Gotowe bibliografie tematyczne / Comics

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Gotowa bibliografia na temat „Comics”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 19 października 2024

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Artykuły w czasopismach na temat "Comics"

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Kasmana, K., i E. N. Hikmah. "The Representation Concept of Hell Punishment in Islamic Teachings in the comic Indahnya Taman Surga, Pedihnya Siksa Neraka". Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 1 (1.12.2020): 679–92. http://dx.doi.org/10.34010/icobest.v1i.231.

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Indahnya Taman Surga Pedihnya Siksa Neraka, one of the religious comics present in Indonesia. This comic reaps the discourse of the debate because it is considered to present violence and pornography, on the other hand, this comic offers the teachings of life and cosmology according to Islam. This research seeks to find a representation of the concept of the torment of hell in the Islamic teachings present in the comic visual. Comparative studies were conducted between Islamic teachings through the interpretation of the Quran Hamka version, as well as the content of torture present in the visuals embodied in the comics. Interpretation brings the result that the comic provides narrative development by making variations, additions, simplifications, and reductions influenced by the comic's background without changing the main idea of the source. Comics show the comic's belief in Islamic teachings, including in interpreting his belief that there will be a hell of a version of himself.
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Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy". Studies in Comics 11, nr 1 (1.07.2020): 127–46. http://dx.doi.org/10.1386/jem_00018_1.

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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.
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Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy". Studies in Comics 11, nr 1 (1.07.2020): 127–46. http://dx.doi.org/10.1386/stic_00018_1.

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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980‐91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.
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Sutanto, Shienny Megawati, i Marina Wardaya. "THE PARADIGM SHIFT OF COMIC AS STORYTELLING MEDIA". Journal of Visual Communication Design 5, nr 1 (28.09.2021): 61–75. http://dx.doi.org/10.37715/vcd.v5i1.2290.

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Comics are media stories that are not specific to a particular group of readers. But in reality, comics are often regarded as mere children's reading. This raises a negative paradigm for comics, and comics are considered as reading that degrades children's morale. This article will describe the history, definition, and function of comics as storytelling media, and how the negative paradigm affects the comic industry in Indonesia. As a medium, the comic is a means to convey messages similar to television, radio, newspapers, and magazines. And similar to other media, comics can be used to convey various kinds of information, not merely intended for entertainment only. Various kinds of messages, ranging from advertorials, political propaganda, public services, even education, can all be conveyed using comic media. However, most people still believe the false paradigm that that comic is only for children. This is a misunderstanding and is not true. Since the beginning, the Indonesian comic industry has always tried to grow and counter the negative paradigm. In order to revitalize comics as one Indonesian creative industry subsector, a paradigm shift on how the society values and appreciates comics not just as child reading material needs to happen. Keyword: comic, media, story, paradigm shift, creative industry.
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Dewanty, Via Luviana, Dewi Kusrini i Renindra Atsilah Putri. "Literature Review: Penggunaan Komik dalam Pembelajaran Bahasa Asing untuk Pengembangan Media Ajar Bahasa Jepang Berfokus pada Bentuk dan Tampilan Komik". Chi'e: Journal of Japanese Learning and Teaching 10, nr 1 (27.03.2022): 1–10. http://dx.doi.org/10.15294/chie.v10i1.48541.

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The study was aimed to discover the form of comics used in language learning and the development process, as well as the style of the Comic suitable with the interest of Japanese language students used in the previous study, which is expected to elaborate types of necessary research in the future for Japanese language teaching material development. There were 20 articles reviewed related to comics development for language learning. Based on the review result, it was found that 1) There are two types of comics, namely 1-Panel Comic used to explain one specific material and 4-Panel Comic used for conversation materials. However, there has yet any research related to comics development in the form of comic books; 2) In terms of process, both types of comics are formulated and developed by referring to a curriculum and learning plan so that the comics may assist students in understanding learning material; 3) Comic styles discussed in previous researches refer to American comic style, and thus less suitable to be used as Japanese language learning materials. The style used in Japanese comics is predicted to be more attractive for Japanese language students. However, there has yet any scientific study on the development of Japanese style comics in Japanese language learning.
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Sutanto, Shienny Megawati, i Marina Wardaya. "THE PARADIGM SHIFT OF COMIC AS STORYTELLING MEDIA". VCD 5, nr 1 (13.07.2021): 57–70. http://dx.doi.org/10.37715/vcd.v5i1.2685.

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Comics are media stories that are not specific to a particular group of readers. But in reality, comics are often regarded as mere children's reading. This raises a negative paradigm for comics, and comics are considered as reading that degrades children's morale. This article will describe the history, definition, and function of comics as storytelling media, and how the negative paradigm affects the comic industry in Indonesia. As a medium, the comic is a means to convey messages similar to television, radio, newspapers, and magazines. And similar to other media, comics can be used to convey various kinds of information, not merely intended for entertainment only. Various kinds of messages, ranging from advertorials, political propaganda, public services, even education, can all be conveyed using comic media. However, most people still believe the false paradigm that that comic is only for children. This is a misunderstanding and is not true. Since the beginning, the Indonesian comic industry has always tried to grow and counter the negative paradigm. In order to revitalize comics as one Indonesian creative industry subsector, a paradigm shift on how the society values and appreciates comics not just as child reading material needs to happen. Keyword: comic, media, story, paradigm shift, creative industry.
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Setiyawan, Doni, Evelyne Henny Lukitasari i Arif Yulianto. "Perancangan Komik Digital Wayang Hanoman". JURNAL KEMADHA 13, nr 1 (27.04.2023): 51–70. http://dx.doi.org/10.47942/ke.v13i1.1396.

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ABSTRACT The puppet show comic is a typical Indonesian comic whose story is taken from the Indonesian or Indian version of the Mahabharata and Ramayana stories. Most Indonesian people quite well know this story. This design aims to design effective and attractive i llustrations and create digital comics that are conceptualized and adapted to the target reader. The design method used digital comic media so children can read comics through gadgets daily. On the other hand, the work of designing digital comics for wayang hanoman is expected to teach children about the moral messages in the puppet show of hanoman stories, and it can be imitated in their daily habits. Keywords: Comics, Puppet Show of Comics, Digital Comics, Design
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Jumiati, Annisa, Mochamad Aviandy i Silva Tenrisara Pertiwi Isma. "Identitas Budaya Pada Tokoh Pahlawan Dalam Komik «БЕСОБОЙ» [BESOBOY] Yang Diterbitkan Bubble Comics". Populis : Jurnal Sosial dan Humaniora 8, nr 2 (14.12.2023): 158. http://dx.doi.org/10.47313/pjsh.v8i2.2641.

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<p><em>The comic’s development in Russia is inseparable from globalization which has the ability to carry the movement of global culture. This is the cause of the interfusion between local culture and foreign culture. Bubble Comics is one of the Russian publications that releases Russian versions of superhero-themed comics by adapting comic culture from America and Europe. In this article, the formulation of the problem that will be discussed is how the cultural identity of the hero is represented in the Бесобой [Besoboy/Demon Boy] comics. The aim of this article is to explore the cultural identity featured in Бесобой comics. This article examines cultural identity in the Бесобой [Besoboy] comics series 1—50 by using Stuart Hall’s concept of cultural identity. The results of this research indicate that Russian comics, especially Bubble Comics, still carry Russian cultural values in their stories even though they adopt American and European comic culture. The cultural identity of the comic character Бесобой as a Russian hero is depicted in the form of similar cultural values shared by the characters of Russian society, especially Moscow.</em></p><p>Perkembangan komik di Rusia tidak terlepas dari globalisasi yang memiliki kemampuan dalam mengusung perpindahan arus budaya global. Hal tersebut menjadi penyebab adanya percampuran antara budaya lokal dan budaya luar. Bubble Comics adalah salah satu penerbitan Rusia yang banyak mengeluarkan komik bertemakan pahlawan super versi Rusia dengan mengadaptasi budaya komik dari Amerika dan Eropa. Dalam artikel ini, rumusan masalah yang akan dibahas adalah bagaimana identitas budaya tokoh pahlawan direpresentasikan dalam komik <em>Бесобой [Besoboy/Demon Boy]</em>. Tujuan artikel ini adalah untuk mengeksplorasi identitas budaya yang ditampilkan dalam komik <em>Бесобой [Besoboy]</em>. Artikel ini mengkaji identitas budaya dalam komik <em>Бесобой</em> seri 1—50 dengan menggunakan konsep <em>cultural identity </em>milik Stuart Hall. Hasil dari penelitian ini menunjukkan bahwa komik Rusia, terutama Bubble Comics, tetap mengangkat nilai budaya Rusia di dalam ceritanya meskipun mengadopsi budaya komik Amerika dan Eropa. Identitas budaya dari karakter komik <em>Бесобой</em> sebagai pahlawan Rusia digambarkan dalam bentuk kesamaan nilai budaya yang dimiliki oleh karakter masyarakat Rusia, terutama Moskow.</p>
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Lent, John A. "Comics and Comic Art". Communication Booknotes 22, nr 5 (wrzesień 1991): 108–11. http://dx.doi.org/10.1080/10948009109488004.

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Scanlon, Meaghan. "Canadian Comic Books at Library and Archives Canada". Papers of The Bibliographical Society of Canada 56, nr 1/2 (16.07.2019): 37–51. http://dx.doi.org/10.33137/pbsc.v56i1/2.30363.

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Library and Archives Canada (LAC) has what is likely the largest collection of Canadian comic books in a Canadian library. LAC’s collection has three distinct parts: comics acquired via legal deposit,the John Bell Collection of Canadian Comic Books, and the Bell Features Collection. These holdings, which span the history of the comics medium in Canada, represent a significant resource for researchers studying Canadian comics. This article looks at each of the three main parts of LAC’s comic book collection, giving anoverview of the contents of each part, and providing information on how researchers can discover and access these comics. The article also briefly explores other comics-related holdings at LAC. Its purposeis to provide a starting point for researchers seeking to make use of LAC’s comic book collections.
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Rozprawy doktorskie na temat "Comics"

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Reina, Strehl Giada, i Rodríguez Felipe Duarte. "Comics Bang". Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/132897.

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Tesis para optar al grado de Magíster en Administración (MBA)
Autor no envia autorización del texto completo de su documento (Parte II)
[Parte I] Concentración AFE: estratégico y de mercados -- [Parte II] Concentración AFE organizativo - financiero.
Para el mundo de los negocios resultan bastante lejanos los cómics. Sin mucho espacio a duda, para el ejecutivo promedio no deja de ser una atracción pasajera para sus hijos, o tal vez la película de moda para ir a ver el fin de semana y seguramente una actividad propia de “nerds”. Pero cuando nos vamos interiorizando, y podemos observar por ejemplo, que el título más vendido de la historia, The Amazing Spiderman N° 583 (Sí el número 583, se vende hace casi 50 años!) vendió sólo en Estados Unidos, durante enero y febrero de 2009, más de 530 mil unidades, reportando para Marvel, la editorial dueña de los derechos, más de 2 millones de dólares, la percepción cambia y ya no resulta tan insignificante. Ahora bien, cualquier observador inexperto diría fácilmente, “pero esos datos son de Estados Unidos y no tienen nada que ver con nuestra realidad”, no deja de tener razón. Es evidente que nuestro país para cualquier negocio es menor, especialmente si es de nicho. No obstante, resulta llamativo que según la biografía revisada1 al año 2011, el 1% de la población nacional lee comics diariamente. Siendo conservadores, ya que aquel estudio no tenía ese fin, y considerando solo la ciudad de Santiago, el tamaño del mercado es superior a 70 mil personas. Según la encuesta que realizamos para conocer más de ellos, gastan cerca de $ 1.000 millones de pesos al año. Pero, ¿Que podríamos hacer distinto para captar la atención en este mercado? La verdad es que en Santiago no sería tan difícil. Fanáticos y aficionados del cómic solo son atendidos por 8 tiendas “especialistas”, que a la luz de una visita presencial a cada una de ellas, y según la confirmación que nos dieron los resultados de nuestra investigación, tienen características que no se condicen con lo que ellos quieren: atención deficiente, poca variedad de títulos y mala ubicación. En consecuencia, la idea de Comics Bang! es ofrecer una propuesta distinta a lo que hay en la actualidad en el mercado, poniendo a disposición de los consumidores la posibilidad de arrendar comics y participar de una batería de actividades ad hoc, en un espacio acogedor y tecnológico, para mejorar y hacer más llamativa la experiencia en la tienda. Con personal experto, pero amable y cercano, con mayor variedad de títulos disponibles de los que tienen en sus estanterías la competencia relevante y una ubicación ideal en pleno corazón de Providencia (en Calle Suecia a pasos del metro Los Leones) de fácil acceso y en un barrio comercial. Comics Bang! tiene una clara estrategia de diferenciación, donde sus esfuerzos y capacidades están dirigidos a dos públicos: el experto en cómics, que ya tiene un camino en este mundo y que prefiere comprar los títulos y participar de actividades periódicamente, pero también al principiante, que ve en el arriendo una oportunidad para aumentar su capacidad de leer títulos y conocimiento. Se pretende construir una relación con el cliente vinculante a través de la página web y de las redes sociales y por esta vía se intenta conseguir posicionamiento de marca y dar a conocer los atributos de la tienda. A pesar de que el equipo de trabajo será reducido, contaremos de manera ineludible con un Community Manager para enfatizar el interés de la empresa en darse a conocer y marcar tendencia en este ámbito. Respecto a la composición de la industria, no existen amenazas importantes y si ellas se materializaran, creemos contar con las habilidades y recursos suficientes para afrontarlas y superarlas. El equipo gestor cuenta con expertos en cómics, con el bagaje de haber trabajado en los distintos estamentos del negocio. La evaluación económica financiera del negocio considera un horizonte de cinco años para todas las proyecciones, teniendo como resultados relevantes para un inversión de 178.846.706 millones de pesos, un VAN de $268.008.621, con una TIR de 41,45%. Estos datos nos permiten concluir que es absolutamente recomendable llevar a cabo el proyecto, tenemos la convicción que la rentabilidad proyectada es sostenible y suficientemente atractiva para quienes deseen invertir en un emprendimiento no convencional pero seguro.
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Bahls, Gislaine Aparecida. "Astonishing comics". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/107102.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2013
Made available in DSpace on 2013-12-05T23:13:03Z (GMT). No. of bitstreams: 1 319145.pdf: 5115420 bytes, checksum: bb9e06fecdcca643b083f7d6a44bf22f (MD5) Previous issue date: 2013
Stan Lee co-created in 1963 the X-Men; comics characters who in consequence of developing super-powers at puberty due to natural genetic evolution suffer society?s prejudice. In their analysis of the X-Men Trilogy X-Men (Bryan Singer 2000); X2: X-Men United (Bryan Singer 2003); and X-Men: the Last Stand (Brett Ratner 2006); through a Disability Studies perspective Michael M. Chemers (2004), Ramona Ilea (2009), Martin Mantle (2007), and Jennifer Rinaldi (2008) argue that mutants can be understood as social characterizations of disability. This investigation studies whether this affirmation also holds true for mutants depicted in X-Men comics. I will analyze the comics storylines God Loves, Man Kills (Marvel Graphic Novel # 05) and Gifted (Astonishing X-Men # 01 - 06) ? on which X2: X-Men United and X-Men: the Last Stand were based respectively.

Stan Lee foi o co-criador, em 1964, dos X-Men, personagens de histórias em quadrinhos os quais, em conseqüência de desenvolverem super-poderes na puberdade, são alvos do preconceito da sociedade. Ao analisar a Trilogia dos filmes dos X-Men - X-Men (Bryan Singer 2000); X2: X-Men United (Bryan Singer 2003); e X-Men: The Last Stand (Brett Ratner 2006); a partir de uma perspective de Estudos sobre Deficiência. Michael M. Chemers (2004), Ramona Ilea (2009), Martin Mantle (2007), e Jennifer Rinaldi (2008) argumentam que os mutantes podem ser compreendidos como caracterizações sociais de deficiência. Este estudo investiga se esta afirmação também é válida para os mutantes presentes nas histórias em quadrinhos dos X-Men. As linhas narrativas a serem analisadas são: God Loves, Man Kills (Marvel Graphic Novel 05) e Gifted (Astonishing X-Men # 01 - 06); nas quais foram baseados X2: X-Men United e X-Men: the Last Stand respectivamente.
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Samanci, Ozge. "Embodying comics reinventing comics and animation for a digital performance /". Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/29630.

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Thesis (Ph.D)--Literature, Communication, and Culture, Georgia Institute of Technology, 2010.
Committee Chair: Mazalek, Alexandra; Committee Member: Bolter, Jay; Committee Member: Knospel, Kenneth; Committee Member: Murray, Janet; Committee Member: Winegarden, Claudia Rebola. Part of the SMARTech Electronic Thesis and Dissertation Collection.
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Little, Ben. "Comic books, politics and readers : the influence of the 2000AD group of comics creators on the formation of Anglo-American comics culture". Thesis, Middlesex University, 2011. http://eprints.mdx.ac.uk/8089/.

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This thesis accounts for the influence on the mainstream American comic book industry of a group of comics creators from the cult British science fiction magazine 2000AD in the early 1980s. It details the way in which these creators developed new methods for approaching politics in comic books and delivering that to a more diverse group of readers as a response to censorship in Britain of the boys magazine Action. The thesis looks at the way the medium's publishing history has interacted with the development of its modes of communication; in particular it explores how the reader in comics is positioned in relation to character and narrative development. To support this argument two chapters are devoted to the methodology and discussion of how the medium works. Comics consist of sequences of images that require reader input to produce a narrative. The chapters on form explore the implications this has for close analysis. These chapters use Hergé's iconic character Tintin and Grant Morrison and Chas Truog's surreal Animal Man: Deus Ex Machina as examples and draw upon and critique the theoretical work of Scott McCloud and Thierry Groensteen, among others. The core of the thesis revolves around close analysis of eight texts, three from the UK and five from the USA. These are grouped into categories that broadly represent the different phases of the phenomenon. The first includes John Wagner, Alan Grant and Ian Gibson's RoboHunter: Play It Again Sam; Alan Moore and Ian Gibson's The Ballad of Halo Jones and Alan Moore and David Lloyd's V for Vendetta. These readings are then tested against roughly contemporary American published comics in the form of Chris Claremont and John Byrne's X-Men: The Dark Phoenix Saga and Frank Miller's Daredevil before looking at Alan Moore, Steve Bissette and John Totleben's Saga of The Swamp Thing as a direct transferral of values developed on 2000AD to the American market. The thesis then moves on to consider how British creators influenced American comics moving forward by looking at an example that was clearly influenced by the movement in Frank Miller's Batman: The Dark Knight Returns again using his earlier comic Ronin for comparison. Throughout the thesis these readings are used to show how these comics imagined new political configurations in response to the right-wing politics of Margaret Thatcher and Ronald Reagan and attempted to do so while engaging a more diverse readership than was previously the case in either the British or American adventure comics mainstream. The thesis as a whole advances comics studies in terms of contributing to theoretical work on how the medium communicates and by providing a detailed look at this period in the history of comics. It also contributes to a framework for future research in cultural studies to approach different aspects of the medium.
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Hague, Ian. "Experiencing comics : a multisensory approach to the comic strip and related forms". Thesis, University of Chichester, 2012. http://eprints.chi.ac.uk/574/.

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Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comics are inherently and almost exclusively visual. Drawing on social definitions for its object, this study challenges that premise and asserts that comics is not just a visual medium. The study outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader's physical senses can be understood. A wide range of examples demonstrate how multisensory communication systems work in both commercial and more experimental contexts. The thesis concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by ocularcentric approaches.
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Bahamonde, O. Javier. "Web comics: aprendizaje en cuadritos: comics on line complementarios al aprendizaje". Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/100826.

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Desarrollar un cómic que sirva de base para un sistema de comunicación visual, con soporte y sustento en el código gráfico y narrativo de la historieta, que sirva de complemento a un aprendizaje significativo de las asignaturas de Educación Tecnológica y Comprensión del Medio y Sociedad, para alumnos de enseñanza media.
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Jatta, Kölin David. "Comics in Education; Can Comics Facilitate Reading Comprehension for ESL learners". Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41499.

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Följande kunskapsöversikt ämnar att undersöka effekten serietidningsliknande läsmaterial har på läsförståelsen hos andraspråksinlärare av Engelska. För att undersöka detta formulerades följande forskningsfråga: I vilken mån kan serietidningsliknande material påverka läsförståelsen hon andraspråksinlärare av Engelska? En prototypisk definition av serietidningar (Mayer, 2007) användes för att tillåta denna kunskapsöversikt att använda både studier som använde serietidningar och studier som använde seriestrippar som läsmaterial. I denna kunskapsöversikt kommer därför termen serietidningsliknande läsmaterial (Comic reading materials) användas som en paraplyterm för de två mediumen. För att granska om serietidningsliknande material kan påverka läsförståelsen för andraspråksinlärare i engelska har nio vetenskapliga artiklar som behandlar ämnet valts ut. Studierna I denna kunskapsöversikt har delats upp beroende på om de använder seriestrippar eller serietidningar/grafiska noveller då dessa två material bör åkalla effekten av de kognitiva teorier som presenteras i studien. Studierna gav inte ett tyligt svar på huruvida läsmaterialen påverkade läsförståelsen bland deras deltagare. Studierna hade även olika definitioner av nyckelord så som läsförståelse, skilda metoder för att mäta läsförståelse samt variation i hur de utförde texter tester. De olika resultaten från studierna har lett till följande slutsatser. Serieliknande läsmaterial har en potential som läromedel då de kan främja läsförståelse trots att det i fallet av de valda studierna inte alltid gör det. Det behövs vidare forskning i ämnet, då definitioner av nyckelbegrepp samt tester varierar i hög grad och detta gör det svårt att dra en tydlig slutsats.
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Day, Kenna Alise. "Crazier than Sack of Ferrets!: Deadpool as the Post-Watchmen Superhero". Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/75308.

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Watchmen has been hailed as revolutionary not only for the literary quality of Alan Moore's script and the precise execution of Dave Gibbon's art, but also for the novel's successful exploration of sophisticated subject matter and realistic moral conflict. Perhaps the most interesting question Watchmen forces us to consider is why an individual would put on the costume and don the mask, and how such a constructed persona affects the individual psychologically and morally. For those heroes that came before, the compulsion to fight crime was often an in-born ideology of justice. But for Moore's Watchmen, we find that even superheroes are corruptible, flawed, imperfect, and even (more than) a little crazy. In the wake of what is arguably one of the most influential superhero novels published to date, the comics industry saw a rise in the popularity of anti-heroes like Moore's, but it wasn't until the 1991 creation of Marvel's Deadpool that fans saw exactly what it means to be a hero in the post-atomic, post-Vietnam age. Through self-reflexivity, genre deconstruction, and dark hysteria, Deadpool shows us that it isn't so easy to walk the straight line of the righteous, and that sometimes it's much easier to submit to the madness of a chaotic, morally ambiguous world.
Master of Arts
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Shamsavari, Sina. "Gay comics and queer male comics in America : history, conventions and challenges". Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/gay-comics-and-queer-male-alternative-comics-in-america(710bfb57-7e92-4806-9a9c-c13f51a2cdcc).html.

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This thesis is focused on American gay male comics and queer alternative comics. I argue that the field of gay male comics production is dominated by two key genres: gay porno comics and gay ghetto comics. The conventions and characteristics of these genres help to construct and reinforce a dominant gay male habitus that is both sexual and social. Drawing on interviews as well as close readings of a number of case studies, I discuss the ways in which alternative queer cartoonists respond to the conventions of these genres, and create alternative representations of gay identity, community, and sex. I argue ultimately that the field of gay male comics production is not entirely homogenous, and that the queer male alternative comics that appear from roughly 1990 onwards are distinctive. The gay male comics of the First Wave (from the 1970s to 1990) are concerned with constructing and consolidating a sense of gay identity and community as relatively unified and stable. While sometimes critical of gay culture, as a whole they ultimately affirm the ideal of a unified gay community. In contrast, the queer male alternative comics that emerged as part of the Second Wave (starting around 1990) are far more concerned with questioning the normative, dominant values of mainstream gay culture, and challenging the identities, tastes and practices associated with the dominant gay habitus. Nevertheless because the gay ghetto and gay porno genres have been so dominant, queer alternative cartoonists position themselves in various different relationships to one or other genre. While some do abandon the genre conventions of gay porno and gay ghetto comics, more often queer alternative cartoonists take up some of these genre conventions and adapt, challenge, or subvert them in subtle ways.
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RAMOS, ANDRE DE FREITAS. "DIGITAL COMICS: THE VISUAL LANGUAGE OF THE COMIC BOOKS AND THE DIGITAL PARADIGM". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30279@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A pesquisa parte do princípio de que as histórias em quadrinhos constituem um importante meio de entretenimento e comunicação. Em decorrência da característica de mesclar imagem e texto como nenhuma outra forma de arte, se desenvolveram em um nicho próprio. Considera-se que a linguagem das HQs evolui a partir da estrutura de códice com seu sistema de páginas. Detentora de uma linguagem visual própria percebe-se na contemporaneidade, transformações com o advento das tecnologias. Atualmente, podem ser lidas em dispositivos móveis agregando incrementos ao se aproximar de outras mídias. Diante deste novo paradigma digital atinge nível de mobilidade que o computador pessoal não permitia, propondo um novo nicho de expressão e produção artística. Com foco na fruição e leitura em plataformas digitais, a pesquisa traça um panorama dos principais aplicativos de distribuição e leitura enquanto analisa títulos e narrativas específicas. Também aborda a evolução da linguagem visual das histórias em quadrinhos, contemplando a transposição para o mundo digital na internet e aspectos relacionados com a adaptação para os dispositivos móveis.
This research is based on the principle that comics represent an important form of entertainment and communication. Due to its capability to combine image and text like no other art form, it establishes itself as a unique means of expression. We could determine that its configuraton originates from pages of a códex structure. Since it holds its own specific visual language. Nowadays comics can be read on mobile devices more elements in connection with other media. On account of these new digital paradigms comics reach a mobility level that the personal computer alone coudn t offer, opening up new áreas of expression and artistic creativity. Considering its utilization in digital platforms, this study presents a outline of the main applications in its circulation and reading, trying at the same time to analyze titles and specific characteristics. It also covers the evolution of the visual language in comics, including its transposition to the digital world of the interner as well as other aspects related to the adaptation to the mobile devices.
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Książki na temat "Comics"

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Rupertinum, Salzburger Landessammlungen, i Museum der Moderne Salzburg Mönchsberg, red. Kino & Comics: Comic-Helden im Film. Salzburg: Museum der Moderne Salzburg, 2007.

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Jamie, Hepburn, i Tramway Theatre, red. Tramway comics: Strange & bizarre comic strips! Glasgow: [The Editor?], 1991.

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Gehrig, Anette, i Christian Gasser. Comics Deluxe!: Das Comic-Magazin Strapazin. Basel: Christoph Merian Verlag, 2012.

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Cash, Sherae Elaine. Comics & More Comics MY COMIC INTERIORS. Independently Published, 2019.

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Nikorth, Jeff. My Super Comic : Comics Book Templates: Marvel Comics / Marvel Comics Collection / Spiderman Comics / Comic Book Collections . Independently Published, 2021.

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Comic Book History of Comics: Comics for All. Idea & Design Works, LLC, 2018.

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Galleries, Heritage Auction. Comics and Comic Art. Heritage Auction Galleries, 2006.

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Comic diorama: Collected comics. Marieta, Georgia: Top Shelf Productions, 2009.

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Kavya Comics: Poetic Comic Series. India: Freelance Talents, 2011.

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Iger, J. Comic Book Preserves Jungle Comics. Blackthorne Pub, 1985.

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Części książek na temat "Comics"

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Earle, Harriet E. H. "Introduction". W Comics, 1–11. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-1.

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Earle, Harriet E. H. "Definitions and mechanics". W Comics, 12–32. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-2.

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Earle, Harriet E. H. "Histories". W Comics, 33–61. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-3.

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Earle, Harriet E. H. "Going global". W Comics, 62–92. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-4.

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Earle, Harriet E. H. "Cultures and commodities". W Comics, 93–117. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-5.

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Earle, Harriet E. H. "Journalism". W Comics, 118–39. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-6.

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Earle, Harriet E. H. "Drawing lives". W Comics, 140–66. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-7.

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Earle, Harriet E. H. "Conclusion". W Comics, 167–78. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429317484-8.

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Knigge, Andreas C. "Comics". W Kindlers Literatur Lexikon (KLL), 1–28. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22952-1.

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Carter, James Bucky. "Comics". W Encyclopedia of Adolescence, 460–68. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-1695-2_277.

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Streszczenia konferencji na temat "Comics"

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Sachdeva, Ragav, i Andrew Zisserman. "The Manga Whisperer: Automatically Generating Transcriptions for Comics". W 2024 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR), 12967–76. IEEE, 2024. http://dx.doi.org/10.1109/cvpr52733.2024.01232.

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Wang, Zhengyang, Xusheng Du, Tsukasa Fukusato i Haoran Xie. "Interactive Design System for Dynamic Comics from Video Sequence". W 2024 Nicograph International (NicoInt), 83. IEEE, 2024. http://dx.doi.org/10.1109/nicoint62634.2024.00024.

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Dykes, Thomas, Mark Blythe, Jayne Wallace, James Thomas i Tim Regan. "RtD Comics". W DIS '16: Designing Interactive Systems Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2901790.2901821.

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Choi, Myung Geol, Kyungyong Yang, Jehee Lee, Jun Mitani i Takeo Igarashi. "Motion comics". W ACM SIGGRAPH 2011 Talks. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2037826.2037862.

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Samanci, Özge, i Anuj Tewari. "GPS comics". W ACM SIGGRAPH 2010 Posters. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836845.1836871.

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BARNOUIN, Christophe, Nathalie BONNIN, Luc DESGARDIN i SUPINFOCOM. "COMICS TRIP". W ACM SIGGRAPH 2001 video review. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/945191.945197.

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Samanci, Özge, Yanfeng Chen i Ali Mazalek. "Tangible comics". W the international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1255047.1255082.

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Linek, Stephanie B. "SERIOUS COMICS: INFLUENCE OF BALANCED COMIC FIGURES AND SUBJECTIVE AFFINITIES". W 16th International Conference on Education and New Learning Technologies. IATED, 2024. http://dx.doi.org/10.21125/edulearn.2024.0531.

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Ledbetter, Brian, Zach Wallace, Adam Harms, Ambareen Siraj i Laurin Buchanan. "CySCom: Cybersecurity COMics". W 2016 IEEE Conference on Intelligence and Security Informatics (ISI). IEEE, 2016. http://dx.doi.org/10.1109/isi.2016.7745490.

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Hirata, Nina S. T., Igor S. Montagner i Roberto Hirata. "Comics image processing". W MANPU '16: First International Workshop on coMics ANalysis, Processing and Understanding. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3011549.3011560.

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Raporty organizacyjne na temat "Comics"

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PLATONOVA, E. V., i K. A. MYASNIKOVA. THE SPECIFIC TRANSLATION OF ONOMATOPOEIA IN ENGLISH COMICS. Science and Innovation Center Publishing House, kwiecień 2022. http://dx.doi.org/10.12731/2077-1770-2021-14-1-3-77-82.

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This article is devoted to the study of the translation of onomatopoeia in English-language comics into the Russian language. Onomatopoeic words cause difficulties in their translation, which creates the need to study onomatopoeia from the point of view of their special characteristics, such as their optional role. The need for creative rethinking, full consideration of the context as well as getting into the situation are especially highlighted.
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Wang, Zezhong, Stephan Gruber, Michelle Levy i Sheelagh Carpendale. From science to story: communicating permafrost concepts with data comics. International Permafrost Association (IPA), czerwiec 2024. http://dx.doi.org/10.52381/icop2024.157.1.

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Tooman, Tricia, Waraf Al-Yaseen, Damon Herd, Clio Ding, Maria Corrales i Jaina Teo Lewen. THE COVID ROLLERCOASTER: Multiple and Multi-dimensional Transitions of Healthcare Graduates. Redaktorzy Divya Jindal-Snape, Chris Murray i Nicola Innes. UniVerse, maj 2022. http://dx.doi.org/10.20933/100001247.

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In this study, we explored the ongoing multiple and multi-dimensional transitions experienced by medicine, nursing and dentistry students due to graduate in summer 2020. Some graduated early to join the NHS workforce and others had their graduation deferred for a year due to lack of clinical experience. We explored the expectations and realities of their transition experiences; their perceptions of the impact of their transitions on them, their wellbeing, and on their significant others. This longitudinal study helped understand each individual’s adaptations to multiple concurrent changes over time. The cross-sectional data revealed trends and patterns for each group of graduates. This comic anthology presents the interpretations of interview data from doctor, nurse, and dentist graduates. The five comics present both individual and composite narratives of different participants. The visualisation of the data through comics was valuable to portray the wider context of COVID-19, and participants’ related transition experiences and emotions.
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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, styczeń 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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Knox, Kyle. Comics and the Complicit Reader: Closure as a Transgressive Technique in Transmetropolitan. Portland State University Library, styczeń 2014. http://dx.doi.org/10.15760/honors.45.

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Simancas González, E., i B. Novella Serrano. Del product placement al brand placement: el caso de DC Comics en la sitcom The Big Bang Theory. Revista Latina de Comunicación Social, grudzień 2016. http://dx.doi.org/10.4185/cil2016-063.

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Бережна, Маргарита Василівна. The Traitor Psycholinguistic Archetype. Premier Publishing, 2022. http://dx.doi.org/10.31812/123456789/6051.

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Film studies have recently begun to employ Jung’s concept of archetypes prototypical characters which play the role of blueprint in constructing clear-cut characters. New typologies of archetype characters appear to reflect the changes in the constantly developing world of literature, theater, film, comics and other forms of entertainment. Among those, there is the classification of forty-five master characters by V. Schmidt , which is the basis for defining the character’s archetype in the present article. The aim of the research is to identify the elements of the psycholinguistic image of Justin Hammer in the superhero film Iron Man 2 based on the Marvel Comics and directed by Jon Favreau (2010). The task consists of three stages, namely identification of the psychological characteristics of the character, subsequent determination of Hammer’s archetype and definition of speech elements that reveal the character’s psychological image. This paper explores 92 Hammer’s turns of dialogues in the film. According to V. Schmidt’s classification, Hammer belongs to the Traitor archetype, which is a villainous representation of the Businessman archetype.
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Бережна, Маргарита Василівна. The Destroyer Psycholinguistic Archetype. Baltija Publishing, 2021. http://dx.doi.org/10.31812/123456789/6036.

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The aim of the research is to identify the elements of the psycholinguistic image of the main antagonist Hela in the superhero film Thor: Ragnarok based on the Marvel Comics and directed by Taika Waititi (2017). The task consists of two stages, at the first of which I identify the psychological characteristics of the character to determine to which of the archetypes Hela belongs. As the basis, I take the classification of film archetypes by V. Schmidt. At the second stage, I distinguish the speech peculiarities of the character that reflect her psychological image.
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Hite, John E., i Jr. Comite River Diversion, Comite River, Louisiana: Hydraulic Model Investigation. Fort Belvoir, VA: Defense Technical Information Center, czerwiec 1994. http://dx.doi.org/10.21236/ada282507.

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Morgan, David M. COMINT Audio Interface. Fort Belvoir, VA: Defense Technical Information Center, lipiec 1999. http://dx.doi.org/10.21236/ada367846.

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