Using Comics and Graphic Novels in K-9 Education: an Integrative Research Review
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JKA918 Manga Studies (JB, VT2019) (1) Studying Manga: Introduction to the Research Field Inside and Outside of Japan JB (2007)
JKA918 Manga Studies (JB, VT2019) (1) Studying manga: Introduction to the research field inside and outside of Japan JB (2007), “Considering Manga Discourse: Location, Ambiguity, Historicity”. In Japanese Visual Culture, edited by Mark MacWilliams, pp. 351-369. Armonk, NY: M. E. Sharpe [e-book]; JB (2016), Chapter 8 “Manga, which Manga? Publication Formats, Genres, Users,” in Japanese Civilization in the 21st Century. New York: Nova Science Publishers, ed. Andrew Targowski et al., pp. 121-133; Kacsuk, Zoltan (2018), “Re-Examining the ‘What is Manga’ Problematic: The Tension and Interrelationship between the ‘Style’ Versus ‘Made in Japan’ Positions,” Arts 7, 26; https://www.mdpi.com/2076-0752/7/3/26 (2) + (3) Archiving popular media: Museum, database, commons (incl. sympos. Archiving Anime) JB (2012), “Manga x Museum in Contemporary Japan,” Manhwa, Manga, Manhua: East Asian Comics Studies, Leipzig UP, pp. 141-150; Azuma, Hiroki ((2009), Otaku: Japan’s Database Animals, UP of Minnesota; ibid. (2012), “Database Animals,” in Ito, Mizuko, ed., Fandom Unbound: Otaku Culture in a Connected World, Yale UP, pp. 30–67. [e-book] (4) Manga as graphic narrative 1: Tezuka Osamu’s departure from the ‘picture story’ Pre- reading: ex. Shimada Keizō, “The Adventures of Dankichi,” in Reading Colonial Japan: Text, Context, and Critique, ed. Michele Mason & Helen Lee, Stanford UP, 2012, pp. 243-270. [e-book]; Natsume, Fusanosuke (2013). “Where Is Tezuka?: A Theory of Manga Expression,” Mechademia vol. 8, pp. 89-107 [e-journal]; [Clarke, M.J. (2017), “Fluidity of figure and space in Osamu Tezuka’s Ode to Kirihito,” Journal of Graphic Novels and Comics, 26pp. -
The Practical Use of Comics by TESOL Professionals By
Comics Aren’t Just For Fun Anymore: The Practical Use of Comics by TESOL Professionals by David Recine A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in TESOL _________________________________________ Adviser Date _________________________________________ Graduate Committee Member Date _________________________________________ Graduate Committee Member Date University of Wisconsin-River Falls 2013 Comics, in the form of comic strips, comic books, and single panel cartoons are ubiquitous in classroom materials for teaching English to speakers of other languages (TESOL). While comics material is widely accepted as a teaching aid in TESOL, there is relatively little research into why comics are popular as a teaching instrument and how the effectiveness of comics can be maximized in TESOL. This thesis is designed to bridge the gap between conventional wisdom on the use of comics in ESL/EFL instruction and research related to visual aids in learning and language acquisition. The hidden science behind comics use in TESOL is examined to reveal the nature of comics, the psychological impact of the medium on learners, the qualities that make some comics more educational than others, and the most empirically sound ways to use comics in education. The definition of the comics medium itself is explored; characterizations of comics created by TESOL professionals, comic scholars, and psychologists are indexed and analyzed. This definition is followed by a look at the current role of comics in society at large, the teaching community in general, and TESOL specifically. From there, this paper explores the psycholinguistic concepts of construction of meaning and the language faculty. -
Doing Social Sciences Via Comics and Graphic Novels. an Introduction
Re-formats: Envisioning Sociology – peer-reviewed Sociologica. V.15 N.1 (2021) https://doi.org/10.6092/issn.1971-8853/12773 ISSN 1971-8853 Doing Social Sciences Via Comics and Graphic Novels. An Introduction Eduardo Barberis* a Barbara Grüning b a Department of Economics, Society, Politics, University of Urbino Carlo Bo (Italy) b Department of Sociology and Social Research, University of Milan-Bicocca (Italy) Submitted: March 16, 2021 – Revised version: April 25, 2021 Accepted: May 8, 2021 – Published: May 26, 2021 Abstract Visual communication is far from new and is almost as old as the social sciences. In the last decades, the interest in the visual dimension of society as well as towards the visual as expression of local and global cultures increased to the extent that specific disciplinary approaches took root — e.g. visual anthropology and visual sociology. Nevertheless, it seems to us that whereas they are mostly engaged in collecting visual data and analyzing visual cultural products, little attention is paid to one of the original uses of visual mate- rial in ethnographic and social research, that is communicating social sciences. Depart- ing from some general questions, such as how visualizing sociological concepts, what role non-textual stimuli play in sociology, how they differentiate according to the kind of pub- lic, and how we can critically and reflexively assess the social and disciplinary implications of visualizations of empirical research, we collect in the special issues contributions from social scientists and comics artists who materially engaged in the production of social sci- ences via comics and graphic narratives. The article is divided into three parts. -
Comics As a Medium Dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Comics as a Medium dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds David Eric Low University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Education Commons Recommended Citation Low, David Eric, "Comics as a Medium dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds" (2015). Publicly Accessible Penn Dissertations. 1090. https://repository.upenn.edu/edissertations/1090 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1090 For more information, please contact [email protected]. Comics as a Medium dor Inquiry: Urban Students (Re-)Designing Critical Social Worlds Abstract Literacy scholars have argued that curricular remediation marginalizes the dynamic meaning-making practices of urban youth and ignores contemporary definitions of literacy as multimodal, socially situated, and tied to people's identities as members of cultural communities. For this reason, it is imperative that school-based literacy research unsettle status quos by foregrounding the sophisticated practices that urban students enact as a result, and in spite of, the marginalization they manage in educational settings. A hopeful site for honoring the knowledge of urban students is the nexus of alternative learning spaces that have taken on increased significance in ouths'y lives. Many of these spaces focus on young people's engagements with new literacies, multimodalities, the arts, and popular media, taking the stance that students' interests are inherently intellectual. The Cabrini Comics Inquiry Community (CCIC), located in a K-8 Catholic school in South Philadelphia, is one such space. -
ICLA Research Committee Comics Studies and Graphic Narrative Statement of Purpose the Research Committee Comics Studies and Gr
ICLA Research Committee Comics Studies and Graphic Narrative Statement of Purpose The research committee Comics Studies and Graphic Narrative seeks to advance the study of the medium of comics in the field of comparative literature. The committee aims to facilitate opportunities for discussion, to present research in joint sessions at the AILC/ICLA congresses and other major meetings, to encourage and enable the publication of the results in journals and anthologies, and to support young and emerging scholars in the field. The main research foci of this committee are: • the history of the medium, in particular of specific genres (the superhero, the graphic novel, bande dessinée, manga, autobiography and other nonfiction genres); • the history of the comics industry, and future developments in the production of comics including, for example, digital comics; • narrative studies in comics (the forms and conventions of graphic storytelling, the development and adaptation of narrative theory in analyzing comics); • the relationship between text and image; • the culture of comics and fandom; • media studies of comics, in particular the study of adaptation and translation, (transmedial relations between comics and other media, such as screen media;, comics and the history of literature and the visual arts; • Cultural studies of comics, for example the study of gender, race, politics, disabilities, place and the environment; • The teaching of comics, and the pedagogical uses of comics; • comparative approaches to these studies from different traditions, cultures and language areas; All research committee members share a strong commitment to developing methods of analysis and comics’ theory as well as trans- and intermedial relations. Comics studies is an interdisciplinary field that builds on a variety of disciplinary approaches from art history and media studies to literary studies, narratology, history and sociology, and thus offers a platform for discussion and interaction across research areas that have traditionally stood apart. -
Extending and Visualizing Authorship in Comics Studies
AN ABSTRACT OF THE THESIS OF Nicholas A. Brown for the degree of Master of Arts in English presented on April 30, 2015 Title: Extending and Visualizing Authorship in Comics Studies. Abstract approved: ________________________________________________________________________ Tim T. Jensen Ehren H. Pflugfelder This thesis complicates the traditional associations between authorship and alphabetic composition within the comics medium and examines how the contributions of line artists and writers differ and may alter an audience's perceptions of the medium. As a fundamentally multimodal and collaborative work, the popular superhero comic muddies authorial claims and requires further investigations should we desire to describe authorship more accurately and equitably. How might our recognition of the visual author alter our understandings of the author construct within, and beyond, comics? In this pursuit, I argue that the terminology available to us determines how deeply we may understand a topic and examine instances in which scholars have attempted to develop on a discipline's body of terminology by borrowing from another. Although helpful at first, these efforts produce limited success, and discipline-specific terms become more necessary. To this end, I present the visual/alphabetic author distinction to recognize the possibility of authorial intent through the visual mode. This split explicitly recognizes the possibility of multimodal and collaborative authorships and forces us to re-examine our beliefs about authorship more generally. Examining the editors' note, an instance of visual plagiarism, and the MLA citation for graphic narratives, I argue for recognition of alternative authorships in comics and forecast how our understandings may change based on the visual/alphabetic split. -
Igncc18 Programme
www.internationalgraphicnovelandcomicsconference.com [email protected] #IGNCC18 @TheIGNCC RETRO! TIME, MEMORY, NOSTALGIA THE NINTH INTERNATIONAL GRAPHIC NOVEL AND COMICS CONFERENCE WEDNESDAY 27TH – FRIDAY 29TH JUNE 2018 BOURNEMOUTH UNIVERSITY, UK Retro – a looking to the past – is everywhere in contemporary culture. Cultural critics like Jameson argue that retro and nostalgia are symptoms of postmodernism – that we can pick and choose various items and cultural phenomena from different eras and place them together in a pastiche that means little and decontextualizes their historicity. However, as Bergson argues in Memory and Matter, the senses evoke memories, and popular culture artefacts like comics can bring the past to life in many ways. The smell and feel of old paper can trigger memories just as easily as revisiting an old haunt or hearing a piece of music from one’s youth. As fans and academics we often look to the past to tell us about the present. We may argue about the supposed ‘golden age’ of comics. Our collecting habits may even define our lifestyles and who we are. But nostalgia has its dark side and some regard this continuous looking to the past as a negative emotion in which we aim to restore a lost adolescence. In Mediated Nostalgia, Ryan Lizardi argues that the contemporary media fosters narcissistic nostalgia ‘to develop individualized pasts that are defined by idealized versions of beloved lost media texts’ (2). This argument suggests that fans are media dupes lost in a reverie of nostalgic melancholia; but is belied by the diverse responses of fandom to media texts. Moreover, ‘retro’ can be taken to imply an ironic appropriation. -
Context Is Everything: a Review of Comics Studies: a Guidebook
THE COMICS GRID Journal of comics scholarship REVIEW How to Cite: Berube, L. 2020. Context is Everything: A Review of Comics Studies: A Guidebook. The Comics Grid: Journal of Comics Scholarship, 10(1): 12, pp. 1–10. DOI: https://doi.org/10.16995/cg.221 Published: 16 October 2020 Peer Review: This article has been peer reviewed through the double-blind process of The Comics Grid: Journal of Comics Scholarship, which is a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Third-party content is included in articles for research and educational purposes only under Academic Fair Dealing/Fair Use. Unless otherwise stated all third-party content is copyright of its original owners; all images of and references to characters and comic art presented on this site are ©, ® or ™ their respective owners. Open Access: The Comics Grid: Journal of Comics Scholarship is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Linda Berube, ‘Context is Everything: A Review of THE COMICS GRID Comics Studies: A Guidebook’, (2020) 10(1): 12 Journal of comics scholarship The Comics Grid: Journal of Comics Scholarship. DOI: https://doi.org/10.16995/cg.221 REVIEW Context is Everything: A Review of Comics Studies: A Guidebook Linda Berube City, University of London, GB [email protected] Comics Studies: A Guidebook, edited by Charles Hatfield and Bart Beaty, Rutgers University Press, 326 pages, 2020, ISBN 9780813591414. -
Comfort Women’ Comics, Multi- Faceted Revisiting the 2014 Manhwa Exhibit in Angoulême from the Perspective of Manga Studies
Jaqueline Berndt ‘Comfort Women’ Comics, Multi- faceted Revisiting the 2014 Manhwa Exhibit in Angoulême from the Perspective of Manga Studies Keywords: manga, manhwa, representation, genre, affect Introduction The International Comics Festival in Angoulême, held annually around the end of January, is the biggest of its kind in Europe, and it plays an important role also for Asian actors. While Japanese artists have been receiving festival awards since the late 1990s and Japanese publishers have been attending the festival as well, the Korean government began official participation in 2003.1 In view of the recent international tensions in East Asia, it is not surprising that such festivals, too, may become the site of political contention. Precisely this happened in early 2014. At the time, the 41st festival commemorated the centennial of World War I, and in relation to the subtheme of war-induced violence against women, the French organizers had accepted the proposal of a state-sponsored Korean exhibition featuring specially commissioned comics2 (Kor. manhwa) on 1 Followed by Hong Kong in 2011 and Taiwan in 2012. 2 I refrain from using the word comic book/s due to its connotation of a specific, American publication format. In line with recent comics studies custom, the word comics signifies both the singular and the plural. 143 ‘comfort women,’ that is, “women forced into sexual slavery between 1932–45 to provide sex for Japanese soldiers” (Kingston 2014, 43) (fig. 1).3 When this leaked out in August 2013, a Japanese revisionist named Fujii Mitsuhiko took action; specifically, he launched the ROMPA pro- ject and booked a booth within the Little Asia hall of the festival where he intended to disseminate his counter-narrative, a self-produced 83-page comics (Jp. -
1 Comics Studies Qualifying Examination Structure Students
1 Comics Studies Qualifying Examination Structure Students taking the Comics Studies Qualifying Examination must master a core list of canonical primary texts, as well as an established body of critical theory, while also creating a specialty list from these emphases: Twentieth-Century North American Comics History Comics Memoir Critical Approach: Comics Theory Critical Approach: Gender and Sexuality Critical Approach: Cultural Studies A short list of required reading (between 5-10 texts) has been be provided for each specialty area, and candidates should enhance their list with texts of their own choosing. In total, the specialty list should total between 20-25 texts. The Comics Studies qualifying examination will have a core set of two questions and a specialty set of two questions. Students will answer one question in each part during the four-hour examination period. Comics Studies Qualifying Examination Area Reading List Overview Students taking the Comics Studies qualifying exam must be familiar with all primary and secondary sources on the Core List below. Each student must also be familiar with at least twenty additional texts, which should be chosen to reflect an sub-specialty area of interest to that student. Such areas of interest currently include: Twentieth-Century North American Comics History Comics Memoir Critical Approach: Comics Theory Critical Approach: Gender and Sexuality Critical Approach: Cultural Studies Students should develop their own areas of interest and a list of corresponding texts in conjunction with Dr. Tarbox or Dr. Meeusen. Core List Mastering comics studies requires knowledge of a number of canonical texts that are frequently mentioned in North American scholarship and are groundbreaking in 2 terms of content and/or form. -
Mate Pd Day 2017 Graphic Novels and Comics Studies in the Classroom (Sy)
MATE PD DAY 2017 GRAPHIC NOVELS AND COMICS STUDIES IN THE CLASSROOM (SY) Dr. Candida Ri@ind, Department of English, University of Winnipeg c.ri@[email protected] OUTLINE 1. Definitions 2. What is comics studies? 3. Why use graphic storytelling in the classroom? 4. Critical skills: terminology PERCEPTION OF COMICS CASUAL USE OF TERMINOLOGY comics vs. graphic novels vs. graphic narratives COMICS STUDIES TERMINOLOGY ! Comics (generally singular, despite the s) = the medium. ! A comic = any complete work in the comics medium, regardless of genre or length. Rather like “film” or “poem.” ! A comic book = any complete work made in the comics medium that is long enough to involve several pages of material or have a collective title. ! A graphic novel = a complete work of fiction in the comics form which, if printed, is long enough to be bound as a trade volume, so with a glued or sewn spine. It is a novel, just as Jane Eyre is a novel, but it is told in comics, not prose. ! a graphic narrative = a complete work of either fiction or non- fiction (the line is often blurred) in the form of comics. Source: “How Not To Write Comics Criticism” http://www.dylanmeconis.com/how-not-to-write-comics-criticism/ LET’S BE MORE PRECISE IN DEFINING COMICS: ! sequence of images placed in relation to each other on the page ! may or may not contain words but usually contains pictures ! written with the intention of being a comic ! uses the art form of cartooning, although there are many different styles ! generally uses panels and gutters (as opposed to picture books, for exmaple) WHAT IS COMICS STUDIES? ! Scholarly study of comics & graphic novels ! 1996 = publication of Art Spiegelman’s Maus changes perceptions of storytelling in graphic form ! Around 2000 = beginnings of comics studies in universities and colleges ! usually as part of existing Humanities fields and courses, eg. -
Examining Parents' Perceptions of and Preferences Toward
EXAMINING PARENTS’ PERCEPTIONS OF AND PREFERENCES TOWARD THE USE OF COMICS IN THE CLASSROOM By Jordan Charles Bischell Elizabeth K. Crawford Ted L. Miller Associate Professor of Learning and Professor of Learning and Leadership Leadership (Methodologist) (Chair) David W. Rausch Joel B. Henderson Professor of Learning and Leadership External Reviewer (Committee Member) (Committee Member) EXAMINING PARENTS’ PERCEPTIONS OF AND PREFERENCES TOWARD THE USE OF COMICS IN THE CLASSROOM By Jordan Charles Bischell A Dissertation Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Doctor of Education The University of Tennessee at Chattanooga Chattanooga, Tennessee May 2018 ii ABSTRACT While many researchers openly acknowledge the educational benefits of comics, the academic use of the medium has been met with much fear and apprehension from parents, teachers, and scholars, who have been reluctant to support the inclusion of such texts in the classroom. The literature on the topic of resistance to comics, however, is mostly limited to historical perspectives from the mid-20th century and is largely silent on contemporary parental perspectives. The purpose of this study was to collect data concerning parental perceptions of the academic potential of comics, parental preferences concerning how frequently the medium should be incorporated into academic lessons, and generalized parental feelings concerning the use of comics in first through twelfth grade education. Additionally, this study attempted to discover if relationships existed between the quantified parental perceptions and preferences and demographic data such as the grade and gender of the respondents’ children, the respondent’s gender, and personal readership habits of the respondent in reference to both comics and non- comics material.