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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. -
Dragon-Con-2019-Comics-Pop-Art
FOR IMMEDIATE RELEASE: Contact: Dan Carroll, Director, Media Engagement Phone: 404 692 1958 Email: [email protected] URL: www.dragoncon.org DRAGON CON’S COMICS & POP ART TRACK EXPANDS TO WELCOME FANS OF ALL AGES. Comic & Pop Artist Alley Boasts a Guest Roster of Industry Veterans and New Talent, Workshops for Children and Adults, and Amplified Kids Programming at Dragon Con. ATLANTA – July 24, 2019 – Dragon Con, Atlanta’s internaonally-known pop culture, fantasy, science ficon, and gaming convenon, will be broadening its Comics & Pop Art programming to encourage art and comic enthusiasts of all ages. In addion to a dream team of Bronze Age and Modern Age comics writers and arsts, the convenon’s tradional strength, the convenon has added workshops and other programming designed to help aspiring comics creators and to encourage greater interest from today’s younger generaons. Marv Wolfman, Roy Thomas, and Fabien Nicieza lead this year’s guest list. Thomas, a legendary writer and editor in his own right, is best recognized as Stan Lee’s first successor as editor-in-chief of Marvel Comics. Nicieza's work includes wring and eding for Marvel, DC, and Dark Horse comics, but fans will also know him as the co-creator of Deadpool. Writer and co-creator of The New Teen Titans , Wolfman also joins George Pérez, his work partner of over 40 years, at this year’s convenon. Other top guests include Colleen Doran, Jill Thompson, and Afua Richardson. Doran, an Eisner, Harvey, and Internaonal Horror Guild Award-winning illustrator, is a New York Times bestselling arst for her work on Neil Gaiman’s graphic novel Troll Bridge and Stan Lee’s autobiography A mazing, Fantastic, Incredible Stan Lee. -
The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis
University of Alberta Telling Stories About Storytelling: The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis by Orion Ussner Kidder A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Orion Ussner Kidder Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60022-1 Our file Notre référence ISBN: 978-0-494-60022-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
SEPTEMBER ONLY! 17 & 18, 2016 Long Beach Convention Center SEE NATHAN FILLION at the PANEL!
LONG BEACH COMIC CON LOGO 2014 SAT SEPTEMBER ONLY! 17 & 18, 2016 Long Beach Convention Center SEE NATHAN FILLION AT THE PANEL! MEET LEGENDARY CREATORS: TROY BAKER BRETT BOOTH KEVIN CONROY PETER DAVID COLLEEN DORAN STEVE EPTING JOELLE JONES GREG LAND JIMMY PALMIOTTI NICK SPENCER JEWEL STAITE 150+ Guests • Space Expo Artist Alley • Animation Island SUMMER Celebrity Photo Ops • Cosplay Corner GLAU SEAN 100+ Panels and more! MAHER ADAM BALDWIN WELCOME LETTER hank you for joining us at the 8th annual Long Beach Comic Con! For those of you who have attended the show in the past, MARTHA & THE TEAM you’ll notice LOTS of awesome changes. Let’s see - an even Martha Donato T Executive Director bigger exhibit hall filled with exhibitors ranging from comic book publishers, comic and toy dealers, ENORMOUS artist alley, cosplay christine alger Consultant corner, kids area, gaming area, laser tag, guest signing area and more. jereMy atkins We’re very proud of the guest list, which blends together some Public Relations Director of the hottest names in industries such as animation, video games, gabe FieraMosco comics, television and movies. We’re grateful for their support and Marketing Manager hope you spend a few minutes with each and every one of them over DaviD hyDe Publicity Guru the weekend. We’ve been asked about guests who appear on the list kris longo but who don’t have a “home base” on the exhibit floor - there are times Vice President, Sales when a guest can only participate in a signing or a panel, so we can’t CARLY Marsh assign them a table. -
Lucifer (DC Comics) from Wikipedia, the Free Encyclopedia
Lucifer (DC Comics) From Wikipedia, the free encyclopedia Lucifer Morningstar is a DC Comics character appearing Lucifer primarily as a supporting character in the comic book series The Sandman and as the title character of a spin-off, both published under the Vertigo imprint. Though various depictions of Lucifer – the Biblical fallen angel and Devil of the Abrahamic religions – have been presented by DC Comics in their run, this interpretation by Neil Gaiman debuted in The Sandman in 1989. Like many modern interpretations of Satan, DC's Lucifer owes much to the character's portrayal in John Milton's epic poem Paradise Lost, though Gaiman adapts the character to fit the fictional DC The title character from the cover of Lucifer Universe where their comics are #16, artist Christopher Moeller. set, where the character exists Publication information alongside superheroes and deities from multiple religions. Publisher DC Comics First appearance The Sandman #4 (April Later, the character acquired an 1989) ongoing Lucifer spin-off series written by Mike Carey, depicting Created by Neil Gaiman his adventures on Earth, Heaven, Sam Kieth and in the various other realms of In-story information his family's creations and in uncreated voids after abandoning Alter ego Samael Hell in the Sandman series.[1] Species Fallen angel Lucifer also appears as a Place of origin Heaven supporting character in issues of Lucifer's Creation The Demon, The Spectre, and Hell other DC Universe comics. Two angels, several demons, a human, Team affiliations The Triumvirate of Hell and briefly Superman[2] have Host of Heaven taken his place as ruler of Hell. -
Moore Layout Original
Bibliography Within your dictionary, next to word “prolific” you’ll created with their respective co-creators/artists) printing of this issue was pulped by DC hierarchy find a photo of Alan Moore – who since his profes - because of a Marvel Co. feminine hygiene product ad. AMERICA’S BEST COMICS 64 PAGE GIANT – Tom sional writing debut in the late Seventies has written A few copies were saved from the company’s shred - Strong “Skull & Bones” – Art: H. Ramos & John hundreds of stories for a wide range of publications, der and are now costly collectibles) Totleben / “Jack B. Quick’s Amazing World of both in the United States and the UK, from child fare Science Part 1” – Art: Kevin Nowlan / Top Ten: THE LEAGUE OF EXTRAORDINARY GENTLEMEN like Star Wars to more adult publications such as “Deadfellas” – Art: Zander Cannon / “The FIRST (Volume One) #6 – “6: The Day of Be With Us” & Knave . We’ve organized the entries by publishers and First American” – Art: Sergio Aragonés / “The “Chapter 6: Allan and the Sundered Veil’s The listed every relevant work (comics, prose, articles, League Of Extraordinary Gentlemen Game” – Art: Awakening” – Art: Kevin O’Neill – 1999 artwork, reviews, etc...) written by the author accord - Kevin O’Neill / Splash Brannigan: “Specters from ingly. You’ll also see that I’ve made an emphasis on THE LEAGUE OF EXTRAORDINARY GENTLEMEN Projectors” – Art: Kyle Baker / Cobweb: “He Tied mentioning the title of all his penned stories because VOLUME 1 – Art: Kevin O’Neill – 2000 (Note: Me To a Buzzsaw (And It Felt Like a Kiss)” – Art: it is a pet peeve of mine when folks only remember Hardcover and softcover feature compilation of the Dame Darcy / “Jack B. -
Vertigo and the Auteur Figure
Ambiguous Authorities: Vertigo and the Auteur Figure ISABELLE LICARI-GUILLAUME Abstract: This article examines authorial performance in the context of DC’s Vertigo line. In the 1990s, Vertigo gained its reputation as an innovative and progressive imprint by promoting the work of British scriptwriters, who were hailed as true author figures, despite the inherently collaborative nature of the mainstream comics industry. In a manner reminiscent of “auteur theory”, writers such as Neil Gaiman, Warren Ellis or Grant Morrison developed attractive authorial personae which they consistently displayed through interviews, letter columns or social media, but also, more importantly, by inserting their avatars within the comics they scripted. Upon closer examination, however, it becomes clear that their work in fact simultaneously asserts and destabilizes writerly authority, in a manner that is consistent with Linda Hutcheon’s view of postmodernity. By multiplying author figures and playfully disseminating authority, Vertigo authors question their own authorial control over the text, asserting instead the crucial role played by the reader. Bio: Isabelle Licari-Guillaume is a Teaching and Research Assistant at the Department of English at Université Bordeaux Montaigne, France. She specializes in contemporary comics studies and has recently defended her PhD, which examined the British Invasion of American comics, its aeshetic evolution over time, and its influence on the editorial history of DC's Vertigo imprint. Her other fields of interest include translation and gender studies, on which she has written several articles. In 2015, she edited a collection of essays on the body in comics (Les Langages du corps dans la bande dessinée, l'Harmattan) and is currently editing another volume, Translators of Comics / Les Traducteurs de bande dessinée. -
{Dоwnlоаd/Rеаd PDF Bооk} Wonder Woman: Omnibus Pdf Free Download
WONDER WOMAN: OMNIBUS PDF, EPUB, EBOOK George Perez | 640 pages | 01 Sep 2015 | DC Comics | 9781401255473 | English | United States Wonder Woman: Omnibus PDF Book Cara Sherman Tereno Artist ,. Celebrate your love of Wonder Woman with this deluxe writing journal featuring artwork inspired by her theatrical film. Sorry, but we can't respond to individual comments. Yanick Rice Lamb and Greg Morrison. The last couple issues are a thinly veiled story about battery and abuse of women in relationships. In that case, we can't Stefni rated it really liked it Jun 04, To salvage her very existence, she must ally herself with the legendary Beowulf and another fearsome warrior from DC's past while trapped on a world where her powers have betrayed her. Working with such talented collaborators as Len Wein, Mindy Newell, Chris Marrinan, Jill Thompson and Tom Grummett, Perez went on to craft Wonder Woman's adventures for years, spinning masterful stories that ranged from heart-stopping battles with the Titans of myth to heartwarming interludes with Diana's trusted network of friends. The various replacement artists are more than capable, but George Perez is one of the all-time great pencillers, and none of the succeeding ones can quite live up to his beautiful work in the early part of the series. Error rating book. Buy now. Silver Swan Nightwing will travel with Haly's Circus across the east coast and back to Gotham in his attempt to discover the dark truths that hide beneath the big top. His lush backgrounds and detailed character designs remain among the most impressive comic book art. -
Alan Moore - Wikiquote
Alan Moore - Wikiquote http://en.wikiquote.org/wiki/Alan_Moore Alan Moore From Wikiquote Alan Moore (born November 18, 1953) is a British writer, most famous for his influential work in comic-books and graphic novels. See also: V for Vendetta (1986) Watchmen (1987) The League of Extraordinary Gentlemen (1999 - present) Hellblazer (comic series based on characters created by Moore) From Hell (2001 film based on the comic series created by Moore) The League of Extraordinary Gentlemen (2003 film based on the comic series by Moore) Life isn’t divided into V for Vendetta (2006 film based on his graphic novel) genres. It’s a horrifying, Watchmen (2009 film based on his graphic novel) romantic, tragic, comical, science-fiction cowboy detective novel Contents … with a bit of pornography if you're lucky. 1 Quotes 1.1 Alan Moore's Hypothetical Lizard (January 2005 - May 2005) 1.2 Swamp Thing (1983–1987) 1.3 Watchmen (1986–1987) 1.4 Batman : The Killing Joke (1988) 2 Whatever Happened to the Man of Tomorrow? (1986) 2.1 V for Vendetta (1989) 2.2 De Abaitua interview (1998) 2.3 What Is Reality? It struck me that it 3 Quotes about Moore might be interesting for 4 External links once to do an almost blue-collar warlock. Somebody who was streetwise, working Quotes class, and from a different background There's been a growing dissatisfaction and distrust with the conventional than the standard run of publishing industry, in that you tend to have a lot of formerly reputable comic book mystics. imprints now owned by big conglomerates. -
Working the Margins: Women in the Comic Book Industry Wesley Chenault
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Georgia State University Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 6-5-2007 Working the Margins: Women in the Comic Book Industry Wesley Chenault Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Chenault, Wesley, "Working the Margins: Women in the Comic Book Industry." Thesis, Georgia State University, 2007. https://scholarworks.gsu.edu/wsi_theses/10 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. WORKING THE MARGINS: WOMEN IN THE COMIC BOOK INDUSTRY by WESLEY CHENAULT Under the Direction of Marian Meyers ABSTRACT Women have been involved in the writing, illustrating, and production of comic books at almost every step of the genre’s development. The years between the late 1960s and the late 1990s were tumultuous for the comic book industry. At the societal level, these years were saturated with changes that challenged normative ideas of sex roles and gender. The goal of this study is two-fold: it documents the specific contributions to the comic book industry made by the women interviewed, and it addresses research questions that focus on gender, change, and comic books.