Politics & Comics Dr. Galvan/Spring 2018 1 AML
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Am Lit 1945-Present List
Renee Hudson American Literature 1945-Present (Ngai) Primary Texts: 1. A Streetcar Named Desire by Tennessee Williams (1947) 2. Strangers on a Train by Patricia Highsmith (1950) 3. The Invisible Man by Ralph Ellison (1953) 4. A Good Man is Hard to Find by Flannery O’Connor (1955) 5. Howl by Allen Ginsberg (1956) 6. Catch-22 by Joseph Heller (1961) 7. Who’s Afraid of Virginia Woolf? by Edward Albee (1962) 8. The Man in the High Castle by Philip K. Dick (1962) 9. Lunch Poems by Frank O’Hara (1964) 10. Ariel by Sylvia Plath (1965) 11. Mumbo Jumbo by Ishmael Reed (1972) 12. Gravity’s Rainbow by Thomas Pynchon (1973) 13. Ragtime by E. L. Doctorow (1975) 14. Meridian by Alice Walker (1976) 15. Buried Child by Sam Shepard (1978) 16. Sixty Stories by Donald Barthelme (1982) 17. Dictee by Theresa Hak Kyung Cha (1982) 18. Great Expectations by Kathy Acker (1983) 19. Blood Meridian by Cormac McCarthy (1985) 20. White Noise by Don DeLillo (1985) 21. Beloved by Toni Morrison (1987) 22. The Mezzanine by Nicholson Baker (1990) 23. Woman Hollering Creek by Sandra Cisneros (1991) 24. Patchwork Girl by Shelley Jackson (1995) 25. Infinite Jest by David Foster Wallace (1996) 26. Tropic of Orange by Karen Tei Yamashita (1997) 27. American Pastoral by Philip Roth (1997) 28. Palestine by Joe Sacco (2001) 29. Pattern Recognition by William Gibson (2003) 30. The Brief Wondrous Life of Oscar Wao by Junot Diaz (2007) Renee Hudson Secondary Texts: 1. The Society of the Spectacle by Guy Debord (1973) 2. -
COMPARATIVE LITERATURE (Div
COMPARATIVE LITERATURE (Div. I) Chair, Associate Professor CHRISTOPHER NUGENT Professors: BELL-VILLADA, CASSIDAY, DRUXES, S. FOX, FRENCH, KAGAYA**, NEWMAN***, ROUHI, VAN DE STADT. Associate Professors: C. BOLTON***, DEKEL, S. FOX, HOLZAPFEL, MARTIN, NUGENT, PIEPRZAK***, THORNE, WANG**. Assistant Professors: BRAGGS*, VARGAS. Visiting Assistant Professor: EQEIQ. Students motivated by a desire to study literary art in the broadest sense of the term will find an intellectual home in the Program in Comparative Literature. The Program in Comparative Literature gives students the opportunity to develop their critical faculties through the analysis of literature across cultures, and through the exploration of literary and critical theory. By crossing national, linguistic, historical, and disciplinary boundaries, students of Comparative Literature learn to read texts for the ways they make meaning, the assumptions that underlie that meaning, and the aesthetic elements evinced in the making. Students of Comparative Literature are encouraged to examine the widest possible range of literary communication, including the metamorphosis of media, genres, forms, and themes. Whereas specific literature programs allow the student to trace the development of one literature in a particular culture over a period of time, Comparative Literature juxtaposes the writings of different cultures and epochs in a variety of ways. Because interpretive methods from other disciplines play a crucial role in investigating literature’s larger context, the Program offers courses intended for students in all divisions of the college and of all interests. These include courses that introduce students to the comparative study of world literature and courses designed to enhance any foreign language major in the Williams curriculum. In addition, the Program offers courses in literary theory that illuminate the study of texts of all sorts. -
Considering Ethical Questions in (Non)Fiction: Reading and Writing About Graphic Novels
e Interdisciplinary Journal of Popular Culture and Pedagogy Considering Ethical Questions in (Non)Fiction: Reading and Writing about Graphic Novels Gene McQuillan Kingsborough Community College /The City University of New York Brooklyn, NY, USA [email protected] ABSTRACT Teachers often feature graphic novels in college courses, and recent research notes how these texts can help make the process of reading more engaging as well as more complex. Graphic novels help enhance a variety of “literacies”; they offer bold representations of people dealing with trauma or marginalization; they explore how “texts” can be re-invented; they exemplify how verbal and visual texts are often adapted; they are ideal primers for introducing basic concepts of “post-modernism.” However, two recurring textual complications in graphic novels can pose difficulties for students who are writing about ethical questions. First, graphic novels often present crucial scenes by relying heavily on the use of verbal silence (or near silence) while emphasizing visual images; second, the deeper ethical dimensions of such scenes are suggested rather than discussed through narration or dialogue. This article will explain some of the challenges and options for writing about graphic novels and ethics. Keywords: Graphic novels; ethics; literacies; Art Spiegelman; Maus; Alison Bechdel; Fun Home 38 Volume 5, Issue 1 Considering Ethical Questions in (Non)Fiction I am committed to using graphic novels in my English courses. This commitment can be a heavy one- -in my case, it sometimes weighs about 40 pounds. If one stopped by my Introduction to Literature course at Kingsborough Community College (the City University of New York), one could see exactly what I mean. -
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. -
A Coalition of Societies Devoted to the Study of American Authors 28 Annual Conference on American Literature May 25 – 28, 20
American Literature Association A Coalition of Societies Devoted to the Study of American Authors 28th Annual Conference on American Literature May 25 – 28, 2017 The Westin Copley Place 10 Huntington Avenue Boston, MA 02116 Conference Director: Olivia Carr Edenfield Georgia Southern University American Literature Association A Coalition of Societies Devoted to the Study of American Authors 28th Annual Conference on American Literature May 25 – 28, 2017 Acknowledgements: The Conference Director, along with the Executive Board of the ALA, wishes to thank all of the society representatives and panelists for their contributions to the conference. Special appreciation to those good sports who good-heartedly agreed to chair sessions. The American Literature Association expresses its gratitude to Georgia Southern University and its Department of Literature and Philosophy for its consistent support. We are grateful to Rebecca Malott, Administrative Assistant for the Department of Literature and Philosophy at Georgia Southern University, for her patient assistance throughout the year. Particular thanks go once again to Georgia Southern University alumna Megan Flanery for her assistance with the program. We are indebted to Molly J. Donehoo, ALA Executive Assistant, for her wise council and careful oversight of countless details. The Association remains grateful for our webmaster, Rene H. Treviño, California State University, Long Beach, and thank him for his timely service. I speak for all attendees when I express my sincerest appreciation to Alfred Bendixen, Princeton University, Founder and Executive Director of the American Literature Association, for his 28 years of devoted service. We offer thanks as well to ALA Executive Coordinators James Nagel, University of Georgia, and Gloria Cronin, Brigham Young University. -
Burma Chronicles and Guibert, Lefèvre, and Lemercier’S the Photographer
Asian American Literature: Discourses and Pedagogies 5 (2014) 23-44. Graphic Self-Consciousness, Travel Narratives, and the Asian American Studies Classroom: Delisle’s Burma Chronicles and Guibert, Lefèvre, and Lemercier’s The Photographer By Monica Chiu As graphic narratives find solid purchase in the literary marketplace and in academia, students flock to related courses. I recently experienced this enthusiasm when I offered an upper-level Asian American graphic narratives course that filled beyond capacity, the first time this umbrella course for the field of Asian American studies had ever over enrolled in the fifteen years I had taught at my New England- based institution. In the course, students first grappled with comics terminology, introduced through Scott McCloud’s Understanding Comics and Thierry Groensteen’s The System of Comics. After this basic introduction to reading verbal-visual texts, we discussed those by and about Asian Americans: Gene Luen Yang’s American Born Chinese, Mariko Tamaki and Jillian Tamaki’s Skim, Tofic El Rassi’s Arab in America, among others. These comics rely on recognizable (stereotypical) images of Asians and Asian Americans to expose accepted types and then to subvert or dismantle them. Students were most challenged by the autobiographical Burma Chronicles (2008) by Guy Delisle and The Photographer: Into War-Torn Afghanistan with Doctors Without Borders (2009), an artistic collaboration among Didier Lefèvre’s photographs, which served as an impetus for the text; Emmanuel Guibert’s comic art; and colorist Frédéric Lermercier’s book design. Delisle’s and Lefèvre’s travel narratives by non-Asian Americans about Southeast Asians (Burmese) and West Asians (Afghans) asked students to consider the self-representation of the comics’ Canadian and French protagonists, respectively, as they navigated foreign territories. -
'WWWWD: What Would Wonder Woman Do?' an Interview With
‘WWWWD: What Would Wonder Woman Do?’ An interview with Trina Robbins Olivia Hicks (University of Dundee) and Julia Round (Bournemouth University) Trina Robbins is a comics creator, historian and activist. A long-time champion for female creators and readers, Trina has written and drawn pioneering feminist and LGBT comics in addition to reimagining iconic female super-heroines such as Wonder Woman. She spoke to Julia Round on 24 August 2016. What initially drew you to comics? My mother was a second-grade schoolteacher and she taught me to read at the age of 4, and that’s probably the greatest gift anyone has ever given me. Well, actually, the greatest gift anybody ever gave me was also from my mother and that was being born! But after that, learning to read at 4. I was reading way ahead of my age; I was reading everything. I was reading all the books in the house, and of course I was reading comics. Those were the days when they thought that comics were not good for kids; and a lot of people probably do still think that, but because I read everything, my parents weren’t afraid I would just read comics and never read anything else. So I had no problems from them, no objections. Do you remember what sort of comics you were reading early on? The earliest were comics that my mother bought for me. I really loved the Raggedy Ann book and so my mother got me the comics – there were Raggedy Ann comics. They were great! Our Gang was another. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
![[Inter]Sections 22 (2019): 30-45](https://docslib.b-cdn.net/cover/5216/inter-sections-22-2019-30-45-2185216.webp)
[Inter]Sections 22 (2019): 30-45
[Inter]sections 22 (2019): 30-45 Ștefan Ionescu Ambrosie* Witnessing and Empty Empathy: A Comparison Between Joe Sacco’s Palestine and Jérôme Ruillier’s The Strange Keywords: refugee, empty empathy, graphic novel, witnessing, trauma Abstract: This article compares two graphic novels dealing with the subject of modern border crises, namely Joe Sacco’s Palestine and Jérôme Ruillier’s The Strange, by considering empathy creation in visual media. Ruillier’s The Strange, whose stated goal is to elicit empathy by presenting the viewer with as many narrative perspectives as possible, is a graphic novel dealing with the translation of a refugee in a nondescript fantasy world which only vaguely alludes to the recent refugee crisis in France. Ruillier gives passersby, police officers, activists, and the protagonist’s own smuggler equal self-representation, which results in a fragmented narrative structure that does not bring the refugee’s own voice to the fore. This technique, combined with the lack of a specific socio-political context for the protagonist’s translation, engenders empty empathy in the viewer’s reaction to the refugee’s trauma, mainly due to The Strange being a patchwork creation of refugee stories whose common denominator is personal pain, something which cannot elicit authentic empathy. This article proposes a comparison with Joe Sacco’s Palestine, which illustrates specific stories from Gaza and the West Bank, and whose events compel Sacco to throw in his lot with the refugees; this second perspective highlights the difference between empty empathy and witnessing, and in the process underlines what Ruillier’s work lacks in its treatment of borders and refugees. -
FOREIGN RIGHTS EDITION Spring 2014 Guide to Subjects
The University of Chicago Press 1427 East 60th Street Chicago, IL 60637 CHICAGO SPRING BOOKS 2014 FOREIGN RIGHTS EDITION Spring 2014 Guide to Subjects African American Judaica 47, 49 Studies 33, 44–45, 68 Law 27, 44, 38 African Studies 52-53 Linguistics 55 American History 8, 23, 26, 44–46, 64, 69, 71, 73, Literary Criticism 50, 76 65, 70, 74 Anthropology 20, 41, Literature 12, 62 52–53, 55–56, 67 Medicine 48, 76 Archaeology 70 Music 3, 41, 69, 71 Architecture 65 Nature 4, 7, 9, 15 Art 2, 21-22, 34, 43 Pets 58 Biography 6, 63, 65 Philosophy 16, 28, 33, Business 31 35, 49, 50–52, 54, 66, 71, 73–74 Classics 49, 66, 68, 70 Photography 8 Cultural Studies 42, 64 Poetry 18 Current Events 1, 6, 13 Political Science 27–30, Economics 1, 39, 72 32–34, 47, 51, 71, 75 Education 10, 36–39, 61 Reference 10–11 European History 25, 48 Religion 35, 53, 67, 72 Film Studies 21, 43 Science 4, 5, 7, 9, 11, 20, 22–26, 40, 48, 68, 73–75 Gardening 15 Sociology 13, 32, 40, 42 Gay and Lesbian Stud- ies 19, 33–34 Sports 14 Graphic Novels 2 Travel 3, 59 History 17, 24, 26, 32, Women’s Studies 19, 43, 35, 42, 44, 46–49, 59–60, 56 67–68, 70, 72, 75-76 Cover and catalog design by Mary Shanahan ATIF MIAN and AMIR SUFI House of Debt How They (and You) Caused the Great Recession, and How We Can Prevent It from Happening Again he Great American Recession resulted in the loss of eight million jobs between 2007 and 2009. -
Summer Reading List for Rising Seniors
JBS SUMMER READING LIST, Grade 12 Summer 2021 Please bring copies of ALL THREE of your summer reading books at the start of the term and be prepared to work with them in class. Book 1) OPEN CHOICE REA DING : Read a full-length book of your choice. Books 2-3) CURATED CHOICE READING: Choose 2 books from the following list. Desert Solitaire by Ed Abbey. Nonfiction; memoir. 1968. Abbey’s story of his three seasons in the desert at Moab, Utah is a fascinating, sometimes raucous account of a place that has already disappeared but is worth remembering. Eva Luna by Isabel Allende. Realistic fiction. 1987. From nuns to sex workers, poor revolutionaries to gifted transgender artists, Muslim immgrants to privileged elites, orphaned Eva creates families around her--and learns to love--by telling magical stories. Bastard Out of Carolina by Dorothy Allison. Realistic fiction. 1992. With this novel, Allison, who has been likened to Harper Lee, confronts race, class, gender, sexuality, and identity in the lives of poor whites in the South. Going to Meet the Man by James Baldwin. Fiction; Short stories. 1965. By turns haunting, heartbreaking, and horrifying, these stories are informed by Baldwin's knowledge of the wounds racism has left in both its victims and its perpetrators. Visit Sunny Chernobyl: And Other Adventures in the World’s Most Polluted Places by Andrew Blackwell . Nonfiction; journalism. 2012. Andrew Blackwell describes his travels to the most polluted places in the world. Silent Spring by Rachel Carson. Nonfiction.1962. One of the most influential books of the 20th Century and a cornerstone of the environmental movement, spurring revolutionary changes in the laws affecting our air, land, and water. -
The Rip Off Press Mail Order Catalog
Spread some cheer this year, with comix from The Rip Off Press Mail Order Catalog No-Pictures Edition Stuff for sale December 2012 THE NO PICTURES VERSION OF THE RIP OFF PRESS MAIL ORDER CATALOG Need to see pictures of the items we sell? Visit our website! If you don't own a com- WHAT TO DO IN CASE OF ORDER PROBLEMS puter, go to your public library and somebody will be happy to help you log on: www. If there is any problem with your order, probably the quickest and most effective way to ripoffpress.com. After our previous website’s hosting company vanished without a trace deal with it is to send us an e-mail. That way you can get through to us at your conve- in August of 2012, we have not yet gotten online ordering enabled. But you can get a nience, and we will see your message within a few hours at a time when we have access better idea of what you want, then place a mail order from this product listing or from to all of our records. Our e-mail address is [email protected]. If you’re not yet the Adobe PDF format order form available as a download on our home page. one of the millions of people with access to e-mail, you can call us by phone. Please call 530 885-8183. If we’re not there to answer your call you can usually leave a message PLACING YOUR ORDER on our answering machine. You may also notify us of order problems by letter (P.O.