Tesi: "Graphic Novels as Topic"

1

Phelps, Valarie L. "Pedagogy of Graphic Novels". TopSCHOLAR®, 2011. http://digitalcommons.wku.edu/theses/1065.

Abstract (sommario):

Graphic texts, or graphic novels, have spent many years on shelves with comic books about superheroes and adventurers. They officially gained notoriety in 1992 with Art Spiegelman’s Maus, and at this time, critics and scholars began to take notice. However, graphic novels have not been fully adapted by academia. Graphic novels have the ability to offer new levels of instruction and learning in upper-level classrooms.The following is a study in the multitude of uses of graphic text in academia. Chapter 1 looks at the history of graphic text to understand the present and future of graphic novels. Chapter 2 focuses on literacy issues to develop a basis for the use of graphic novels in the classroom. Chapter 3 offers a method of using graphic novels to broaden a students’ understanding of plays. Chapter 4 moves on to a study of graphic novels as works of literature. Through this look of historical data and an analysis and discussion of the modern form of graphic novels, we will come to the conclusion that graphic novels can be useful assets in the classroom when they are taken from the shelf of comic books and used to their full potential.

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2

Prévost-Levac, Caroline. "Defining graphic novels : the contentious case of wordless novels". Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/29545.

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Abstract (sommario):

Malgré la longue et riche histoire des bandes dessinées, leur définition continue de stimuler le débat parmi les experts. Ces derniers ne parviennent toujours pas à s’entendre sur la composition d’une bande dessinée, certains choisissant de mettre l’emphase sur l’usage de phylactères ou de lignes de mouvement, tandis que d’autres insistent plutôt sur la présence d’éléments à la fois graphiques et narratifs. Une définition impeccable est peut-être improbable, mais un problème mérite toutefois d’être adressé: il s’agit bien sûr de la constante exclusion des romans graphiques sans texte. Cette catégorie d’œuvres est parfois mentionnée, mais se révèle plus souvent ignorée par les experts. En effet les définitions courantes persistent à représenter les bandes dessinées comme un indéniable mélange de texte et d’images. Ce mémoire cherche donc à démontrer la nécessité de définitions plus inclusives, afin d’incorporer les romans graphiques sans texte. D’abord, en explorant l’histoire du médium et le rôle du texte dans la création et la lecture des romans graphiques, nous réfuterons les idées préconçues qui ont apporté à l’élément textuel de la bande dessinée une allure de nécessité. Puis, à travers l’analyse des romans graphiques sans texte The Arrival de Shaun Tan et The System de Peter Kuper, nous rendrons évidente la nature facultative du texte dans le processus de création d’une histoire de bande dessinée. Finalement, avec le support d’exemples provenant des romans graphiques The System de Peter Kuper et Asterios Polyp de David Mazzucchelli, nous analyserons le rôle de l’image dans le développement de la complexité narrative d’une histoire de bande dessinée, afin de prouver qu’une image n’est pas intrinsèquement plus simpliste qu’un extrait de texte. Les romans graphiques sans texte méritent tout autant l’attention académique reçue par les bandes dessinées avec texte, et devraient ainsi être reconnus dans les définitions courantes du médium.
In spite of comics’ long and rich history, their definition remains today a significant source of contention in the field. Scholars cannot seem to agree on what constitutes comics, with some of them stressing the importance of conventions such as speech balloons or motion lines, and others focusingon the pictorial and narrative elements of the form. A perfect definition may be impossible, but one issue that needs tobe addressed is the current exclusion of wordless graphic novels. While occasionally acknowledged, these works remain mainly ignored, as most working definitions present comics as a combination of text and image. This thesis intends to show that there is a need for more inclusive definitions of the medium, in order to incorporate wordless graphic novels. By first exploring the wordless ancestry of the medium and the role of text in creating and reading graphic novels, this thesis refutes the foundationally baseless assumptions about the form that have made text so widely accepted as a defining element. Then, through an analysis of Shaun Tan’s The Arrival and Peter Kuper’s The System, both of which are wordless graphic novels, this thesis demonstrates the superfluous nature of text when it comes to narrative in this medium. Finally, through readings of Peter Kuper’s The System and David Mazzucchelli’s Asterios Polyp, the thesis considers the contribution of the image to the complexity of graphic novels with and without text, in order to prove that images are not more simplistic in nature than text. The case is thereby made that wordless novels are as worthy of academic attention as graphic novels with text, and deserve acknowledgement in definitions of the medium.

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3

Johannessen, Lindsey. "Incorporating graphic novels into social studies based instruction an effective means of determining quality graphic novels". Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/442.

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Abstract (sommario):

It is becoming increasing important that teachers educate students about social studies in such a way so that students are interested and motivated by what they read. So often the curriculum is bombarded with physically heavy, incomprehensible, and traditional textbooks. Based upon the need for extensions to the social studies textbooks, my goal to establish a guideline for selecting quality graphic novels fitted for elementary social studies instruction. Therefore, my study will attempt to answer the question: What is an effective means of determining quality graphic novels? Following my adaptation and creation of rubrics established for determining the needs and qualities of graphic novels, I was able to establish and analyze several social studies content related graphic novels appropriate for the elementary social studies curriculum. This investigation into social studies graphic novels provided 18 graphic novels for possible use in the elementary social studies curriculum, 5 of which were deemed quality via the established rubrics. Furthermore, the investigation proved that the books deemed quality provided more than what was established as necessary within the rubrics. The additional information found within those texts was referred to as a postlude. One strong conclusion from this study is the large void of graphic novels that teachers might link with the social studies curriculum so as to enhance elementary social studies instruction.
B.S.
Bachelors
Education
Elementary Education

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4

Adams, Jeff. "Documentary graphic novels and social realism". Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2003. http://d-nb.info/990541126/04.

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5

Figueiredo, Camila Augusta Pires de. "Hollywood goes graphiC: the intermedial transposition of graphic novels to films". Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-84ZQTQ.

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Abstract (sommario):

Comic books have always been consigned the children's shelves at libraries and bookstores. Recently, however, a massive publishing of comic books designed for the adult audience called graphic novels has caught the attention of academics, critics and the film industry. Despite the existence of a vast theoretical bibliography of screen adaptations based on novels, those theories can not be satisfactorily applied to the analysis of films based on comics and graphic novels, since they do not conceive, among other aspects, the translation of the drawing image in comics to the photography of film. In this sense, this thesis focuses on an area that has remained quite untheorized: the specific case of the translation of comics and particularly of graphic novels into films. In light of this, I approach Alan Moore's Watchmen and Frank Miller's Sin City and their respective film versions. In order to support this debate, I will draw upon Irina Rajewsky's categories of intermedial relations as well as Pascal Lefvre's considerations about film adaptations of comics.
Histórias em quadrinhos sempre estiveram relegadas às estantes infanto-juvenis das livrarias e bibliotecas. Recentemente, no entanto, um grande número de publicações de quadrinhos destinadas a um público adulto os romances gráficos tem atraído a atenção de acadêmicos, críticos e da indústria cinematográfica. Apesar da vasta bibliografia teórica existente sobre adaptações de romances, tais teorias não conseguem, satisfatoriamente, explicar as versões fílmicas de quadrinhos e romances gráficos, uma vez que não concebem, entre outros aspectos, a tradução da imagem desenhada dos quadrinhos para a fotografia do filme. Neste sentido, este trabalho pretende analisar uma área que permanece relativamente sem teorização o caso específico da tradução de quadrinhos e em especial dos romances gráficos para o cinema. À luz dessas questões, analisaremos os romances gráficos Watchmen, de Alan Moore e Sin City, da autoria de Frank Miller e suas respectivas versões fílmicas. Neste debate, utilizaremos as relações intermidiáticas de Irina Rajewsky bem como as considerações de Pascal Lefèvre sobre adaptações fílmicas de quadrinhos.

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6

Hernandez, Fisher Carlos. "The design process of The Legend of Wild Man Fischer /". Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2353.

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7

Dallacqua, Ashley Kaye. "Engaged in Graphic Novels with Fifth Graders". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1290088200.

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8

Alishusky, Haley. "Illustrated Myth: Exploring Culture through Graphic Novels". Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1526639815771596.

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9

Snowball, Clare. "Graphic novels: enticing teenagers into the library". Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/791.

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Abstract (sommario):

This thesis investigates the inclusion of graphic novels in library collections and whether the format encourages teenagers to use libraries and read in their free time. Graphic novels are bound paperback or hardcover works in comic-book form and cover the full range of fiction genres, manga (Japanese comics), and also nonfiction. Teenagers are believed to read less in their free time than their younger counterparts. The importance of recreational reading necessitates methods to encourage teenagers to enjoy reading and undertake the pastime. Graphic novels have been discussed as a popular format among teenagers. As with reading, library use among teenagers declines as they age from childhood. The combination of graphic novel collections in school and public libraries may be a solution to both these dilemmas.Teenagers’ views were explored through focus groups to determine their attitudes toward reading, libraries and their use of libraries; their opinions on reading for school, including reading for English classes and gathering information for school assignments; and their liking for different reading materials, including graphic novels. Opinions on school reading can impact feelings on reading in general and thus influence views and amount of recreational reading.A survey of public libraries determined the incidence of graphic novel collections throughout Australia and how collections are managed, with the intention of comparing libraries from different states and territories and metropolitan or rural areas. Interviews with selected librarians who collected graphic novels provided insight into their attitudes to the place of graphic novels in public and high school libraries and a more detailed picture of how the format is managed. This included use of graphic novel by the libraries’ teenage users or students and problems encountered, such as complaints about specific titles.Graphic novel collections are widespread among surveyed Australian libraries, although a metropolitan location led to a greater likelihood of collection of graphic novels, and librarians were passionate about the format and its popularity among teenagers. The teenagers investigated were not as universally positive about graphic novels or libraries. The necessity of inclusion of all formats of reading matter in library collections will enable teenagers to discover for themselves what provides enjoyable reading experiences, so these become the norm, and lead to a greater enthusiasm for reading and more undertaken in their free time.

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10

Tonegato, Nicholas G. "Are Graphic Novels Just for Boys? A Study on the Interests of 5th Grade Students in Reading Graphic Novels". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1335289180.

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11

Saleh, Mohamed Zainab. "Story, time, and space : structure and three graphic novels /". South Hadley, Mass. : [s.n.], 2008. http://ada.mtholyoke.edu/setr/websrc/pdfs/mhc/2008/267.pdf.

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12

Dourado, Eliane Rodrigues. "Adaptações contemporâneas : um estudo sobre os clássicos literários em graphic novels". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17027.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.
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A presente pesquisa debruçou-se sobre aspectos significativos da construção de Graphic Novels adaptadas de clássicos literários, que se colocam como um fenômeno neste início de século XXI. As análises tiveram a intenção de comprovar a legitimidade dessas publicações como obras de arte autênticas, que se utilizam da poética da imagem a fim de traduzir o enredo do original que contemplam. Foram analisados onze títulos de temáticas diversas. Entre impropérios da vida cotidiana, guerra, memória, loucura, diferenças sociais e religiosas e construção da identidade nacional, os enredos figuram personagens próximas à realidade, que permitem ao leitor uma espécie de identificação direta. Essas questões da experiência humana são responsáveis pelo sucesso dessa forma artística. Com recursos peculiares, as Graphic Novels são capazes de expor em seu enredo várias técnicas que permitem ao leitor observar o mundo a partir de uma criticidade proporcionada por essas narrativas. Isso traduz o refinamento resguardado pela adaptação capaz de intensificar o crescimento do público leitor dessas publicações, responsáveis por movimentação considerável no mercado editorial do século XXI. ____________________________________________________________________________________ ABSTRACT
The current research leaned over significant aspects in the making of adapted Graphic Novels from literary Classics, which configure itself as phenomenon in this early XXI century. The analyses intended to confirm the legitimacy of these publications as authentic state of the art works that use image as poetry in a way that translate the original story contemplated. Eleven titles were analyzed from different themes. Among them, profanity of daily life, war, memory, madness, social and religious differences and the making of national identity, the stories portray characters close to reality, allowing the reader to relate directly with the work. These questions about human experiences are responsible for the success of this artistic field of work. With peculiars resources, these graphic novels are capable of exposing in its stories several techniques that allow the reader to observe the world beyond an articulated narrative. This translates the boasted refinement by the adaptation capable of intensify the increase in audience of these works now responsible for considerable gains in the XXI century editorial market.

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13

Dad, Mohammadi Mersedeh. "Reading more than Marjane Satrapi's Persepolis". Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620329.

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Abstract (sommario):

This thesis reclaims the analysis of Marjane Satrapi’s Persepolis. It is mindful of analysis of the stereotypical, and partial tendencies of orientalist representations of Satrapi’s work by both Iranian officials and “Western” media and readership. Themes are detected from this analysis and pertain to the message and intention of the author to create her work. The intentio lectoris1 (i.e. what audiences believe or led to believe) proposed that orientalist paradigms present the meaning of the work or Satrapi’s agenda, i.e. the intentio auctoris. Persepolis has been enthusiastically received all around the world, except in Iran. It has been described and interpreted as the critique of a courageous girl against the foundations of the Iranian Islamic Republic. Notwithstanding the success, the graphic novel and the animated movie derived from it in 2007 have been banned by the Iranian government, and subsequently Marjane Satrapi has been refused entry into the country. The polarised reception of Satrapi’s work in Iran and worldwide, is contextualised within (neo) orientalist critique. I detect in these receptions both potentials and problems. Reclaiming aspects of Persepolis’ analysis that have been excluded from and therefore devalued by external agencies is affirmed as a necessary and important contribution. However, I note that the overwhelming reluctance amongst “Western” media and news reporters to speak of Satrapi’s dual and neutral position, or to grasp at specificity her intentio auctoris, prevents us from a thorough discussion of their analysis. Satrapi’s work is ultimately left in the hands of clichés. I attempt to analyse Persepolis in such a way that it not only affirms rationality, fluidity, and duality, but also offers new and beneficial ways to argue Satrapi’s position and intention. My thesis is thus partly rooted in a feminist standpoint perspective to give voice to Satrapi’s agenda. What is more, it converses with similar restrictive regulations and contextualises them within an analysis of selected post-revolutionary autobiographical literature. My ultimate goal is to analyse the Iranian position towards Persepolis by making sense of the theological and political thought of Ayatollah Ruhollah Khomeini, the founder of the Islamic Revolution, and the concept of velayat-e faqih (guardianship of the jurists) and the national and international responses to it in a way in which to take and transform the representation of Persepolis and Iranian culture consequently. This is done by explaining the current Iranian situation and Iranian responses to internal and external threats. Theological analyses and the explication of some of the historical complexities affecting modern Iran (especially after the revolution) would be beneficial along the way.

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14

Romanelli, Marie Helena. "Exploring the culture and cognition of outsider literacy practices in adult readers of graphic novels". Open access to IUP's electronic theses and dissertations, 2009. http://hdl.handle.net/2069/202.

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15

David, Danya Sara. "Journeys of faith and survivial : an examination of three Jewish graphic novels". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2453.

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Abstract (sommario):

This thesis explores journeys of faith and survival in three Jewish graphic novels: A Contract with God by Will Eisner, The Rabbi's Cat by Joann Sfar, and We Are On Our Own by Miriam Katin. In each of these texts, the protagonists struggle with their faith and relationship with God, as they negotiate challenges as Jews living in largely unreceptive spaces. Along their journeys, the protagonists confront God in their own ways to try to make sense of the role that faith and Judaism plays in their lives. Drawing on basic principles of the relationship between Jew and God, as well as terms and concepts concerning the aesthetic construction of comics, this thesis probes into the nature of these journeys and the impact they have on the protagonists' physical and spiritual survival.

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16

Blair, S. "The language of narrative drawing : a close reading of contemporary graphic novels". Thesis, University of the West of England, Bristol, 2013. http://eprints.uwe.ac.uk/22645/.

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Abstract (sommario):

The study offers an alternative analytical framework for thinking about the contemporary graphic novel as a dynamic area of visual art practice. Graphic narratives are placed within the broad, open-ended territory of investigative drawing, rather than restricted to a special category of literature, as is more usually the case. The analysis considers how narrative ideas and energies are carried across specific examples of work graphically. Using analogies taken from recent academic debate around translation, aspects of Performance Studies, and, finally, common categories borrowed from linguistic grammar, the discussion identifies subtle varieties of creative processing within a range of drawn stories. The study is practice-based in that the questions that it investigates were first provoked by the activity of drawing, and it sustains a dominant interest in practice throughout, pursuing aspects of graphic processing as its primary focus. Chapter 1 applies recent ideas from Translation Studies to graphic narrative, arguing for a more expansive understanding of how process brings about creative evolutions and refines directing ideas. Chapter 2 considers the body as an area of core content for narrative drawing. A consideration of elements of Performance Studies stimulates a reconfiguration of the role of the figure in graphic stories, and selected artists are revisited for the physical qualities of their narrative strategies. Chapter 3 develops the grammatical concept of tense to provide a central analogy for analysing graphic language. The chapter adapts the idea of the graphic ‘confection’ to the territory of drawing to offer a fresh system of analysis and a potential new tool for teaching. The conclusion identifies the study’s contribution to knowledge as twofold: first, in presenting a range of new interpretations of its field; and, second, in its employment of specifically adapted research methods which connect with a wider call for a return to ‘close reading’ as a productively sensitive research tool in its own right.

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17

Grice, Karly Marie. "A (Graphic) Novel Idea for Social Justice: Comics, Critical Theory, and A Contextual Graphic Narratology". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503329869170118.

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18

Takakjian, Cara Elizabeth. "The Italian Graphic Novel: Reading Ourselves, Reading History". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11002.

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Abstract (sommario):

This study seeks to unravel the intricate connection between a selection of graphic novels, the moments in which they were created, and the process of weaving an Italian cultural history. It analyzes graphic novels and comics from three periods in Italian contemporary history – 1968, 1977 and 2001 – and asks how the hybrid image-text language of graphic novels might provide a unique insight into the relationship between the individual and history in contemporary Italy. More specifically, it looks at how the comic medium not only reflects or represents historical events, but effectively re-writes and re-traces them, allowing us to re-think History. Ultimately, this work reveals how the graphic novel medium has been used as an instrument in the process of weaving an Italian cultural history since 1968. Comics not only reflect the time in which they are created, either explicitly or implicitly, but also work as cultural agents in the formation and re-telling of history. Whether they attempt to speak to and for a generation seeking change and a new reality of freedom, are a means of aggressive socio- political criticism in a moment of apathy and disillusion, or a space to reflect on and work through personal and historical trauma, graphic novels are shaped by, and help to shape, our vision of ourselves and our society.
Romance Languages and Literatures

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19

Kwong, Wai-chun, e 鄺慧珍. "Motivating secondary school readers using graphic novel". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50178507.

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Abstract (sommario):

English language enjoys a high status in Hong Kong. Many parents enroll their children to language classes at a very young age aiming to get them into well-regarded schools for a better prospect. One way that can help learners improve English proficiency is through reading. However, when local students are streamed into different secondary schools, the motivation to read is lowered. This thesis aims at highlighting the different learning contexts of our students that contribute to reading. A new genre, graphic novel, is used to investigate the effectiveness to motivate secondary school students to read. Factors are also identified which may facilitate the revival of the interest of students of different backgrounds and abilities in reading. The study consists of 8 Form 3 (grade 9) students and 2 secondary English teachers. 5 students are studying in a secondary school with English as medium of instruction (EMI) and the other 3 students are studying in a secondary school with Chinese as medium of instruction (CMI). The 2 teachers are working in these two secondary schools respectively. This research was conducted using an action research approach. Questionnaires, interviews and students’ journals were used to achieve the aim of the study. The results reveal that graphic novel can positively motivate secondary school students to read. Teachers can also make use of the features of the genre to make the lessons more interesting. However, more research needs to be done about the introduction of the genre in classrooms and the value of the genre in improving the language proficiency.
published_or_final_version
Education
Master
Master of Education

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20

Greenfield, David. "Beyond Super Heroes and Talking Animals| Social Justice in Graphic Novels in Education". Thesis, Pepperdine University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10636592.

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Abstract (sommario):

The primary goal of this study was to investigate, document, and understand the reasons that educators who use graphic novels in their classrooms choose to use them, rather than traditional text. Secondary goals were to identify the classes they teach, and to identify commonalities and shared best practices. Interviews were scheduled, to provide the with data about learning objectives, students? reactions, the books they use, types of assignments, the criteria that they use to define the critical elements for success in their classes, as well as the instructors? own relationships with graphic novels. The phenomenological methodology was determined to be the most appropriate method to understand the teacher?s experiences, and allowed the interview subjects to share and expound on their experiences, thoughts, feelings, images, and memories that described a baseline for the practice of using graphic novels in formal learning environment. The findings of the study were interesting, but not completely conclusive. The primary reason for using comics and graphic novels is teach and promote visual literacy, an important, and a critical skill in contemporary society. Another commonality is high level of student engagement and in the material. Although there are similarities among the other findings, including the encouragement of a love of reading, they actually illustrate the lack of standards and best practices and are based upon the preferences and practices of each individual teacher. The lack of standards also is seen in the teachers approach to using the genre to teach social justice, which ranges from a direct approach to addressing the issue through appropriate titles and assignments, to a more subtle and nuanced one, where individual panels are used rather than a complete book.

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21

Hardy-Vallée, Michel. "Where do the pictures fit in the overall picture? : graphic novels as literature". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=105367.

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Abstract (sommario):

Numerous artists and scholars advocate a literary consideration of graphie novels. However, their arguments seldom present a clear analysis of what makes graphie novels literary, let alone a clear definition ofliterature. This thesis seeks to fill in these explanatory gaps by arguing for the literary consideration of graphie novels, understood as a genre within comics, on the basis of an institutional theory of literature. As this theory posits a shared practice of production and appreciation of artistic value, the value of a literary work is not exclusively tied to the linguistic medium. On the contrary, pictures can significantly contribute to the particular value that literature affords. Nevertheless, the particular use of pictures in graphie novels exemplifies artistic conventions that are conceptually distinct from those of literature. A literary analysis can therefore explain partially, but not exhaustively, the artistic value of graphie novels.
De nombreux artistes et acteurs du milieu académique défendent une considération littéraire du roman graphique. Cependant, leurs arguments offrent rarement une analyse précise de ce qui rend le roman graphique littéraire, encore moins une définition claire de la littérature. Le présent mémoire vise à combler ces lacunes en justifiant la considération littéraire du roman graphique, défini comme un genre de la bande dessinée, sur la base d’une théorie institutionnelle de la littérature. Comme cette dernière postule une pratique partagée entre artistes et audiences de production et d’appréciation d’une valeur artistique, la valeur de l’ oeuvre littéraire n’est pas exclusivement déterminée par son texte. Néanmoins, l’usage particulier des images dans un roman graphique démontre la présence de conventions artistiques qui sont conceptuellement distinctes de celles qui gouvernent la littérature. Une analyse littéraire du roman graphique peut donc expliquer partiellement, mais non pas totalement, sa valeur artistique.

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22

Takahashi, Thiago Seiji. "A potencialidade dos quadrinhos na educação corporativa: gibis impressos, digitais e Graphic Novels". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-14012016-100117/.

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Abstract (sommario):

As histórias em quadrinhos foram definidas como arte sequencial e costumam ser popularmente associadas como um veículo de comunicação voltadas para o entretenimento. No entanto existem histórias em quadrinhos que são destinadas ao uso na educação, na transmissão de informações e na construção de conhecimentos específicos para o aperfeiçoamento profissional e humano. Este projeto teve como objetivo analisar a potencialidade dos quadrinhos na educação corporativa no Brasil, com recorte em São Paulo. Para atingir esse objetivo, o trabalho abordou algumas definições básicas sobre histórias em quadrinhos, suas características e alguns eventos importantes durante a sua evolução histórica. Realizou-se também um levantamento das produções e publicações de quadrinhos corporativos em São Paulo identificando os principais autores e as editoras desse segmento. Para averiguar a potencialidade dos quadrinhos na educação corporativa, este estudo foi sustentado por duas premissas: a primeira se referiu ao reconhecimento dos quadrinhos como linguagem autônoma e a segunda foi constatar a existência de profissionais especializados em atender o mercado de produção dos quadrinhos corporativos no Brasil. Além disso, foram verificados os métodos de produção, distribuição e utilização dos quadrinhos nos programas de educação de algumas corporações. A hipótese principal deste estudo foi que o uso estratégico dos quadrinhos pode contribuir positivamente para a comunicação no ambiente corporativo. Os resultados demonstraram que os quadrinhos têm sido utilizados por grandes corporações como SEBRAE, ABNT, Metrô SP, Petrobrás, Telefonica, O Boticário, SENAI, Votorantim e outros. Existe no Brasil uma produção regular e bem organizada de quadrinhos corporativos realizada por estúdios, autores e editoras especializadas. Essas produções ocorrem, pelo menos, desde 1994. A maior parte desses quadrinhos foram distribuídos dentro de empresas ou em ambientes mais restritos. No entanto, também houve algumas publicações que foram distribuídas e comercializadas em livrarias publicados no formato Graphic Novel. Verificou-se também que alguns quadrinhos corporativos têm sido publicados em suportes digitais, como foi observado no caso do convênio entre o SEBRAE e a ABNT. De acordo com os resultados coletados nesse estudo, a potencialidade do uso dos quadrinhos na educação corporativa foi associada, principalmente, em auxiliar nos processos da conscientização, compreensão e memorização de ideias e informações. A sua aplicação estratégica através de tiras e cartuns também facilitou e beneficiou a apresentação de ideias ou conceitos durante aulas/palestras e em textos de natureza mais complexa. O uso dos quadrinhos também possuiu o efeito de conseguir romper com o excesso de formalidade na comunicação com os funcionários em algumas empresas, ampliando o seu interesse e envolvimento com os programas de educação. Além disso, alguns elementos usados nos quadrinhos como a concepção de personagens e o humor gráfico também se mostraram como elementos de grande potencial para auxiliar o desenvolvimento de programas de educação corporativa.
Comics were defined as sequential art and commonly associated as a communication vehicle aimed for entertainment. However some comics are used to transmit information, give support to education programs and help to improve the knowledge building about specific themes related to the human and professional development. The main objective of this project was to analyze the potential use of comics in corporate education in Brazil, focused in São Paulo state. To reach this object, this study described some basic definitions of comics, their characteristics and some important events occurred during its historical evolution. Moreover, a bibliography survey of comics productions and publications of corporate comics in São Paulo was also done and the main authors and publishers of this segment were identified. To investigate the potential use of comics in corporate education, this study was supported by two premises: the first one referred to the recognition of comics as an autonomous language and the second was to verify the existence of specialized professionals who support the production of corporate comics in Brazil. In addition, methods of production, distribution and utilization of comics in some corporate education programs had been also checked. The main hypothesis of this study was the strategic use of comics can contribute positively to improve the communication activities in the corporate environment. The results showed that comics had been used by important corporations like SEBRAE, ABNT, Metrô SP, Petrobrás, Telefonica, O Boticário, SENAI, Votorantim and others. In Brazil, there is a regular and well-organized production of corporate comics which is made by studios, authors and specialized publishers. These productions have occurred at least since 1994. The majority of these comics were distributed within companies or in restricted environments. On the other hand, there were also some publications which were distributed and sold in bookstores published in Graphic Novel format. Interestingly, some corporate comics had been published in digital media, as it was verified in the case of covenant between SEBRAE and ABNT. According to the results, the potential use of comics in corporate education was associated mainly to assist the processes of awareness, understanding and memorization of ideas and information. The strategic application of comics through comic strips and cartoons also facilitated the comprehension of ideas or concepts showed in classes/lectures and in texts with specific contents that were difficult to understand. The use of comics also showed the effect of breaking with excessive formality in communication between instructors and employees in some companies, resulting in the increase of employee\'s interests in the activities of the education programs. Furthermore, some elements used in the comics like the design of characters and graphic humor also showed a great potential as elements to assist the development of corporate education programs.

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23

Matthews, Casey Posey. "Making sense of the gutters: How advanced-level English teachers use graphic novels". Cleveland State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=csu1623955126547402.

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24

Guarino, Jeffrey Mark. "Comix in the classroom: A resource guide for graphic novels and comic books". CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1503.

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25

Orihuela-Gruber, Daniella. "Political cartoons and graphic novels a study of political and social commentary in comics /". Click here to view, 2009. http://digitalcommons.calpoly.edu/joursp/7/.

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Abstract (sommario):

Thesis (B.S.)--California Polytechnic State University, 2009.
Project advisor: Patrick Munroe. Title from PDF title page; viewed on Apr. 19, 2010. Includes bibliographical references. Also available on microfiche.

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26

Willms, Jennifer [Verfasser], Dietrich [Gutachter] Grünewald e Andreas [Gutachter] Ackermann. "Jüdische Aspekte in Will Eisners Graphic Novels / Jennifer Willms ; Gutachter: Dietrich Grünewald, Andreas Ackermann". Koblenz, 2019. http://d-nb.info/1185487271/34.

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27

Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.

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28

Proszek, James Michael. "Drawn Apart: Visual Representations of the Persian Wars in Contemporary Graphic Novels and Film". OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1833.

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Abstract (sommario):

Over the past two millennia, dominant Western narratives of the Persian Wars have established a problematic East-West binary in which Greece is represented as a defender of democracy whose improbable victory over the Persians laid the foundation for the development of Western civilization and the Persians are represented as a power hungry, totalitarian “Other” determined to subjugate all whom they encounter. Frank Miller’s graphic novel, 300, and its subsequent film adaptations, 300, and 300: Rise of an Empire (collectively referred to as the 300 franchise) have reinforced and contributed new problematic elements to the dominant Persian War narratives with contemporary visual representations of key historical figures, locations, and events as they pertain to the conflict. In this thesis I conduct a visual rhetorical analysis of the 300 franchise to identify and explain its problematic visual representational tactics for both the Greeks and Persians. Next, I conduct a visual rhetorical analysis of a non-Western Persian Wars counter-narrative, Ramin Abhari’s Xerxes Speaks. Throughout my analysis of Xerxes Speaks I identify instances in which the counter-narrative addresses 300’s problematic representations of the East as “Other.” I conclude by discussing the importance of critiquing visual representations in order to continue to disrupt dominant Western Persian War narratives and subsequently try to establish a currently marginalized Persian perspective on the Persian Wars.

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Kane, Brian M. "ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1368726512.

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30

Ehret, Sara R. "Using the Graphic Novel to Assist in Developing Various First-Year Composition Writing Skills". University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1342449458.

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31

Voss, Christina Linda. "Understanding the Use of Graphic Novels to Support the Writing Skills of a Struggling Writer". OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/705.

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This mixed methods study combining a single-subject experimental design with an embedded case study focuses on the impact of a visual treatment on the handwritten and typed output of a struggling male writer during his 5 th through 7 th grades who has undergone a longitudinal remedial phase of two and a half years creating text-only material as well as graphic novels (on paper, on the computer, and online). The purpose of this research was to develop and assess the effectiveness and practicability of a visual treatment in order to help this high-achieving student with excellent comprehension and oral skills but impaired execution of writing tasks to produce cohesive, well-organized stories within a given time. It was hypothesized that by breaking up the assignments into visual chunks (speech bubbles), taking away the threat of a blank page to be filled by text only, exercising his artistic capabilities, and fostering pride of authorship and achievement through (online) sharing, this treatment would improve the participant's written output in quality, quantity, and pace. The 6+1 Trait ® Writing Scoring Continuum (Northwest Regional Educational Laboratory, early 1980s) was employed to assess the participant's writing performance, and the Flanders Interaction Analysis Categories (FIAC) (Flanders, 1970) were used to note his on-task/off-task behavior and the categories of his responses during tutoring sessions. An auditor was employed to confirm the investigator's evaluations; if contradictions occurred, the artifact in question was omitted from the study. The participant underwent extensive educational assessment regarding his reading and writing predilections and habits prior to study begin (quantitative data) in the form of rating scales, such as the Classroom Reading Inventory, the Elementary Writing Attitude Scale, and others. He was further observed during clinical supervision (audio- and videotaping), and underwent qualitative assessment (content analysis of written output) during the study, and post-study performance tests (quantitative and qualitative data). Baseline graphs were employed to establish the traits of his writing behavior during all three experimental stages (pre-treatment, treatment, post-treatment), and tutor logs shed further light on the participant's feelings and behavior under each condition. The interwoven mixed data revealed that the participant enjoyed the tutoring sessions, and even cried twice when he missed one, but that his attention deficit and off-task behavior severely interfered with the organization and quantity of his written output. The Flanders analysis showed that the slightest distraction through his environment (tutor, second tutee, etc.) took his focus off his writing tasks, and that the tiniest thing out of order (e.g., a wrong digital display of the current time of day on his computer screen) could occupy his thoughts for minutes, or trigger an exaggerated outburst after half an hour. Flanders also confirmed, as the higher quality of his output had shown, that the boy was strongly motivated by what interested him (Star Wars), and that he would put extra care in the creation of corresponding tasks. It can be concluded that self-chosen material, and not the format of graphic novels, motivated the participant to work. The content analysis of his post-treatment essay as compared to his pre-treatment essay showed that he was able to finish it, that the length had augmented, that the chronological order of events was maintained thanks to having learned organization through panels, but that the creativity and ideas had declined. Finally, the analysis of The 6+1 Trait ® Writing Scoring Continuum, which examined ideas, organization, voice, word choice, sentence fluency, conventions, and presentation of ten writing samples per stage, showed that the participant had scored 30.2 in the pre-treatment stage, 29.2 in the treatment stage, and 32.8 in the post-treatment stage. Given that the participant had matured during the two and a half years of study, the gain was not important enough to justify a graphic novel intervention to improve the writing of this specific student. The astonishing low score in the easiest stage, the treatment stage itself (where he only had to fill in speech bubbles) was a result of the genre itself (which called for less descriptive written output) and of the fact that the participant thought this stage was “easy” (as per interview from 05/17/2011) and might have felt not sufficiently challenged. It can be concluded that the graphic novel treatment was effective in helping with the chronological organization within the participant's texts, but this goal could maybe also have been achieved by structuring through sub-headings or perhaps voice recordings of a list of steps. Due to the high off-task behavior and time consumption, this treatment would not be feasible in a classroom setting, but might work in a resource room. During the treatment, the participant revealed himself as auditory, not just visual learner, who was motivated by sound and music, especially in combination with his online Star Wars photo story; he was planning on an animated story with movie features. In the future, this highly articulate child would benefit from self-chosen writing tasks that include the creation of online stories with pictures, animation, and sound. His behavior needed more remediation than the quality of his written output. Future studies should investigate the effectiveness of writing workshops using graphic novels within the classroom setting, as proposed by Thompson (2008), and also assess the benefits of digital story-telling (Burke & Kafai, 2012) as an additional motivational factor, while putting special emphasis on students who display autistic and ADHD behavior.

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Sadokierski, Zoe. "Visual writing : a critique of graphic devices in hybrid novels from a visual communication design perpsective /". Electronic version, 2009. http://utsescholarship.lib.uts.edu.au/iresearch/scholarly-works/handle/2100/1042.

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33

Moeller, Robin Ann. ""No thanks, those are boy books" a feminist cultural analysis of graphic novels as curricular materials /". [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3331264.

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Abstract (sommario):

Thesis (Ph.D.)--Indiana University, School of Education, 2008.
Title from home page (viewed on Jul 24, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4231. Advisers: David Flinders; Marilyn Irwin.

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34

Stephens, Wendy Steadman. "The Influence of Engagement with Graphic Narrative Text Formats on Student Attitudes Towards the School Library". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700038/.

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Comics, graphic novels, and manga differ appreciably from textual narrative formats, and materials with increasingly visual elements have found their way into progressive and student-centered library collections. But many educators and librarians still resist inclusion of graphic narratives in school libraries and devalue the reading practice of students who prefer more visual texts. Using the framework of radical change, which posits that both text conventions and reader expectations for text are increasingly multimodal as they possess characteristics of evolving digital media, this study considered the relationship of the characteristics of text individual students prefer, particularly those they select from the school library, and their attitudes towards aspects of reading practice as evidenced through the Adolescent Motivation to Read Profile instrument. Survey data was supplemented with circulation history from the library management system to inform a correlational study punctuating attitudinal differences based on reader preferences. Findings include high school students who engage with graphic narrative text formats reporting more favorable views of libraries and reading. There is a demonstrable distinction in attitudes between students who prefer more visual text when compared with peers with more traditional print affinities. Student engaging with graphic narrative texts also report more frequent engagement with text overall. These demonstrated relationships should help to legitimize the inclusion of more graphic narrative text formats in school library collections.

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35

Smida, Megan Alice Moore Alan. "(Re)telling Ripper in Alan Moore's From hell : history and narrative in the graphic novel". Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.

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Abstract (sommario):

Thesis (M.A. in English) -- University of Dayton.
Title from PDF t.p. (viewed 06/23/10). Advisor: James Boehnlein. Includes bibliographical references (p. 44-46). Available online via the OhioLINK ETD Center.

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Ghirotti, Joaquim Cardia. "Frank Miller e os quadrinhos pelo que vale a pena morrer". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-05092017-092333/.

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As décadas de 1980-1990 marcam um ponto importante da história das revistas de quadrinhos de super-heróis. Mudanças no mercado, no público, na política, nos debates morais e culturais do momento ofereceram um cenário propício para novos desenvolvimentos no gênero super-herói. Esse quadro é cercado pelo pós-modernismo, a urbanização, a contracultura, mudanças nas artes e condições políticas que se desenvolvem da Guerra Fria, geograficamente centrada entre a Europa e os Estados Unidos, para a Guerra do Iraque, o que desloca atenções geopolíticas e conflitos para o Oriente Médio. Os quadrinhos de super-herói passam a oferecer maior liberdade temática para seus autores, e discussões sobre direitos autorais ganham força. Este cenário dispõe das condições para que alguns autores pudessem levar os super-heróis para discussões diferentes das décadas precedentes, permitindo o surgimento de trabalhos significativos, de autores que marcam suas obras abordando os super-heróis de forma pessoal. A presente pesquisa procura entender como o autor de histórias em quadrinhos Frank Miller se posicionou diante de uma determinada área de produção artística, utilizando-se das revistas de super-herói para discutir posicionamentos ideológicos, e reforçar seu caráter mítico e simbólico. Utilizando princípios da história cultural desenvolvidos por autores como Ginzburg, Burke, Gombrich, Schorske e Barzun, contextualiza-se a trajetória das histórias em quadrinhos até os anos 1980 e 1990, estabelecendo as condições da mídia quando do trabalho do artista. Para posicionar Miller em relação a seu mercado e suas relações de produção, são utilizadas as ferramentas analíticas de Michael Baxandall, que oferecem um modelo interpretativo das relações que se dão na produção artística. Finalmente, observam-se as abordagens temáticas e morais de sua obra, com seu contexto dentro de uma trajetória na história cultural. Para isso, traça-se um panorama que discute como a obra de Miller atualiza a jornada do herói de Joseph Campbell, utilizando-se da cultura popular para fazer um diálogo entre discussões morais, históricas e políticas, por meio de uma construção de narrativas heroicas que operam como mitos populares modernos e parâmetros civilizacionais, carregando em si princípios, valores e ideias de uma cultura.
The decades of 1980-1990 establish an important point in the history of comic books. Changes in the market, the audience, in politics and in the cultural and moral debates of the time offered a scenario which was welcoming to new developments on the super-hero genre. This moment is marked by post-modernism, urbanization, the counter-culture, changes in arts and the political conditions which develop from the Cold War, geographically centred between the United States and Europe, to the Iraq war, which moves the geopolitical attentions and conflicts to the Middle- East. Super-hero comics start offering wider thematic freedom to their authors, and discussions about creator\'s rights gain momentum. This scenario contains the conditions for some of these authors to take super-heroes to discussions which are different from the ones happening in the preceding decades, allowing the emergence of important works, made by authors which marked their work in a very personal manner. This research seeks to understand how comic-book author Frank Miller has positioned himself before an area of artistic production, using super-hero comics, and comics in general, to discuss moral positions, and to underline their mythical and symbolic character. Exercising principles of cultural history developed by authors like Ginzburg, Burke, Gombrich, Schorske and Barzun, we situate the trajectory of comics from their inception as magazines until the 1980s and 1990s, establishing which were the conditions of this medium when Miller produced the works we look at. To understand Miller in relation to his market and his production, we use the analytic tools of Michael Baxandall, which offer an interpretative model of the relationships which happen in artistic production. Finally, we observe the thematic and moral approaches of his work, with their context within a trajectory in cultural history. In order to perform this, we establish a context which discusses how Miller work updates Joseph Cambell\'s hero\'s journey, using popular culture to make connections between moral, political and historical debates, creating heroic narratives which operate as modern popular myths and as civilizational benchmarks, carrying with them the principles, values and ideas of a culture.

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Howell, Anna. "Insavoir and Representation in Comics| Modal and Temporal Intersections in Contemporary Francophone Familial and Historical Graphic Novels". Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712439.

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Abstract (sommario):

French literary theorists Dominique Viart and Bruno Vercier identify the beginning of a new era for French literature in the 1980s, characterized by hypotheses, hesitations, and the general notion that truth and reality cannot be fully grasped by discourse. The 1980s can be considered as transitional for the comics medium as well. Art Spiegelman's Maus (first published in 1980, completed in 1991) demonstrated that comics are not only capable of representing difficult familial and historical pasts, but that visual narratives benefit from formal and aesthetic devices that are inherent to the ninth art's polysemiotic possibilities. In this dissertation, I study francophone comics in which a second- or third-generation individual seeks to understand a familial past that exceeds his or her personal experience and that has previously been silenced or repressed, either individually (by the primary witness) or collectively (by the political hegemony). In the research corpus, the narrator's search elicits modal and temporal intersectional spaces: representation and anti-representation in Chapter One, the past and the present in Chapter Two, the collective and the individual in Chapter Three, and the interplay between memory, history, and imagination in the concluding Chapter Four. In addition to an interdisciplinary theoretical framework, Viart's notion of insavoir [not-knowing] and Pierre Nora's concept of "sites of memory" act as overarching theoretical tools throughout the essay.

The thematic organization of intersectional spaces fosters the identification of recurrent devices as the individual discussions reinforce and nuance one another sequentially and retroactively. Aware of the inherent limitations of representation and the notion of cognitive insavoir, the authors of the research corpus attempt to communicate meaning instead of presupposing understanding or the ability to "know" a traumatic, violent, and repressed past (and the capability to represent such a history through text and image). Such recurrences are symptomatic of an emerging sub-category within the medium, wherein the figure of the intersection is pertinent and productive precisely because these works operate in multi-directional insavoir. Like novels in the literary era identified by Viart and Vericer, the resulting representations oppose binary thought, opting instead for narratives that are self-critical, uncomfortable, thought-provoking, and ultimately, perhaps, more true.

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Scherpenhuizen, Johannes. "Dutch Technique: Comic Books, Discourse and Vedanta/The Saga of the Atlantean". Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/28060.

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Dutch Technique is a work of experimental art which refuses classification and emerges variously in the form of comic-book pages, non-fiction writings, prose fiction, poetry and visual art. DT questions traditional binary modes of thinking which contrast sciences and arts, high arts and low arts, academic and non-academic discourse, science and religion/mysticism, and eschews discriminatory tribalism. It explores the inexhaustibility of the text, ideas and being in the form of comedy, drama, rhetoric, philosophical analysis and synthesis, poetic evocation and drama, liturgy and ritual. Its primary sources are self-reflection, contemplation in the analytical/synthetic philosophical mode and in meditation, trance and altered states of being, and the practise of art as self-revelation, healing, therapy, entertainment and communication. Its textual sources are film (particularly science fiction and comedies) comic books, philosophical texts (primarily those of Nietzsche, Wittgenstein and Existentialism). As literature it mines stream of consciousness, experimental modes, satire, genre and literary fiction, poetry and popular song. Also central is scripture and what may be termed, “the Perennial Philosophy” exemplified by Vedanta. Incorporated into this experimental mix is a traditional academic thesis The Superhero and the Self which argues that superhero comics can fruitfully be considered as spiritual literature. The Saga of the Atlantean is a graphic novel which embodies the critical stance of Dutch Technique in utilising what is generally conceived as a 'low art' genre – the superhero story – with a serious purpose and high art pretentions, without avoiding various characteristics which might be considered typical of the genre. It is a meta-textual work which comments both blatantly and obliquely on the form of comics and the human condition. TSOTA can be read separately from the rest of the work or as an integral component. It can be read prior to the other work, interspersed with its chapters or after it. As Dutch Technique asserts; there is no beginning, there is no middle, there is no end.

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Whipple, Rachel Dene. "Interconnectedness, Complicity and Ambiguity: Reading with Dark Ecology". BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6090.

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There are many aspects of ecological thinking. When reading texts through a lens of dark ecology, certain conflicts that arise from the imposition of human expectations on natural systems are revealed. These include interconnectedness, complicity, and ambiguities. Within a system, boundaries are contingent and transitory. Beginnings and ends are gradual, not definite. Ecological systems change over time, but it is a category error to imagine that change represents progress or to assume a teleological purpose. While there are hierarchies of power, and different roles, no species is, ecologically speaking, more advanced than another. Ecological criticism focuses on interconnectedness, complicity, and ambiguity in art and literature, and is well suited to texts that deal with destructive processes like degradation and decay. Noir serves as a good example of a genre that can be read as an ecological system. Graphic novels, which already defy easy categorization are also ripe for ecological study..In Do Androids Dream of Electric Sheep the boundary between natural and artificial is blurred, not just through the exploration of empathy, but in human artifacts. Watchmen uses many techniques, including a fractured narrative, simultaneous scenes on a single page, and the visual unity space and time to undermine the idea of clear beginnings and endings and critique teleology. A third work, Beautiful Darkness, probes how natural forces of disintegrations overcome temporary human constructs, including civilization. A dark ecological reading yields a sense of humility, instead of certainty, about human capacity for knowledge regarding ecological systems. It fosters respect for the unknowable that lies in shadow and the complicated natural systems that defy attempts at reduction. Disruptive events in narratives, when read ecologically, remind us of the unpredictable results that manipulation of components of the system can have for humanity, as well as on the functioning and balance of the system as a whole.

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40

Anderson, Terpstra Kristin. "Spreading the word : fan translations of manga in a global context". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3423.

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Manga, or Japanese comic books, are one of the newest popular media imports from Japan to garner a sizable following in the U.S. Shortly before the establishment of an American manga publishing industry and the investment in resources to publish manga legally, fans calling themselves scanslators or scanlators (scan + translators) began translating Japanese manga themselves and distributing it to other fans through the Internet. This dissertation focuses on the manga importation process from several different angles, comparing within each the struggles and similarities between the actions and motives of scanslators and publishers. Comparing and contrasting the practices and norms of scanslators with those of the American manga publishing industry, this case study will provide insight into the ways that fans of transnational texts are involved in a system of global media flows whose paths are determined by legal, cultural, economic, and political forces. This work focuses on three stages in the manga importation process: selection, translation, and distribution. This study is based on the textual analysis of trade journal articles and web sites, informed by interviews with scanslators and manga industry workers. I conducted interviews over a six-month period in 2008, focusing on two groups, the publishing company Tokyopop and the scanslation group "Paradise." I carried out follow-up interviews a year later. I supplemented these interviews with interviews from freelance manga translators. I demonstrate principles influencing the flow of other kinds of media across borders. Manga serves as a prime example of the rise and transformation of a genre in the book market, and more broadly as a form of media. This case also serves as a snapshot of a moment of change within the publishing industries as they move towards increased digitization.

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Schumaker, Justin S. "Discovering the postmodern graphic novel in the works of Alan Moore". Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1326.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
English

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42

Laycock, Dianne Patricia. "Pilgrimage In A Foreign Land: The Lived Experience Of Teaching With Graphic Novels In The Secondary English Classroom". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17250.

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In the context of a multimodal and multimediated textual landscape, a substantial body of research and literature endorses the value of graphic novels as a means to provide authentic literacy experiences for students. A less substantial body of discourse, however, submits that graphic novels have not been embraced as classroom texts to any great extent by teachers. To investigate this disjuncture between theory and practice, and to add to the small body of research on teachers’ practice with the graphic novel format of the comics medium, this study explores nine teachers’ experiences with graphic novels in the secondary English classroom. A hermeneutic phenomenological approach informed by the work of Max van Manen frames this study. Data collected via semi-structured interviews were interpreted and are presented through individual participant stories and thematic considerations. Commensurate with the chosen methodology, literature, poetry, anecdote, images, and metaphor are employed to create an evocative text designed to bring the reader more directly into contact with the participants’ experiences. In particular, the notion of participants as pilgrims in a foreign land is considered. The study revealed graphic novels being used in a variety of ways by teachers who varied significantly in their level of comics capital. That said, all participants struggled in one way or another to teach the graphic novel, a situation that reflected a lack of support from curriculum documents, a paucity of professional development opportunities, and their struggle to balance the needs and interests of their students against the pressures of a crowded and prescriptive curriculum that privileges traditional prose texts. In the face of such challenges, however, it was apparent that the positive outcomes of teaching with graphic novels far outweighed teachers being pedagogically destabilised and rendered vulnerable. In light of the inclusion of graphic novels as recommended texts in the Australian Curriculum: English, it is hoped that teacher-readers of the research will be encouraged by this study’s findings to reflect on their use of graphic novels and that agencies who support teachers in their pedagogy will recognise the value of graphic novels as texts and support teachers’ efforts to use them accordingly.

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43

Lombard-Cook, Kathleen. "Interrogating and analysing narrative structure through comic books". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23507.

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How can the structures of graphic narratives help us to interrogate, analyse, and ultimately ground stories of ourselves and our world? By not relying solely on verbal or visual language, but the complex interplay between multiple signification strategies, comics open up possibilities for transcending the limits of any single linguistic mode and more fully enunciating the complex layers of superimposed truths that make up our lived experiences. In this doctoral project, I utilize media-specific analysis of graphic narratives and interrogate the multi-modal communication strategies inherent in comics. The result is a multidisciplinary construction of the structural and semiotic modes of comics as an enactment of contemporary narrative ideals that privilege reader-centric, subjective constructions of meaning. My submission consists of four chapters of written research, to be submitted at the end of January, and a collection of autobiographical narrative works that will form an exhibition which will be shown at the time of the viva in April. The presentation of the textual material is an inseparable component of the content, and a piece of practical work in itself. The chapters can be read in any sequence; for the purposes of this abstract, I will discuss them in alphabetical order. My practice work challenges the traditional use of comics-specific affordances, such as panel borders, gutter, use of space as time, and other verbo-visual techniques by remediating them outwith book and digital book-like objects we associate with graphic narratives. Each chapter in the dissertation is its own book-object that enacts the content as well as relates to the larger body of practice work. Childhood Memoirs—Autobiographical Approaches The use of multiple signification strategies allows for communication that transcends the limits of textual or verbal language and can allow a creator to enunciate what may be unspeakable or incomprehensible, such as moments of trauma. I pay special attention to how subjectivity is presented in graphic memoirs within this context, as the drawn nature of comics allows for shifts in the status of the author/narrator that are unique to the medium. Comics as a Synthetic Medium—A Very Short Introduction The ‘introductory’ chapter contextualizes my research and comics studies more generally within non-binary, non-hierarchical concepts of rhizomatic knowledge structures that utilize the concept of text in the Barthesian sense as a mode of communication rather than solely lexicographic writing. In comics, text and imagery can actively oppose each other, creating a space where new meaning can be synthesized from this tension. This is Derrida’s deconstruction, Benjamin’s inclusion of cultural production in literature, or Barthes’ writerly text. Each utterance on a comics page may convey multiple levels of independent meaning, making it unique among narrative media. By examining the semiotic and structural theories presented by Barthes and Derrida, as well as Benjamin, Deleuze, Witgenstein and others, I develop the case for a comics-specific theory of trans-medial, subjective, deconstructed communication. Mapping the Journey—The Cartography of Autobiography In this chapter, I analyse the mythology of the supposed inductive system of representation in mapping and explore how including a secondary visual semiological system, that of the map, within the primary system of comics impacts reader perception of truth through verifiability. I also explore the intersection of non-representational theory within geography and authentication within autographics. Media Specificity of Non-traditional Graphic Narratives The focus of this chapter is on the impact of disseminatory (re)mediation on the medium of graphic narratives. I assert that neither digital nor print is superior to the other, but deliver different experiences to the reader. Through close analysis of the formal qualities inherent in digital and physical representation of comic content, I articulate the qualities unique to each distribution strategy and theorize ways that creators can take advantage of the media at their disposal. The practical element of my submission takes the form of a collection of objects that utilize a variety of graphic narrative structures outwith traditional comics forms in order to explore facets of my childhood memories. The exhibition will be constituted of several lanterns, dioramas and dolls’ houses, as well as some printed material. I attempt to ground my memories in architecture and place, while aware that the sense of solidity this lends my recollections is a false sense of objective security. To counteract any attempt to present a wholly unified and reliable narratorial self, I present the same places and memories through various angles and media. I make explicit some of the dissonant ‘truths’ myself and other members of my family were presented with, as an attempt to consciously confront the fragility of utilizing such collectively constructed memory to construct a stable self-image.

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Ernsth, Bravell Gunnar. "More Than a Stepping-Stone? : A Study of the Uses of Comics and Graphic Novels as Multimodal Teaching Material in English Courses at Upper and Lower Secondary Schools in Sweden". Thesis, Jönköping University, Högskolan för lärande och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-50818.

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The aim of this study is to examine upper and lower secondary school teachers’ experiences of using graphic novels in the English subject in Swedish schools in order to discuss if, and how, multimodal texts can be used to increase students’ motivation to read and analyze fictional texts. This is done through qualitative semi-structured interviews with 12 participants currently working as English teachers from both upper and lower secondary schools in Sweden. The framework of this study centers around the concept of multimodality, multimodal literacy and how it can be used in the English classroom. The results of the study indicate that comics and graphic novels can and are being used for a number of purposes in English language courses in Sweden, and that they allow teachers to incorporate visual analysis into their literature modules, adding more elements for students to discuss and work with. Furthermore, the participants experience that comics and graphic novels aid in increasing students’ motivation and interest as the multimodality makes them more accessible. The results of the study also show that comics and graphic novels could be used to teach students about literary analysis, both visual and verbal. However, in order to utilize the multimodality of comics and graphic novels, teachers require an understanding for how two modalities can be used together to create meaning. Moreover, the study shows that comics and graphic novels are viewed as a lesser form of fictional texts, as they are mostly seen as motivational supplements or a stepping-stone toward other types of novels. In conclusion, there are numerous benefits to using comics or graphic novels in EFL courses, such as an increase in motivation and additional visual/multimodal aspects for students to analyze when working with fictional texts.

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45

Goforth, Andrew. "POST APOCALYPTIC LITERATURE AND THE STATE: SCIENCE FICTION AND STORYWORLDS". OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2185.

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Mary Manjikian and other critics argue that post-911 apocalyptic Literature is anarchic, breaking away from the state through its destruction. This thesis challenges this claim, looking at the state through the abstract form presented by Deleuze and Guattari in A Thousand Plateaus to argue that while the state in its physical manifestation is indeed removed within the post-apocalyptic narrative, an internal desire for governance and a return to status-quo remains. Chapter 1 examines Cormac McCarthy’s novel The Road in relation to this theory, particularly within the interactions between the father and son, showing that through the father, an argument can be made for the characters’ wish to return to a time where a physical state existed. Chapter 2 examines the relevance of the zombie narrative in relation to other “post-911 apocalyptic Literature” to examine both where these texts and media fit in relation to the state and contemporary culture – particularly in relation to politics. Through AMC’s “The Walking Dead”, the zombie narrative not only exhibits similar tendencies for a yearning of state power, but also expands the definition of a post-apocalyptic narrative, as when the state returns, not only is the narrative altered to one of dystopian fiction, the “other” becomes more ambiguous, as the zombies begin to pose little threat, leading to political tension amongst survivors. Chapter 3 and 4 examine the return to popularity of Lovecraft-esque fiction alongside the cultural infectiousness of the zombie. Beginning with Lovecraft’s “The Call of Cthulhu” and moving to China Miéville’s novel Perdido Street Station, the thesis will conclude with an examination of eldritch horror as an alternative to the post-apocalyptic in terms of rethinking the relationship of the state in contemporary culture, and arguing that the political “other” is now viewed as monstrous and difficult to define in a manner which zombies are unable to fully represent.

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Adams, Jeffrey Nigel Philip. "Graphic novels and social realism : three case studies, Keiji Nakazawa's Barefoot Gen, Art Spiegelman's Maus and Joe Sacco's Palestine". Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400406.

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47

Gauche, Catherine. "Reading the distance : decoding the autobio(graphic) novel, Portrait in pieces". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1980.

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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.
The aim of this thesis is to decode my autobiographic graphic novel, Portrait in Pieces (a narrative of a mother / daughter relationship), utilising a genealogical mode of analysis. This takes place, firstly, through a discussion of the themes of photography, memory and repetition which occur in the graphic novel; secondly, through a consideration of the role of language and difference within a specific mother / daughter relationship; and thirdly, through the study of autobiography and the self as performative entities. In this thesis I interrogate the autobiographic genre in a manner that questions internalised notions of femininity and (patriarchal) cultural constructs, which precede and influence the performance of our ‘life scripts’. I posit Portrait in Pieces as a transitional object between my mother and myself, and language as a medium which can both Otherise and close the distance between us. Translation is the medium by which one reads this distance, turning miscommunication into communication, and misunderstanding into understanding. The illustrations and text constituting the graphic novel have been produced through creative play, representing the ‘post talking’ required for the process of healing, empathising, and taking ownership of one’s ‘life script’.

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Wilson, Robyn Joan. "Last Man Hanging This exegisis is submitted to the Auckland University of Technology for the degree of Bachelor in Art & Design, Honours,(Graphic Design). 2005 /". Full dissertation Abstract, 2005.

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Dissertation (BA (Hons)--Bachelor of Art and Design) -- AUT University, 2005.
Print copy accompanied by CD. Includes bibliographical references. Also held in print (99 p. : col. ill. ; 20 cm. + CD (3 in.)) in City Campus Theses Collection (T 707 WIL)

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49

Le, Roux Marike. "Narrating an unstable memory : a postmodern study of fictional pasts in the (auto/bio)graphic novel". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79942.

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Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: To write a life story the auto/biographer must reflect upon the past that was once experienced. When presented with this task of depending on memory and narrative, the auto/biographer often finds himself/herself in the position of creating and imagining, rather than reflecting or presenting the past as it was lived. Fragmentation, forgetfulness, selection, (re)construction and imagination are often inextricably connected to Memory which results in the reliance on an unstable memory to access the past. This dissertation explores how postmodern auto/biographies, specifically the (auto/bio)graphic novel, acknowledges the difficulty of writing about the past when concerned with truth. The (auto/bio)graphic novel disrupts the notion of truth by blurring the boundaries between fact and fiction, resulting in a hybrid form where text and image, reality and imagination co-exist to create new, and often more significant pasts (that can serve the present).
AFRIKAANSE OPSOMMING: Om ‘n lewensverhaal te skryf, reflekteer die outo/biograaf op dít wat eens geleef was in die verlede. Deur hierdie proses, wat ‘n afhanklikheid van die geheue behels, vind die outo/biograaf homself/haarself gereeld in ‘n situasie waar hy/sy ontwerp en verbeel, eerder as om die verlede weer te gee soos dit beleef was. Fragmentasie, vergeetagtigheid, selektering, (her)konstruering en verbeelding is soms onskeibaar van Geheue wat dui op die afhanklikheid van ‘n onstabiele geheue in die skryf- en illustreer-prosesse van ‘n outo/biografie. Hierdie verhandeling ondersoek hoe postmoderne outo/biografieë, spesifiek die (outo/bio)grafiese roman, bewus is van die kwessies rondom die skryf van die verlede in verhouding tot waarheid. Die (outo/bio)grafiese roman ontwrig die idee van waarheid deur die grense tussen feit en fiksie te ondermyn. Gevolglik onstaan ‘n hibriede vorm van outo/biografie waar teks en beeld, realiteit en verbeelding gekombineer word om nuwe en meer beduidende verledes te skep (wat so ook die hede op nuwe maniere kan dien).
mlb2013

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Dallacqua, Ashley Kaye. "“These books give me life”: Considering what happens when comics and graphic novels are welcomed into a middle school space". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460632506.

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Tesi sul tema "Graphic Novels as Topic"

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