching is more demanding than that which relies entirely on the traditional pedagogical system, language teachers today, especially CLIL teachers, need to include as many different sources as possible in organizing teaching process. Motivation is, among other advantages, the reason why we think it is advisable to occasionally include comics in the learning process. At the end of this study, we conclude that the comic strips, despite their advantages, are not sufficiently analysed and represented in teaching. The research suggests that students recognize both linguistic, scientific, and aesthetic values of a comic strip, but are not sufficiently familiar with the possibility of including ethical aspects or logical reasoning in this new media of teaching. Raising the teacher's awareness of the need for introducing comics at all teaching levels of university study is yet to be analysed, and requires careful planning in order to be successfully achieved.
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Iriane, Rara, Dhanar Intan Surya Saputra, Debi Indarto, Sitaresmi Wahyu Handani, and Kuat Indartono. "Design of Instagram Comic Strips for Learning Media in Elementary School." IJECA (International Journal of Education and Curriculum Application) 5, no. 3 (December 15, 2022): 317. http://dx.doi.org/10.31764/ijeca.v5i3.11719.
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Information was obtained based on the writer's interviews with the principal at SD Negeri 1 Rawalo elementary school. During the pandemic, students' interest in learning at SD Negeri 1 Rawaloelementary school was relatively low, especially for grade IV students. Especially for Mathematics, Natural Sciences, Social Sciences, Citizenship Education and Indonesian Language. Student interest is low during the pandemic because the learning media is less attractive. The principal wants engagingengaging learning media in the form of comics, such as on Instagram that is easily accessible while studying at home. This media is applied to increase student interest in learning during a pandemic, which must be by the characteristics of the material and learning objectives. Based on this background, the writer was inspired to make a digital comic as a learning medium for elementary school students in grade IV at SD Negeri 1 Rawaloelementary schoolschoolelementary school. The goal is the creation of comic learning media at SD Negeri 1 Rawaloelementary school. The system development method consists of three stages. The pre-production stage, the production stage, and the post-production stage. The pre-production stage, at this stage is a process that includes determining ideas, themes and preparing storyboards. Storyboards are made with two-dimensional images of learning materials. At the production stage, comic character drawings are designed ,given backgrounds and coloring for characters using CorelDraw software. Then at the post production stage, the comic editing process begins using Adobe Photoshop software, starting from setting color balancing, giving shading, merging with comic text, after which the comics are exported and distributed on Instagram. In this research the evaluation of satisfaction learning media was carried out through a questionnaire and the questionnaire was calculated. The results of testing the comic learning media concluded that as many as 79.06%, of and included in the category agree in the application of digital comics as a learning medium for grade IV at SD Negeri 1 Rawaloelementary school. And the post-production stage. The results of testing the comic learning media concluded that as many as 79.06%, of and included in the category agree with the application of digital comics as a learning medium for grade IV at SD Negeri 1 RawaloElementary school. And the post-production stage. The results of testing the comic learning media concluded that as many as 79.06% of and included in the category agree with the application of digital comics as a learning medium for grade IV at SD Negeri 1 RawaloElementary school.
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Brabant, Sarah. "Death and Grief in the Family Comics." OMEGA - Journal of Death and Dying 36, no. 1 (January 1, 1997): 33–44. http://dx.doi.org/10.2190/pkb6-d6kv-0ctw-hfm8.
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The use of comic strips as cultural artifacts to identify prevailing beliefs, norms, and values has long been recognized. The recent depiction of death and grief in three family comics strips, “Curtis,” “For Better or Worse,” and “Sally Forth,” presents a unique opportunity to identify current culturally accepted attitudes toward death and grief. Implications for death education and grief counseling are discussed.
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Cerić, Haris, and Ešref Kenan Rešidagić. "Strip i karikatura u nastavi politilogije." Obrazovanje odraslih/Adult Education, no. 2 2019 (2020): 39–54. http://dx.doi.org/10.53617/issn2744-2047.2019.19.2.39.
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The intention of the authors is to demonstrate the utilisation of comictrips and caricature in political science teaching at university level. The kinship of comics and caricatures is reflected in the fact that they, as visual and verbal - visual media, form their own ''visual language''. In teaching in general, including higher education, comic strips and caricatures have a provoking value(scandalon), hence they represent an excellent motivational tool for learning. Certanly, the selection of appropriate comics and caricatures in crucial, therefore the paper provides examples of some comics and caricatures that can be used in political science teaching. Also, the readers are reffered to relevant theoretical starting points which can justify the use of comics and caricatures in teaching as visual and (or) verbal-visual media.
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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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Pratama, D. M., and K. Kasmana. "The Indonesian Government Imagery in the Instagram Comic strip with Covid-19 Themed." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 1 (December 1, 2020): 693–701. http://dx.doi.org/10.34010/icobest.v1i.232.
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At the beginning of 2020, there has been the spread of the deadly Covid-19 virus to various countries resulted in a pandemic. Indonesia is one of the countries affected, so the government provides a policy that is expected to reduce the number of Covid-19 cases. The policy issued has drawn criticism from various parties, one of which is the cartoon mice comic, this comic is one of the comics that often comments on social life and the Indonesian government with its comic strips posted on Instagram. This study aims to find the image and role of the government depicted in mice cartoon comics in overcoming Covid-19 in Indonesia, therefore there is a need for analysis and research with descriptive methods and critical discourse analysis approaches to see how the image of the Indonesian government in comic mice cartoons. The results of the analysis of the two comics concluded that the image of the government displayed in the comic strip did not only come from the author's idea but also based on the news that emerged from the government's response to the spread of the Covid-19 virus in Indonesia, with an image style that was distinctive from mice cartoon comics. With this research, the researcher hopes that it can become a recommendation in making comic narratives, especially those discussing social life and government, and can be a reference for research that has the same object.
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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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Dewi, Ienneke Indra. "Presuppositions and Implicatures in Comic Strips." Lingua Cultura 2, no. 1 (May 31, 2008): 12. http://dx.doi.org/10.21512/lc.v2i1.245.
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Article aimed to find out the role of presuppositions, implicatures, as well as to see the maxims violated or flouted in the comic strips i.e. to whether there is a miscommunication among the characters in the comic strips. Data were taken from the three comics, those are Peanuts, Andy, and Tintin, and were analysed based on the pattern that the sender made a presupposition before transferring information and the receiver would try to get the implied message. The results show that presuppositions and implicatures are much influenced by the background knowledge. The more the speaker and hearer know each other’s background, the better presuppositions and implicatures they make and finally, the less miscommunication occurred.
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Putra, Rizky Anugrah. "Critical Discourse Analysis on Komik Kita Comic Strip." Pulchra Lingua: A Journal of Language Study, Literature & Linguistics 1, no. 1 (May 30, 2022): 49–60. http://dx.doi.org/10.58989/plj.v1i1.5.
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The rapid dissemination of knowledge through information technology is facilitated by expanding access, but this development has drawbacks due to political interests. One of the media used to spread propaganda that promotes polarization is comics. The researcher analyzes how popular comics mix provocative discourses to influence their readers and what themes they adopt. Using critical discourse analysis, the researcher examines three main dimensions of propaganda discourse production, dissemination, and impact in comics. The data analyzed includes 1237 comic strips by Komikkita, of which 87% contain political propaganda, and 10.9% contain propaganda that targets followers of a particular religion. The study suggests that comic writers carry out the mission of a particular group through their media, indicating that discourse cannot be separated from the motives and values that the discourse architect wants to disseminate. This finding supports the elementary theory of discourse initiated by Van Dijk.
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Saffanah, Aurell Videla, Amelia Herdia Putri, Fakhri Al Farisi, Jaufilaili Jaufilaili, and Devi Mulatsih. "How Implicatures Create Funnines In Comic Strips ?" Devotion : Journal of Research and Community Service 5, no. 3 (March 20, 2024): 411–22. http://dx.doi.org/10.59188/devotion.v5i3.700.
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This research is aimed to analyze types of flouting maxim. To find cooperative principle of the implicature through the utterances expressed from the characters in comic strips. The method that will be used in this research is qualitative research design. The researchers use 12 chapters of the tiger comic strips from comics kingdom website as data source from December 01, 2023 to January 24, 2024. Then analyze the conversation that the character had. Likewise, this study attempts to discover the reason for using implicature in the comic strips. The researchers draw a conclusion where the flouting maxim of quantity (32.5%), the flouting maxim of quality (20%), the flouting maxim of manners (25%), and the flouting maxim of relevant (22.5%). The characters of “Tiger” digital comic strips mostly flouted the maxim of quantity since they avoid making others upset about lack of the answer, so they provide a comprehensive explanation.
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Sigit Dwi Laksana, Ayok Ariyanto Dan. "PEMBELAJARAN IPS DENGAN MEDIA KOMIK STRIP DI KELAS 4." Muaddib : Studi Kependidikan dan Keislaman 7, no. 2 (December 28, 2017): 188. http://dx.doi.org/10.24269/muaddib.v7i2.801.
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The use of comics as a learning media is very rare to find, the tendency of teachers lazy to use because it must first draw a strong reason teachers do not use this media. Comics as a learning medium is very powerful and can evoke students' understanding of the material because of the interesting storyline and the existence of images that are favored by children, researchers want to try to cultivate and introduce to the public and educators that the comic media can be an alternative learning meda, especially the comic strips which are the simplest and easiest types of comics. This introduction is done through an experimental study conducted in SDMT Ponorogo which incidentally as an elementary school favorite and excel in the field of academic and applied in class 4 with class considerations that have unique characteristics. It is expected that the results of this Research will be of great benefit to educators and learners in all classes in general.
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Öztürk, Göksel, and Aslı Özlem Tarakçıoğlu. "Comics and Translation with a Multimodal Perspective in the Early Republican Era." Border Crossing 10, no. 2 (July 17, 2020): 129–42. http://dx.doi.org/10.33182/bc.v10i2.1061.
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Comics has a “hybrid” interaction emerging from the “interplay” between pictorial and textual elements. However; many studies on comics translation focus on texts but disregarding pictures. Analyses performed by focusing on textual elements disregard pictorial and textual interactions, which is a kind of regression of the multimodal aspect of comics. One of the aims of this article is to treat comics on its own autonomy since comics is generally considered as a tool of other research areas. The present study investigates the functions of pictures and texts in the context of “pictorial turn” by keeping multimodal approach in perspective. Translated comics to be analysed are the first translated comic strips into Turkish after the alphabet reform. The very first concealed translations of comics during the Early Republican Era are analysed with a multimodal perspective considering historical context as well as cross-media interactions of pictures and texts. As the first Turkish translations of comics were published in children’s periodicals in the early Republican era, this article practices on multiple layers such as transformation of media, culture planning, and manipulation.
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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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Rani, Nursepti, and Hera Hastuti. "Pengembangan Komik Strip Berdasarkan Urutan Kronologis Peristiwa Sebagai Media Pembelajaran Sejarah Di SMA." Jurnal Kronologi 3, no. 4 (December 31, 2021): 449–64. http://dx.doi.org/10.24036/jk.v3i4.277.
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This study aims to develop a comic strip based on the chronological sequence of events as a valid medium for history learning in high school. The results showed that much of teachers surveyed considered comics to help motivate students to read and study, while they said comics could increase individual participation. This research is a research and development (R&D) using the ADDIE development model. The ADDIE development model is carried out at the Analyze, Design, and Development stages. Data were collected using product validity instruments which included content, language, and graphic validity. The data were analyzed using qualitative analysis and quantitative analysis. Based on the research that has been carried out, a comic strip has been produced with the following stages: (1) analysis, (2) design, (3) development. The analysis phase can be said to be an analysis of problems relevant to the problem consisting of needs analysis, material analysis and environmental analysis. The design stage is the stage carried out to compile a comic strip design including making a story summary design, story line design, initial comic design and editing using the Photoshop application. The development stage is the stage carried out to test the validity of the comic strip. Based on the product validity test, it is known that the comic strips produced are very valid from the material aspect and the media aspect. Thus, the resulting comic strip is feasible to be applied as a learning medium
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Prayoga, Dwiki Setya. "Teknik Membuat Komik Strip Digital." Jurnal Desain Komunikasi Visual Asia 4, no. 2 (October 25, 2021): 87. http://dx.doi.org/10.32815/jeskovsia.v4i2.526.
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Storytelling is a light activity without realizing it. Stories are activities in everyday life. Storytelling can build and improve communication communication in families, friends and partners. Comic strips can combine images and dialogue. The comic strip can reveal and reveal the depiction of traits and characters. The characters in the comics act out the stories in a certain order to convey messages or information. There are several stages of the technique of making a comic strip, namely determining the story, determining the format, creating characters, compiling images and determining the story line. In compiling a comic strip, it is necessary to seek ideas, create a premise, storyline and plot twist. The comic strip media can have a positive impact on everyone. Comic strip media as media expression in the form of images and text. In addition, the benefits of comic strip media affect learning outcomes by looking for ideas, creating characters, determining colors, making premises and determining the format of the story line.
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Miranda-Barreiro, David. "From Pioneer of Comics to Cultural Myth." European Comic Art 11, no. 1 (March 1, 2018): 66–86. http://dx.doi.org/10.3167/eca.20178110105.
Full textAbstract:
The multifaceted Galician artist, writer and politician Alfonso Daniel Rodríguez Castelao (1886–1950) has been considered a pioneer of Galician comics, or banda deseñada. This is because of his key role in the development of the medium from his early comic strips in the magazine Vida gallega [Galician life] (1909), to the cartoons that he published in the press in the 1920s and 1930s. Furthermore, Castelao has become a comics character in several graphic biographies since the end of the 1970s. This article not only addresses the reasons for the recurrent presence of Castelao in Galician comics, but it also looks at how the latter have contributed to the mythologisation of this important figure of Galician culture. In aesthetic terms, it will reveal the overlaps between adaptation, biography and comics by analysing all three of them as networks.
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Miranda-Barreiro, David. "From Pioneer of Comics to Cultural Myth." European Comic Art 11, no. 1 (March 1, 2018): 66–86. http://dx.doi.org/10.3167/eca.2018.110105.
Full textAbstract:
The multifaceted Galician artist, writer and politician Alfonso Daniel Rodríguez Castelao (1886–1950) has been considered a pioneer of Galician comics, or banda deseñada. This is because of his key role in the development of the medium from his early comic strips in the magazine Vida gallega [Galician life] (1909), to the cartoons that he published in the press in the 1920s and 1930s. Furthermore, Castelao has become a comics character in several graphic biographies since the end of the 1970s. This article not only addresses the reasons for the recurrent presence of Castelao in Galician comics, but it also looks at how the latter have contributed to the mythologisation of this important figure of Galician culture. In aesthetic terms, it will reveal the overlaps between adaptation, biography and comics by analysing all three of them as networks.
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Miranda-Barreiro, David. "From Pioneer of Comics to Cultural Myth." European Comic Art 11, no. 1 (March 1, 2018): 66–86. http://dx.doi.org/10.3167/eca.2018110105.
Full textAbstract:
The multifaceted Galician artist, writer and politician Alfonso Daniel Rodríguez Castelao (1886–1950) has been considered a pioneer of Galician comics, or banda deseñada. This is because of his key role in the development of the medium from his early comic strips in the magazine Vida gallega [Galician life] (1909), to the cartoons that he published in the press in the 1920s and 1930s. Furthermore, Castelao has become a comics character in several graphic biographies since the end of the 1970s. This article not only addresses the reasons for the recurrent presence of Castelao in Galician comics, but it also looks at how the latter have contributed to the mythologisation of this important figure of Galician culture. In aesthetic terms, it will reveal the overlaps between adaptation, biography and comics by analysing all three of them as networks.
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Amrizal, Amrizal. "The Effect of Comic Strip as Instructional Method in Enhancing Students’ Writing Skills." Journal of Education and Teaching (JET) 3, no. 2 (June 29, 2022): 192–202. http://dx.doi.org/10.51454/jet.v3i2.182.
Full textAbstract:
There have been several studies on the use of comics as an instructional tool for reading, but less on their use to writing, particularly descriptive text. The goal of this study is to find out how the comic strip affects the writing skills of students in the Islamic education program STAIN Mandailing Natal, especially their descriptive writing skills . This study was a experiment method. It was done by two classes, one called the experimental class and the other called the control class. Each class had 35 students. The Random sampling is used in the sampling of this study. This study uses SPSS windows 10 or statistical analysis to construct the T-Test while analyzing the data. This research finds that comic strips may improve students' descriptive writing. Through comic strips, students enhanced their writing abilities in all areas. The learning process is more efficient because of the use of simple language, clear images, and follow-up questions to ensure that everyone understood what was going on.
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Mubarak, Ahmed, and Sundus Allawi, MA. "A Pragmatic Study of Aggression in Some English Comic Strips." Kufa Journal of Arts 1, no. 49 (October 19, 2021): 531–44. http://dx.doi.org/10.36317/kaj/2021/v1.i49.1677.
Full textAbstract:
Aggression can be detected in speakers' language for many purposes such as criticism, refusal, delivering unpleasant messages or even solidarity among people. To cover the disagreeable consequences of such aggressions, speakers usually utilize humour as the appropriate way to go about it. Thus, humour is considered the ‘smooth’ way to deliver messages that might hurt the hearer. However, it seems that this kind of language use is still unexplored and has not been given its due attention despite its importance. One of the interesting forms of media that include "humour-coated" aggression is comic strips. The study is intended to answer the following questions: 1) What is the pragmatic structure of aggression in comic strips? 2) What are the types of aggression utilized in comic strips? and 3) How does aggression function in comics? The data are taken from Rudy Park, Candorville, and Pickles comic strips which are syndicated in The Washington Post. The findings of the analysis show that: 1) aggression is a process that has three pragmatic stages that mainly employ non-observance of Grice's maxims and impoliteness strategies. 2) Aggression in comic strips serves some functions such as criticism, showing power, amusing and annoying. 3) Aggression in comic strips has two main types: direct (hostile) and indirect (instrumental)
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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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Ihsan, Muhammad Gani Qodratul, and Njaju Jenny Malik Tomi Hardjatno. "HEALTH PROTOCOLS AND HEALTHY LIFESTYLE SUGGESTIONS DURING COVID-19 IN INDONESIAN MINISTRY OF HEALTH’S KOMIK SEHAT: A PRAGMATIC APPROACH." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 5, no. 2 (December 28, 2021): 382–92. http://dx.doi.org/10.30743/ll.v5i2.4514.
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The government has enforced much socialization on health protocols and healthy lifestyle implementation during Covid-19, one of them through social media by presenting comics featuring utterances of characters. Accordingly, this research explains the utterances of comic characters that represent suggestions for implementing health protocols and healthy lifestyles during Covid-19. The objective of this study is to explain the strategy of delivering comic character messages that suggest health protocols and healthy lifestyles implementation. The data used in this paper are 38 Comics strips uploaded by the Indonesian Ministry of Health in their Instagram account entitled Komik Sehat. The results showed that of the 212 illocutionary speech acts, only 40.57% of utterances conveyed messages implementation of health protocols suggestions, and 6.6% of utterances conveyed messages implementation of healthy lifestyle suggestions. Therefore, the strategy of delivering messages on recommended health protocols and healthy lifestyles through stories in Healthy Comics is not effectively carried out by the Ministry of Health of the Republic of Indonesia.
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Pratama, Muhammad Dhimas, and Warli Haryana. "PENCIPTAAN KOMIK DENGAN GAYA PIXEL ART." Desain Komunikasi Visual Manajemen Desain dan Periklanan (Demandia) 8, no. 2 (September 29, 2023): 247. http://dx.doi.org/10.25124/demandia.v8i2.4866.
Full textAbstract:
This study aims to create comics with a pixel art visual style by describing the elements and techniques used, to make pixel art style comics, especially in the form of digital comic strips, it requires knowledge of the techniques of making comics and the elements contained in pixel art itself. The method used is a descriptive qualitative approach with a creation methodology used in the making of this article, the creation method in question makes a work product the focus of research by going through three stages, namely (1) Exploration, (2) Improvisation and (3) Formation. The results showed that the technique of making comics used was to determine the story, determine the format, create characters, compose pictures and stories and determine the storyline. While the pixel art techniques or elements implemented are straight lines, dithering, jaggy style or not using anti-aliasing, and inline. Produce six panels with vertical positions measuring 260x150 pixels by paying attention to three visual elements (illustration, typography and color). This writing is expected to contribute ideas in enriching the results of studies on pixel artstyle and can popularize pixel art style as another part of art, especially as comic art.
Keywords: comic, digital, pixel art
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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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SAKAMOTO, RYUUKI, YASUYUKI SUMI, and KIYOSHI KOGURE. "HYPERLINKED COMIC STRIPS FOR SHARING PERSONAL CONTEXTS." International Journal of Information Technology & Decision Making 06, no. 03 (September 2007): 443–58. http://dx.doi.org/10.1142/s0219622007002563.
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Comic strips can be used as a style of visualization on a human–computer interface because they can represent a wide variety of affairs with contexts or time series. This paper describes two systems for sharing personal context as comic strips: ComicDiary and Comic-FOAF-Viewer. Both the systems depict personal experiences or profiles including personal relationships in their comic strips and hyperlinks among related comics based on other characters in the story. ComicDiary allegorizes individual episodes that happen during touring exhibitions by creating a comic from a user's touring records accumulated from personal guidance systems and environmental facts, e.g., social events. For example, a ComicDiary might show a user's personal diary during a Japanese academic conference. The comic describes where the conference was held, the most interesting presentations, what happened, and so on. Exhibitions are places visited by people of all generations. Comic representation of a personal diary with amiable expressions fits such places. The comic strip is automatically generated, composed of 12 frames, and shown as a diary. Users can view their diaries at information kiosks located at exhibition sites. Friend of a Friend (FOAF), which is an XML/RDF application for expressing personal information and relationships, has attracted attention from Web developers because its files can describe human-centered networks such as Social Network Service (SNS). Current FOAF visualization tools utilize graphs or tables; however, it is difficult to represent a variety of relations. Comic-FOAF-Viewer aims to represent the multifarious relations and personal information that FOAF has to offer for surfing interfaces in FOAF networks.
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Chung, Beom Sun, and Min Suk Chung. "Usefulness of the Anatomy Learning Comics and Anatomy Comic Strips to Adolescents." International Journal of Morphology 36, no. 3 (September 2018): 806–10. http://dx.doi.org/10.4067/s0717-95022018000300806.
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Faza Adilah, Siti Ulya, Aang Ridwan, and Dindin Solahudin. "Komik Sebagai Media Dakwah." Tabligh: Jurnal Komunikasi dan Penyiaran Islam 4, no. 4 (December 31, 2019): 363–81. http://dx.doi.org/10.15575/tabligh.v4i4.1056.
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Komik merupakan media kontenporer yang berkembang dengan pesat pada meda sosial masa kini. Komik strip pada akun instagram @Blackmetalistiqomah, memiliki tujuan untuk menyiarkan dakwah Islam. Tujuan Penelitian ini adalah untuk menjelaskan lebih dalam mengenai komik sebagai media dakwah. Mendalami aspek meteri dakwah dan metode dakwah pada komik strip di akun instagram @Blackmetalistiqomah. Penelitian ini menggunakan analisis deskriptif, semiotika Charles S Pierche. Pada komik @Blackmetalistiqomah memiliki hubungan isyarat, objek dan makna. Tanda berkaitan dengan objek yang meyerupainya dan menghasilkan sebab akibat. Setiap penggambaran dalam komik memiliki unsur ikun, ideks dan simbol yang memiliki unsur dari dakwah. Hasil penelitian menunjukan bahwa Materi dakwah telah digambar oleh komikus, memiliki pola yang berlandaskan Al-Quran dan hadis. Setelah materi sudah terbentuk maka komikus yaitu Achmad Deptian merepresentasikan melalui gambar-gambar yang lebih menarik perhatian anak-anak muda, menggunaka bahasa yang sederhana, materi yang ringan. Metode yang digunakan pada Black Metal Istiqomah dalam menyampaikan pesan islam menggunakan tiga metode yaitu bil hikmah, Al-Mauidzha Alh-Hasanah, Bit-Tadwin.
ABSTRACT
Comics is a content media that is growing rapidly at present. Strip comics on the @Blackmetalistiqomah instagram account have the purpose of broadcasting Islamic propaganda. The purpose of this research is to explain more about comics as a medium of da'wah. Deepening aspects of da'wah method and method of da'wah on comic strips on @Blackmetalistiqomah instagram account. This study uses descriptive analysis, Charles S Pierche's semiotics. In the comic @Blackmetalistiqomah has a signal, object and meaning relationship. The sign is related to the object that resembles it and produces cause and effect. Each depiction in comics has elements of icon, ideks and symbols that have elements of da'wah. The results of the study show that the da'wah material has been drawn by comic artists, has a pattern based on the Quran and hadith. After the material has been formed, the comic artist, Achmad Deptian, represents through drawings that attract the attention of young people, using simple language, light material. The method used in Black Metal Istiqomah in conveying the message of Islam uses three methods, namely bil hikmah, Al-Mauidzha Alh-Hasanah, and Bit-Tadwin.
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Faris, Maulana. "Comic for Developing Big Data Literacy." Ultimacomm: Jurnal Ilmu Komunikasi 14, no. 1 (June 30, 2022): 35–51. http://dx.doi.org/10.31937/ultimacomm.v14i1.2470.
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Big data is one of the sources of information needed in responding to the challenges of very fast information needs in the era of the COVID-19 pandemic. However, communication tools are needed to build big data literacy in ordinary people in order to build public trust in big data. Comics are one of the communication tools that can embrace the wider community. Information about big data is made in the form of comic strips posted on social media, namely BPS official Facebook and Instagram. This research specifically discusses how science comics become a communication tool to build big data literacy in society. We found that community engagement was quite high when big data literacy content was made in the form of comics. Previous research was mostly limited to the classroom audience in schools/campus. This research is able to reach a wider and diverse community because it uses social media to help disseminate the content of big data comics. In the first edition, big data comics on Facebook managed to reach 17,495 accounts and 44,497 accounts on Instagram. The use of big data literacy comics posted through social media has sparked a lot of active discussion from the public. Research shows that increasing big data literacy through comics is a new and noteworthy approach that has been widely accepted by society.
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Pursall, Dona. "Learning to be a lord, a friend, ‘a human’: Lord Snooty as a comic strip representation of John Macmurray’s philosophies of social and emotional learning." Studies in Comics 11, no. 1 (July 1, 2020): 147–66. http://dx.doi.org/10.1386/jem_00019_1.
Full textAbstract:
Friendship was a central motif of ‘Lord Snooty and His Pals’, a comic strip created by Dudley Dexter Watkins for the launch of DC Thomson’s new children’s weekly, Beano, in July 1938. The Lord and his working-class friends were motivated by their relationship to overcome boundaries in order to play and learn together. This close analysis of strips from the first year of the comic explores the ways in which friendship is depicted, illuminating the extent to which social learning is pivotal to the child reader’s pleasure. This examination is framed within educational thinking from the time. It specifically draws from Scottish philosopher John Macmurray’s notion of ‘valuational knowledge’, which contends that interrelational social compassion, developed through friendships, promotes our capacity for wisdom and rationalization. As one of the many humanist progressives of education at the time, he argued that it is through our companionships that we learn what we need to know in order to live socially. Through appreciation of the ways in which learning and compassion are portrayed in these comics, this article wishes to align these strips with both educational concerns from the 1930s, such as Macmurray’s, and further to draw attention to the relevance of this discussion in the light of renewed interest raised, for example, by Richard Gerver’s Education: A Manifesto for Change (2019) and as enacted by policies such as Scotland’s Curriculum for Excellence (2010). Through a study of comics for children, this article compares pedagogic ideas from the 1930s with contemporary discourse related to childhood, learning and compassion.
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Pursall, Dona. "Learning to be a lord, a friend, ‘a human’: Lord Snooty as a comic strip representation of John Macmurray’s philosophies of social and emotional learning." Studies in Comics 11, no. 1 (July 1, 2020): 147–66. http://dx.doi.org/10.1386/stic_00019_1.
Full textAbstract:
Friendship was a central motif of ‘Lord Snooty and His Pals’, a comic strip created by Dudley Dexter Watkins for the launch of DC Thomson’s new children’s weekly, Beano, in July 1938. The Lord and his working-class friends were motivated by their relationship to overcome boundaries in order to play and learn together. This close analysis of strips from the first year of the comic explores the ways in which friendship is depicted, illuminating the extent to which social learning is pivotal to the child reader’s pleasure. This examination is framed within educational thinking from the time. It specifically draws from Scottish philosopher John Macmurray’s notion of ‘valuational knowledge’, which contends that interrelational social compassion, developed through friendships, promotes our capacity for wisdom and rationalization. As one of the many humanist progressives of education at the time, he argued that it is through our companionships that we learn what we need to know in order to live socially. Through appreciation of the ways in which learning and compassion are portrayed in these comics, this article wishes to align these strips with both educational concerns from the 1930s, such as Macmurray’s, and further to draw attention to the relevance of this discussion in the light of renewed interest raised, for example, by Richard Gerver’s Education: A Manifesto for Change (2019) and as enacted by policies such as Scotland’s Curriculum for Excellence (2010). Through a study of comics for children, this article compares pedagogic ideas from the 1930s with contemporary discourse related to childhood, learning and compassion.
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Jones, Helen. "Caticorns and Derp Warz: Exploring children’s literacy worlds through the production of comics." Studies in Comics 11, no. 1 (July 1, 2020): 55–85. http://dx.doi.org/10.1386/jem_00015_1.
Full textAbstract:
This article examines how an after-school comics club made a space for children’s literacy practices. 21 8- to 10-year-olds took part in the ten-week project. During that time the children made their own comic strips, and worked in groups to create their own self-initiated publications. These comics were sold at two comics fairs, which were collaboratively planned and organized. In this article the multimodal medium of comics will be explored. The concept of children’s literacy worlds will be discussed in relation to identity. Text World Theory will be examined as a framework for analysing children’s literacy worlds, with a particular focus on the bidirectional relationship between the discourse world and the text world. Action Research as a methodology is considered. Text World Theory is then used to interrogate the literacy worlds of two groups of children, examining the interplay of the discourse world and the text world of the two comics created. The article argues that the space for children to create their own, self-initiated narratives plays an important role in children’s meaning making and exploration of identity, through a bidirectional relationship between their discourse and text worlds. Finally, the article offers suggestions for future practice.
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Jones, Helen. "Caticorns and Derp Warz: Exploring children’s literacy worlds through the production of comics." Studies in Comics 11, no. 1 (July 1, 2020): 55–85. http://dx.doi.org/10.1386/stic_00015_1.
Full textAbstract:
This article examines how an after-school comics club made a space for children’s literacy practices. 21 8- to 10-year-olds took part in the ten-week project. During that time the children made their own comic strips, and worked in groups to create their own self-initiated publications. These comics were sold at two comics fairs, which were collaboratively planned and organized. In this article the multimodal medium of comics will be explored. The concept of children’s literacy worlds will be discussed in relation to identity. Text World Theory will be examined as a framework for analysing children’s literacy worlds, with a particular focus on the bidirectional relationship between the discourse world and the text world. Action Research as a methodology is considered. Text World Theory is then used to interrogate the literacy worlds of two groups of children, examining the interplay of the discourse world and the text world of the two comics created. The article argues that the space for children to create their own, self-initiated narratives plays an important role in children’s meaning making and exploration of identity, through a bidirectional relationship between their discourse and text worlds. Finally, the article offers suggestions for future practice.
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Janattaka, Nugrananda, Rahmat Setyo Jadmiko, Nourma Oktaviarini, and Eka Yuliana Sari. "Socialization of the Making of Learning Comic Media Using the Make Beliefs Comix Website at SDN Bukur." Dedikasi Nusantara: Jurnal Pengabdian Masyarakat Pendidikan Dasar 1, no. 2 (December 24, 2021): 47–53. http://dx.doi.org/10.29407/dedikasi.v1i2.16821.
Full textAbstract:
This sosialization aims to optimize limited face-to-face learning by using comic learning media through the Make Beliefs Comix website’s. The core activity is in the form of socialization activities about making learning media that attract students' attention by displaying comics according to the learning theme. This activity was carried out twice in August, prinecisely in the first week. At the beginning meeting the teacher was introduced to the Make Beliefs Comix media and tutorials for its use, while in the last meeting , the teacher presented the comics that had been made. The result of socialization can make teacher to produce commix according to themes how this teach in classroom, and make interactive story in commix strips in according situation in class and learning material.
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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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Pecina, Jozef. "The Hillbilly Stereotype in Horror Comics." Ars Aeterna 15, no. 2 (December 1, 2023): 22–31. http://dx.doi.org/10.2478/aa-2023-0008.
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Abstract From William Byrd’s 18th-century “lubbers” of the North Carolina backcountry through the deviant gun-toting hicks with missing teeth from John Boorman’s survival thriller Deliverance (1972) to Darlene Snell from Netflix’s recent crime drama series Ozark (2016), the stereotype of the “hillbilly” has been one of the most pervasive images in American popular culture. This image has been usually associated with mountaineers inhabiting either the Appalachians or the Ozarks, and it has portrayed them as dirty, lazy, ignorant, often mean, violent and dangerous. Since the beginning of the 20th century, it has been popularized by film, music, and, starting with the Depression Era, also by comic strips such as Al Capp’s Li’l Abner, which shaped all subsequent depictions of these mountain folk. This article considers the depiction of hillbillies in comics with a focus on horror comics published by EC in the early 1950s.
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Muhartoyo, Muhartoyo, and Sistofa Sistofa. "Conversational Implicature of Peanuts Comic Strip Based on Grice’s Maxim Theory." Humaniora 4, no. 1 (April 30, 2013): 102. http://dx.doi.org/10.21512/humaniora.v4i1.3422.
Full textAbstract:
This article discusses about conversational implicature that occurs in Peanuts comic strips. The objectives of this study are to find out the implied meaning in the conversation between Charlie Brown with Lucy van Pelt and Lucy van Pelt with Linus van Pelt to evaluate the existence of maxim flouting and maxim violating in those conversations in relation to the four maxims such as quantity, quality, relation, and manner. Likewise, this study attempts to find out the reason for using conversational implicature in a comic strip. The writers uses a qualitative method with library research concerning to Grice’s maxim theory to analyze the conversational implicature. Based on the analysis, it can be concluded that all the comics that comprise 14 comics generate conversational implicature since all the characters breach rules of maxim. The result of this analysis shows that flouting maxim of manner has the highest occurrence of conversational implicature and the least occurrences belong to flouting maxim of relation and violating maxim of quantity. Moreover, the writers concludes that to make a successful communication ideally the speaker and the hearer to cooperate in the conversation by saying explicitly so the hearer can grasp the meaning as the goal of communication is to deliver a message to the hearer.
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Soper, Kerry. "Performing ‘Jiggs’: Irish Caricature and Comedic Ambivalence toward Assimilation and the American Dream in George McManus's Bringing Up Father." Journal of the Gilded Age and Progressive Era 4, no. 2 (April 2005): 173–213. http://dx.doi.org/10.1017/s1537781400002565.
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Many fans and scholars of newspaper comics have observed that an excellent way to chart a social history of American culture in the twentieth century is to look at the mainstream comic strip page. This may be especially true of the first half of the twentieth century when comic strips were avidly followed by readers from almost all age, class, and ethnic demographics. Because of this breadth of popularity, the comics page was a fairly accurate reflector (and occasionally, shaper) of fashions, fads, humor, politics, and racial prejudices. Early cartoonists' ability to place their fingers on the American pulse can largely be attributed to the industry's eagerness to please readers: as a lowbrow entertainment that targeted broad audiences through street corner sales, and later, national syndication, it tried to anticipate the characters, comedy, and ideological content that would attract and retain devoted readers. A few iconoclastic cartoonists such as Al Capp (Li'l Abner) and George Herriman (Krazy Kat) challenged readers with topical satire or appealed to niche audiences with quirky humor and aesthetics; but even the most innovative work in the medium relied on a sort of call and response between core readers, syndicates, editors, and artists—a back and forth that insured that the cartoonist's work resonated with, or spoke for, its fans.
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Zakaria, Muhammad Radhi, Nazli Ismail*, Hamdani Muhammad Syam, Marlina Marzuki, and Manovri Yeni. "Comic Strip Design as an Alternative Learning Media in Disaster Themes for Elementary Students." Jurnal IPA & Pembelajaran IPA 7, no. 2 (June 14, 2023): 118–32. http://dx.doi.org/10.24815/jipi.v7i2.26110.
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Most children are interested in comics so that the media has the potential to be used in the learning and teaching process at school. We have developed and implemented comic strips for learning related to disasters in the fifth-grade science subject at SD Negeri Buengcala, Aceh Besar District. The designed materials were validated by experts and the attractiveness of the comic media was measured based on class observation during teaching and learning proceses related to students’ involvement and responses through the questionnaires. Quantitaively the questionnaries were scored (1 to 4) from too bad to very interested. The experts concluded that the media are valid with unrevised criteria including the attractiveness of media and language used. Based on the questionnaires, the students also agreed that the class was very interested. Therefore, the comic strip media can be developed potentially for disaster education at elementary schools
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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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Dumitrașcu, Gențiana. "Comicopolis." SAJ - Serbian Architectural Journal 8, no. 2 (2016): 239–58. http://dx.doi.org/10.5937/saj1602239d.
Full textAbstract:
The architectural presentation is composed of one rendering, or a series of rendering, a perfect moment, representing the idealization of the not yet realized project. What would happen if we could find out how the project was designed, how each layer was added until the final form was reached and the people represented could help telling the architectural story? The flexible hybrid graphic medium of comic strips, which combines in their structure, the narrative element, space and movement, has always had a strong connection with the notion of architecture (symbolic protagonist or even center of the comics' story). The doctoral thesis, Comicopolis. An alternative manner of presenting, discussing and designing architecture, analyzes through theoretical study, interviews and experiments, the way the characteristic elements of comics can improve the traditional architectural representation, the way we interact with architecture and the design process of space.