DOCSLIB.ORG

Comics Literacy and Multimodal Pedagogy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Comics Literacy and Multimodal Pedagogy BECAUSE COMICS: COMICS LITERACY AND MULTIMODAL PEDAGOGY A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Shane Anthony Gomes In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Major Program: Rhetoric, Writing and Culture June 2020 Fargo, North Dakota North Dakota State University Graduate School Title Because Comics: Comics Literacy and Multimodal Pedagogy By Shane Anthony Gomes The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF PHILOSOPHY SUPERVISORY COMMITTEE: Emily Wicktor Chair Lisa Arnold Alison Graham-Bertolini Michael Strand Approved: July 10, 2020 Stephenson J. Beck Date Department Chair ABSTRACT How and what we teach in the post-secondary English classroom has tremendous power, both regarding individual students and larger contexts in which they function. As post-secondary instructors, our pedagogical approach to our subjects can impact our student’s abilities and experiences directly through interactions with texts, and also impact our specific institutions, our academic disciplines, and larger social structures. This project will propose what is best termed a disruptive pedagogy, founded in comics literacy, and a primary goal is to effect change in the classroom and therefore in our students’ later social and professional contexts. Increasingly, what we teach in English classrooms is moving towards a pedagogy of multimodality that reflects the contexts of our students outside of the classroom. Multimodal researchers Jennifer Rowsell and Eryn Decoste state that “To expand notions of composition, there is a need to not only introduce other modes such as visuals, sounds and interactive modes, but also develop frameworks, activities and lesson ideas to actually teach other modes of representation and expression” (246-247). Yet, as they mention, this isn’t always easy or even possible. But an additional issue is that multimodality can elide the discussion of narrative, one of the key affordances of the English classroom. Further, much emphasis in multimodal pedagogies is on technology, which access to the needed technology is not universal. Focusing education tactics in the context of internet enabled classrooms will necessarily leave some populations behind To address these two issues, this project works to propose a multimodal pedagogy that uses comics as an ideal narrative multimodal medium. By fitting comics into the framework of multimodal education in post-secondary classrooms, this dissertation demonstrates the potential of the medium. Therefore, the focus of this project is on building a multimodal pedagogy for iii comics. By focusing on the methods by which comics create, this dissertation proposes a formalized way to use them as a foundation of a pedagogy that builds student’s multimodal literacy. A standard for deploying these texts has yet to calcify, meaning that current research can impact multimodal teaching substantially in the future. iv TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iii LIST OF FIGURES ...................................................................................................................... vii CHAPTER 1: COMICS STUDIES AND COMICS IN THE CLASSROOM ............................... 1 What’s Wrong With How We Teach Comics ...................................................................... 5 What’s Wrong With Comics Studies ................................................................................. 13 CHAPTER 2: COMICS AND THE SPONSORSHIP OF MULTIMODAL LITERACY........... 26 Breaking Down Comics ..................................................................................................... 33 A Comics Perspective on Multimodal Instruction ............................................................. 39 Combining Comics and Multimodal Pedagogy ................................................................. 44 CHAPTER 3: COMICS, DISCOURSE, AND MULTIMODAL ASSESSMENT ...................... 57 CHAPTER 4: THE CRITICAL APPARATUS ............................................................................ 73 The Multiframe ................................................................................................................... 79 Styles of Discourse ............................................................................................................. 80 Iconic Solidarity ................................................................................................................. 88 The Word Balloon .............................................................................................................. 89 Intrapanel Multimodal Analysis and the Channels of Meaning ......................................... 90 The Auditory Channel of Meaning ....................................................................... 91 The Gestural Channel of Meaning ........................................................................ 94 The Spatial Channel of Meaning .......................................................................... 95 CHAPTER 5: THE COMICS ..................................................................................................... 100 Arkham Asylum ............................................................................................................... 101 Beautiful Darkness ........................................................................................................... 112 Maus ................................................................................................................................. 119 From Hell ......................................................................................................................... 128 v Days of Future Past .......................................................................................................... 134 CHAPTER 6: THE SYLLABUS ................................................................................................ 145 WORKS CITED ......................................................................................................................... 177 APPENDIX A: SYLLABUS FOR ENGL XXX, MULTIMODAL LITERATURE AND COMPOSITION ......................................................................................................................... 192 APPENDIX B: MAJOR ASSIGNMENT 1 ................................................................................ 199 APPENDIX C: ASSIGNMENTS FOR PRIMARY TEXT 1, ARKHAM ASYLUM (WEEK 6) 202 APPENDIX D: ASSIGNMENTS FOR PRIMARY TEXT 2, FROM HELL (WEEKS 7-8) ..... 204 APPENDIX E: ASSIGNMENTS FOR PRIMARY TEXT 3, MAUS (WEEKS 9-10)............... 205 APPENDIX F: ASSIGNMENTS FOR PRIMARY TEXT 4, BEAUTIFUL DARKNESS (WEEK 11) ................................................................................................................................. 207 APPENDIX G: ASSIGNMENTS FOR PRIMARY TEXT 5, UNCANNY X-MEN #141-142, DAYS OF FUTURE PAST (WEEKS 12-14) ............................................................. 209 APPENDIX H: MAJOR ASSIGNMENT 2 (WEEK 15) ........................................................... 213 APPENDIX I: FINAL PROJECT (WEEKS 16-17) ................................................................... 216 vi LIST OF FIGURES Figure Page 1. Left: Man screams at God. Right: Superman fights a swamp monster.....................................11 2. Mismatched artwork and text.....................................................................................................43 3. XKCD 1749...............................................................................................................................61 4. A standard panel layout.............................................................................................................81 5. An aesthetic panel layout...........................................................................................................83 6. An aesthetic panel layout, example 2........................................................................................84 7. A narrative panel layout.............................................................................................................85 8. A formal panel layout................................................................................................................87 9. Transparent word balloons.........................................................................................................90 10. Visual representation of sound.................................................................................................93 11. Delirium’s words are heavily manipulated..............................................................................94 12. Manipulation of panel architecture..........................................................................................97 13. The Joker’s dialogue is rendered as a bloody scrawl.............................................................104 14. Batman is a dark shape among other dark shapes..................................................................105 15. Croc looms over Batman in the right-hand panel..................................................................107 16. Croc realizes Batman is returning to their battle...................................................................109
Load more

Recommended publications
  • Seth, Rabagliati, Deforge, Ollmann, Carroll, Mcfadzean Short-Listed for 2014 Doug Wright Awards
    Seth, Rabagliati, DeForge, Ollmann, Carroll, McFadzean short-listed for 2014 Doug Wright Awards Members of historic “Canadian Whites” to be inducted into Hall of Fame during 10th annual ceremony March 28, 2014, Toronto, ON — The Doug Wright Awards for Canadian Cartooning are proud to announce their 2014 finalists which includes a roster of new faces, past winners and industry stalwarts. The nominees for the 2014 Doug Wright Award for Best Book are: • Palookaville #21 by Seth (Drawn and Quarterly) • Paul Joins the Scouts by Michel Rabagliati (Conundrum Press) • Science Fiction by Joe Ollmann (Conundrum Press) • Susceptible by Geneviève Castrée (Drawn and Quarterly) • Very Casual by Michael DeForge (Koyama Press) The nominees for the 2014 Doug Wright Spotlight Award (a.k.a. “The Nipper”) which recognizes Canadian cartoonists deserving of wider recognition are: • Connor Willumsen for “Calgary: Death Milks a Cow,” “Treasure Island,” “Mooncalf,” and “Passionfruit” • Dakota McFadzean for Other Stories and the Horse You Rode in On (Conundrum Press) • Patrick Kyle for Distance Mover #7 – 12, New Comics #1 - 2 • Steven Gilbert for The Journal of the Main Street Secret Lodge • Georgia Webber for Dumb # 1 – 3 And the nominees for the 2014 Pigskin Peters Award, which recognizes the best in experimental or avant-garde comics, are: • “Calgary: Death Milks a Cow” by Connor Willumsen • Flexible Tube with Stink Lines by Seth Scriver • Journal by Julie Delporte (Koyama Press) • “Out of Skin” by Emily Carroll • Very Casual by Michael DeForge (Koyama Press) A feature event of the Toronto Comic Arts Festival (TCAF), The Doug Wright Awards are pleased to announce that the pioneering artists of the Second World War “Canadian Whites” comics will be formally inducted into The Giants of the North: The Canadian Cartoonists Hall of Fame during the ceremony on Saturday May 10, 2014 in Toronto.
    [Show full text]
  • Gaelic Scotland in the Colonial Imagination
    Gaelic Scotland in the Colonial Imagination Gaelic Scotland in the Colonial Imagination Anglophone Writing from 1600 to 1900 Silke Stroh northwestern university press evanston, illinois Northwestern University Press www .nupress.northwestern .edu Copyright © 2017 by Northwestern University Press. Published 2017. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons At- tribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Stroh, Silke. Gaelic Scotland in the Colonial Imagination: Anglophone Writing from 1600 to 1900. Evanston, Ill.: Northwestern University Press, 2017. For permissions beyond the scope of this license, visit www.nupress.northwestern.edu An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org Contents Acknowledgments vii Introduction 3 Chapter 1 The Modern Nation- State and Its Others: Civilizing Missions at Home and Abroad, ca. 1600 to 1800 33 Chapter 2 Anglophone Literature of Civilization and the Hybridized Gaelic Subject: Martin Martin’s Travel Writings 77 Chapter 3 The Reemergence of the Primitive Other? Noble Savagery and the Romantic Age 113 Chapter 4 From Flirtations with Romantic Otherness to a More Integrated National Synthesis: “Gentleman Savages” in Walter Scott’s Novel Waverley 141 Chapter 5 Of Celts and Teutons: Racial Biology and Anti- Gaelic Discourse, ca.
    [Show full text]
  • Toward an Aesthetics and Politics of Guilt in American
    UNIVERSITY OF CALIFORNIA Los Angeles Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Timothy Jeffrey Haehn 2014 © Copyright by Timothy Jeffrey Haehn 2014 ABSTRACT OF THE DISSERTATION Responsibility, Freedom, and the State: Toward an Aesthetics and Politics of Guilt in American Literature, 1929-1960 By Timothy Jeffrey Haehn Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2014 Professor Eleanor K. Kaufman, Chair This dissertation proposes a fundamental reassessment of guilt in twentieth-century American literature. I claim that guilt ought to be understood not so much in relation to the Holocaust or the history of U.S. race relations as in relation to the state. In readings of Mary McCarthy, Richard Wright, J. D. Salinger, Arthur Miller, and Saul Bellow, as well as the early Superman comics and fiction and criticism that invoke Fyoder Dostoevsky’s work, this project demonstrates how authors of fiction and popular culture mobilize feelings of responsibility and guilt to symbolize anxieties over the diminished role of the state as a vehicle for public relief. As the federal government jettisoned burdens that it had borne since the Depression, the writers in question depict various mechanisms employed by individuals to absorb state burdens and to compensate for the reduced availability of state-backed relief. With renewed emphasis on existential categories such as guilt, freedom, and anxiety, I trace tensions at the core of mid- twentieth-century narratives that situate them squarely within the problematics of antistatism.
    [Show full text]
  • Spring 2013 Convocation
    spring 2013 convocation JUNE 3 – 6, 2013 Convocation procession in the Bowl, May 1928. A-1666 The graduation lists shown in this program were prepared prior to convocation and may not reflect final college decisions regarding each student’s eligibility for graduation. As a result, some of the students listed in this program may not have been formally approved to receive the degree or diploma indicated. The registrar maintains the official list of graduates. PRESIDENT’S MESSAGE ILENE BUSCH-VISHNIAC I want to extend my warmest congratulations University of Saskatchewan. I know this mutual and best wishes to the graduates of the spring success will continue well past today as you join 2013 Convocation ceremonies! I share with your more than 138,000 alumni living worldwide. families, friends, professors, and proud supporters in honouring your achievements at the University I look forward to your continued association with of Saskatchewan over the last several years, your alma mater through the many friendships culminating in you being here today. and relationships you will have formed while studying here. Please stay in touch and know you The university’s mission “is to achieve excellence will receive a warm welcome whenever you visit in the scholarly activities of teaching, discovering, campus in the future. preserving and applying knowledge.” As much as we have contributed to your success as students, Sincere congratulations, you have contributed to ours as a university. That is why today is not only a celebration of your personal achievements but also a celebration of Ilene Busch-Vishniac your role in contributing to the success of the President, University of Saskatchewan UNIVERSITY OF SASKATCHEWAN 1 Spring Convocation 2013 ALUMNI MESSAGE heatheR maGOtiauX Congratulations to our graduates, and welcome to and accomplish great things; the possibilities are the University of Saskatchewan Alumni Association.
    [Show full text]
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • Doug Wright Final Interior:Layout 1 11/11/08 12:44 PM Page 1
    doug_wright_final_interior:Layout 1 11/11/08 12:44 PM Page 1 doug_wright_final_interior:Layout 1 11/11/08 12:45 PM Page 2 doug_wright_final_interior:Layout 1 11/11/08 12:45 PM Page 3 doug_wright_final_interior:Layout 1 11/11/08 12:48 PM Page 12 FLYING OFFICER DOUGLAS AUSTIN WRIGHT (above) circa 1942 to 1945. SELF–PORTRAIT (opposite) circa late 1930s. doug_wright_final_interior:Layout 1 11/11/08 12:48 PM Page 13 doug_wright_final_interior:Layout 1 11/11/08 12:49 PM Page 16 THE VIEW FROM WRIGHT’S WINDOW 2005 MansTeld street, Apartment #10, Montreal, circa 1938–40. doug_wright_final_interior:Layout 1 11/11/08 12:49 PM Page 17 doug_wright_final_interior:Layout 1 11/11/08 12:51 PM Page 20 Qis large and very polished full page strip is quite likely part of a package of sample comics which Wright sent down to the U.S. syndicates in the early 1950s. doug_wright_final_interior:Layout 1 11/11/08 12:51 PM Page 21 Creator of the internationally syndicated comic strip { FOR BETTER OR FOR WORSE } hen the paper came, my dad was the ^rst to read the comics. He didn’t just read them, he studied them and encouraged me to do the same. He was particularly fond of comic art that had structure and substance and the kind of subtle wit that brought the reader into the gag the way a storyteller tells a tale. Len Norris of the Vancouver Sun was one of his favorites, Doug Wright was another. When the Star Weekly came, he would turn to Doug Wright’s Family and smile.
    [Show full text]
  • An Investigation Into the Graphic Innovations of Geologist Henry T
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Uncovering strata: an investigation into the graphic innovations of geologist Henry T. De la Beche Renee M. Clary Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Clary, Renee M., "Uncovering strata: an investigation into the graphic innovations of geologist Henry T. De la Beche" (2003). LSU Doctoral Dissertations. 127. https://digitalcommons.lsu.edu/gradschool_dissertations/127 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. UNCOVERING STRATA: AN INVESTIGATION INTO THE GRAPHIC INNOVATIONS OF GEOLOGIST HENRY T. DE LA BECHE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Renee M. Clary B.S., University of Southwestern Louisiana, 1983 M.S., University of Southwestern Louisiana, 1997 M.Ed., University of Southwestern Louisiana, 1998 May 2003 Copyright 2003 Renee M. Clary All rights reserved ii Acknowledgments Photographs of the archived documents held in the National Museum of Wales are provided by the museum, and are reproduced with permission. I send a sincere thank you to Mr. Tom Sharpe, Curator, who offered his time and assistance during the research trip to Wales.
    [Show full text]
  • Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circu
    Author Title AR Book AR Interest Joyce, Melanie (Ls) Billy's Boy 1.6 0.5 MY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Pearson, Danny (Ls) Escape From The City 1.9 0.5 MY Pearson, Danny (Ls) Escape From The City 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Powell, Jillian (Ls) Cage Boy: Level 5 1.9 0.5 MY Gray, Kes Oi Goat!: World Book Day 2018 2 0.5 LY Hurn, Roger (Ls) Too Hot: Level 3 2 0.5 MY Thomas, Valerie Winnie Flies Again 2 0.5 LY Thomas, Valerie Winnie Flies Again 2 0.5 LY Adams, Spike T. (Ls) Evil Ink 2.1 0.5 UY Adams, Spike T. (Ls) Snap Kick 2.1 0.5 UY Clayton, David Hell-Ride Tonight! 2.1 0.5 MY Cullimore, Stan (Ls) Bubble Attack 2.1 0.5 UY Cullimore, Stan (Ls) Bubble Attack 2.1 0.5 UY Cullimore, Stan (Ls) Robert And The Werewolf 2.1 0.5 UY Cullimore, Stan (Ls) Robert And The Werewolf 2.1 0.5 UY Higson, Charlie Silverfin: The Graphic Novel 2.1 1 MY Lee, Janelle (Ls) Badu Boys Rule! 2.1 0.5 MY Orme, David Boffin Boy And The Emperor's Tomb 2.1 0.5 MY Powell, Jillian (Ls) Chip Boy 2.1 0.5 UY Tompsett, C.L.
    [Show full text]
  • ABSTRACT the Pdblications of the Marvel Comics Group Warrant Serious Consideration As .A Legitimate Narrative Enterprise
    DOCU§ENT RESUME ED 190 980 CS 005 088 AOTHOR Palumbo, Don'ald TITLE The use of, Comics as an Approach to Introducing the Techniques and Terms of Narrative to Novice Readers. PUB DATE Oct 79 NOTE 41p.: Paper' presented at the Annual Meeting of the Popular Culture Association in the South oth, Louisville, KY, October 18-20, 19791. EDFS PRICE MF01/PCO2 Plus Postage." DESCRIPTORS Adolescent Literature:,*Comics (Publications) : *Critical Aeading: *English Instruction: Fiction: *Literary Criticism: *Literary Devices: *Narration: Secondary, Educition: Teaching Methods ABSTRACT The pdblications of the Marvel Comics Group warrant serious consIderation as .a legitimate narrative enterprise. While it is obvious. that these comic books can be used in the classroom as a source of reading material, it is tot so obvious that these comic books, with great economy, simplicity, and narrative density, can be used to further introduce novice readers to the techniques found in narrative and to the terms employed in the study and discussion of a narrative. The output of the Marvel Conics Group in particular is literate, is both narratively and pbSlosophically sophisticated, and is ethically and morally responsible. Some of the narrative tecbntques found in the stories, such as the Spider-Man episodes, include foreshadowing, a dramatic fiction narrator, flashback, irony, symbolism, metaphor, Biblical and historical allusions, and mythological allusions.4MKM1 4 4 *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * *********************************************************************** ) U SOEPANTMENTO, HEALD.. TOUCATiONaWELFARE NATIONAL INSTITUTE CIF 4 EDUCATION THIS DOCUMENT was BEEN N ENO°. DOCEO EXACTLY AS .ReCeIVED FROM Donald Palumbo THE PE aSON OR ORGANIZATIONORIGuN- ATING T POINTS VIEW OR OPINIONS Department of English STATED 60 NOT NECESSARILY REPRf SENT OFFICIAL NATIONAL INSTITUTE OF O Northern Michigan University EDUCATION POSITION OR POLICY CO Marquette, MI.
    [Show full text]
  • (“Spider-Man”) Cr
    PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership.
    [Show full text]
  • The Curtis L. Ivey Science Center DEDICATED SEPTEMBER 17, 2004
    NON-PROFIT Office of Advancement ORGANIZATION ALUMNI MAGAZINE COLBY-SAWYER Colby-Sawyer College U.S. POSTAGE 541 Main Street PAID New London, NH 03257 LEWISTON, ME PERMIT 82 C LBY-SAWYER CHANGE SERVICE REQUESTED ALUMNI MAGAZINE I NSIDE: FALL/WINTER 2004 The Curtis L. Ivey Science Center DEDICATED SEPTEMBER 17, 2004 F ALL/WINTER 2004 Annual Report Issue EDITOR BOARD OF TRUSTEES David R. Morcom Anne Winton Black ’73, ’75 CLASS NOTES EDITORS Chair Tracey Austin Ye ar of Gaye LaCasce Philip H. Jordan Jr. Vice-Chair CONTRIBUTING WRITERS Tracey Austin Robin L. Mead ’72 the Arts Jeremiah Chila ’04 Executive Secretary Cathy DeShano Ye ar of Nicole Eaton ’06 William S. Berger Donald A. Hasseltine Pamela Stanley Bright ’61 Adam S. Kamras Alice W. Brown Gaye LaCasce Lo-Yi Chan his month marks the launch of the Year of the Arts, a David R. Morcom Timothy C. Coughlin P’00 Tmultifaceted initiative that will bring arts faculty members to meet Kimberly Swick Slover Peter D. Danforth P’83, ’84, GP’02 the Arts Leslie Wright Dow ’57 with groups of alumni and friends around the country. We will host VICE PRESIDENT FOR ADVANCEMENT Stephen W. Ensign gatherings in art museums and galleries in a variety of cities, and Donald A. Hasseltine Eleanor Morrison Goldthwait ’51 are looking forward to engaging hundreds of alumni and friends in Suzanne Simons Hammond ’66 conversations about art, which will be led by our faculty experts. DIRECTOR OF DEVELOPMENT Patricia Driggs Kelsey We also look forward to sharing information about Colby-Sawyer’s Beth Cahill Joyce Juskalian Kolligian ’55 robust arts curriculum.
    [Show full text]
  • Nieuwigheden Anderstalige Strips 2014
    NIEUWIGHEDEN ANDERSTALIGE STRIPS 2014 WEEK 2 Engels All New X-Men 1: Yesterday’s X-Men (€ 19,99) (Stuart Immonen & Brian Mickael Bendis / Marvel) All New X-Men / Superior Spider-Men / Indestructible Hulk: The Arms of The Octopus (€ 14,99) (Kris Anka & Mike Costa / Marvel) Avengers A.I.: Human After All (€ 16, 99) (André Araujo & Sam Humphries / Marvel) Batman: Arkham Unhinged (€ 14,99) (David Lopez & Derek Fridols / DC Comics) Batman Detective Comics 2: Scare Tactics (€ 16,99) (Tony S. Daniel / DC Comics) Batman: The Dark Knight 2: Cycle of Violence (€ 14,99) (David Finch & Gregg Hurwitz / DC Comics) Batman: The TV Stories (€ 14,99) (Diverse auteurs / DC Comics) Fantastic Four / Inhumans: Atlantis Rising (€ 39,99) (Diverse auteurs / Marvel) Simpsons Comics: Shake-Up (€ 15,99) (Studio Matt Groening / Bongo Comics) Star Wars Omnibus: Adventures (€ 24,99) (Diverse auteurs / Dark Horse) Star Wars Omnibus: Dark Times (€ 24,99) (Diverse auteurs / Dark Horse) Superior Spider-Men Team-Up: Friendly Fire (€ 17,99) (Diverse auteurs / Marvel) Swamp Thing 1 (€ 19,99) (Roger Peterson & Brian K. Vaughan / Vertigo) The Best of Wonder Wart-Hog (€ 29,95) (Gilbert Shelton / Knockabout) West Coast Avengers: Sins of the Past (€ 29,99) (Al Milgrom & Steve Englehart / Marvel) Manga – Engelstalig: Naruto 64 (€ 9,99) (Masashi Kishimoto / Viz) Naruto: Three-in-One 7 (€ 14,99) (Masashi Kishimoto / Viz) Marvel Omnibussen in aanbieding !!! Avengers: West Coast Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Marvel Now ! $ 99,99 NU: 49,99 Euro !!! Punisher by Rick Remender $ 99,99 NU: 49,99 Euro !!! The Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Ultimate Spider-Man: Death of Spider-Man $ 75 NU: 39,99 Euro !!! Untold Tales of Spider-Man $ 99,99 NU: 49,99 Euro !!! X-Force vol.
    [Show full text]