Teaching the Graphic Novel
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Icons of Survival: Metahumanism As Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture
Lioi, Anthony. "Icons of Survival: Metahumanism as Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 169–196. Environmental Cultures. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 20:32 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Icons of Survival: Metahumanism as Planetary Defense In which I argue that superhero comics, the most maligned of nerd genres, theorize the transformation of ethics and politics necessary to the project of planetary defense. The figure of the “metahuman,” the human with superpowers and purpose, embodies the transfigured nerd whose defects—intellect, swarm-behavior, abnormality, flux, and love of machines—become virtues of survival in the twenty-first century. The conflict among capitalism, fascism, and communism, which drove the Cold War and its immediate aftermath, also drove the Golden and Silver Ages of Comics. In the era of planetary emergency, these forces reconfigure themselves as different versions of world-destruction. The metahuman also signifies going “beyond” these economic and political systems into orders that preserve democracy without destroying the biosphere. Therefore, the styles of metahuman figuration represent an appeal to tradition and a technique of transformation. I call these strategies the iconic style and metamorphic style. The iconic style, more typical of DC Comics, makes the hero an icon of virtue, and metahuman powers manifest as visible signs: the “S” of Superman, the tiara and golden lasso of Wonder Woman. -
Decoding the Visual Rhetoric: Memory and Trauma in Lynda Barry's One! Hundred! Demons!
http://wjel.sciedupress.com World Journal of English Language Vol. 8, No. 2; 2018 Decoding the Visual Rhetoric: Memory and Trauma in Lynda Barry’s One! Hundred! Demons! Partha Bhattacharjee & Priyanka Tripathi Department of Humanties and Social Sciences, Indian Institute of Technology Patna, India. Correspondence: E-mail: [email protected] Received: September 2, 2018 Accepted: September 20, 2018 Online Published: September 23, 2018 doi:10.5430/wjel.v8n2p37 URL: https://doi.org/10.5430/wjel.v8n2p37 Abstract Memory is an important tool in Lynda Barry’s One! Hundred! Demons! (2002) as she reconnoitres in non-linear fragments the personal trauma she faced while she was growing up. Layered into nineteen disjointed chapters, Barry’s graphic narrative is an amalgamation of images, collages and photographs, often following the pattern of a scrapbook style that justifies not only the events drawn in her narrative but also the motive of visual rhetoric in comics where visual images communicate and concretize meaning. Initially published as web comics (slate.com), each chapter consists of hand-painted vignettes of multifarious themes which are directly or indirectly linked to Barry’s life, covering from her childhood to adulthood. In the backdrop of these tools, techniques of visual rhetoric the objective of this paper is to investigate the form of the graphic narrative, the visual language employed in order to explore the traumatised childhood, memory and truth-telling in comics. Keywords: Trauma, Memory, Collage, Visual Language 1. Introduction Comics Studies emerges as a scholarly field in the second half of the 20th century and gains its boost to reach the acme in the current century. -
Absolute Swamp Thing by Alan Moore Volume 2 Ebook, Epub
ABSOLUTE SWAMP THING BY ALAN MOORE VOLUME 2 PDF, EPUB, EBOOK Alan Moore | 464 pages | 27 Oct 2020 | DC Comics | 9781779502827 | English | United States Absolute Swamp Thing by Alan Moore Volume 2 PDF Book Bissette , John Totleben , Various. Taking off from the end of Brightest Day , the series follows a resurrected Alec Holland who wants to put the memories of the Swamp Thing behind him. The supplemental material for this volume is reprinted from the limited edition Watchmen hardcover published by Graphitti Designs in Marshall McCune rated it really liked it Jan 31, Add to Watchdog. He never will be Alec Holland. Release date: TBA. Alan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. Released on December 7, Arcane returns and arranges an abduction of Abby to force Tefe to use her powers to grow him a healthy body. Satyajit Chetri rated it really liked it Nov 16, Geraldine Viswanathan and Dacre Montgomery star in this romantic comedy written and directed by Natalie Krinsky. Hendrik rated it it was amazing Oct 24, Gabriel Morato rated it really liked it Oct 18, After the completion of this storyline, the Swamp Thing sought to resolve his need for vengeance against those who had "killed" him during his showdown in Gotham City, culminating in a showdown with Lex Luthor and Superman in Swamp Thing vol. Moore resides in central England. Jamie Delano. Currently out of print. Shop Now. The Swamp Thing would not appear again until Mike Carey 's run on Hellblazer in issues — and —, leading into the fourth Swamp Thing series. -
Alan Moore and Dave Gibbons's Watchmen
NACAE National Association of Comics Art Educators Reading Questions: Alan Moore and Dave Gibbons's Watchmen 1. What different themes does this book explore? Be as detailed and exhaustive as possible. 2. Pick a panel and analyze how Moore and Gibbons combine text and visuals to their utmost effect. 3. Pick a page and analyze its overall layout. How does the page as a whole make use of the comic book format to achieve meaning and impact. You might find it helpful to consider the larger themes of Watchmen. 4. Visual motifs are recurrent images that take on specific meanings relevant to a given work. What visual motifs appear throughout Watchmen and what meanings do they suggest? 5. How does the issue of crimefighting evolve over time in the world imagined in Watchmen? 6. Consider the names "Rorschach" and "Ozymandias." Why are these particularly appropriate names for these two characters? 7. Which character or characters do you sympathize with most? Why? 8. What does Chapter IV, "Watchmaker," reveal to us about Dr. Manhattan? How does he experience time? What are his interests? How would you summarize his view of existence? 9. How do Moore and Gibbons use the imagined history in Watchmen to comment on real events in 20th century America? 10. Look closely at Chapter V, "Fearful Symmetry." How does the idea of "symmetry" play out in this chapter in both form and content? 11. What are the worldviews of Dr. Manhattan, Rorschach, and Adrian Veidt? Where do these worldviews intersect? Where do they differ? 12. What does Watchmen suggest about masked crimefighters and their costumes? Which characters bring these ideas most clearly into focus? 13. -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
Q33384 William Blake and Speculative Fiction Assignment 2
Commentary on the Adaptation of Blake’s America: A Prophecy into a Series of Murals Inspired by Northern Irish Political Art and Popular Art Within the Graphic Novels of Alan Moore and Bryan Talbot. Joel Power 1 Overview Blake’s America: A Prophecy is a response to great social and political upheaval present at the end of the eighteenth century, and what Bindman calls a ‘revolutionary energy’2 in America and France. My mural adaptations focus on plates 8-10, a dialogue between this ‘revolutionary energy’, personified by 1 My images as they would appear in situ. 2 David Bindman, in William Blake, America a Prophecy, in The Complete Illuminated Books, ed. by David Bindman (London: Thames and Hudson, 2001), p. 153. INNERVATE Leading student work in English studies, Volume 8 (2015-2016), pp. 233-241 Joel Power 234 Orc, and Urizen in the guise of Albion’s Angel, before the poem turns into Blake’s ‘mythical version’3 of the American War of Independence. The genre of murals, as with those in Northern Ireland, create narratives ‘rich in evocative imagery’ presenting ‘aspirations, hopes, fears and terror’,4 telling of stories and legends between the past, present and future. The rebellious nature of the medium makes it an apt vehicle through which to adapt Blake’s work. Enriched with graphic imagery and intertextuality from Moore’s Promethea, Watchmen, V for Vendetta, Swamp Thing and Talbot’s The Adventures of Luther Arkwright, the three murals form part of a larger scale urban project which would reveal itself on city walls over a period of time, creating drama and intrigue. -
Discovering the Literary Relevancy of Watchmen: a Review of the Graphic
Running head: LITERARY RELEVANCY OF WATCHMEN 1 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes (2 inches) Tyler Flynn (2 inches) A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2012 (1.5 inches) LITERARY RELEVANCY OF WATCHMEN 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Dr. Carey Martin, Ph.D. Thesis Chair (1 inch) ______________________________ Dr. Cliff Kelly, Ph.D. Committee Member (1 inch) ______________________________ Dr. David Duby, Ph.D. Committee Member (1 inch) ______________________________ Brenda Ayres, Ph.D. Honors Director (1 inch) ______________________________ Date LITERARY RELVANCY OF WATCHMEN 3 Abstract The American comic book, specifically those of the superhero genre, is a medium that has been associated with stagnant, morally upright characters and formulaic plots. However, author Alan Moore and artist Dave Gibbons changed said stigma with their groundbreaking series Watchmen . An analysis of the work’s storyline, as well as some of the main characters, will reveal the deep philosophical and psychological underpinnings of the graphic novel, and, more importantly, its literary merit. A Christian interpretation of the work will also be presented. LITERARY RELEVANCY OF WATCHMEN 4 Discovering the Literary Relevancy of Watchmen A Review of the Graphic Novel’s Philosophical Themes The advent of the superhero is widely agreed to have been initiated by Jerry Siegel and Joe Schuster with the creation of Superman in the 1938 publication of Action Comics #1 (Goulart 43). -
WATCHMENAND PHILOSOPHY EDITED by Can We Justify Ozymandias’S Grand Plan? MARK D
PHILOSOPHY/POP CULTURE IRWIN SERIES EDITOR: WILLIAM IRWIN WATCHMEN EDITED BY Can we justify Ozymandias’s grand plan? MARK D. WHITE Does Dr. Manhattan really know what’s going to happen in the future? Is the Comedian actually a comedian (or just a jerk)? Can either Silk Spectre be considered a feminist? Does Nite Owl’s paunch actually make him virtuous? AND PHILOSOPHY ATCHMEN is the most critically acclaimed graphic novel ever published Wand turned the world of comic superheroes on its head. This masterpiece of realistic storytelling, dialogue, and artwork, courtesy of Alan Moore and Dave Gibbons, raises a host of compelling philosophical questions. How do Ozymandias and Rorschach justify their actions? What are the political ramifi cations of the Comedian’s work for the government? How do we explain the nature of Dr. Manhattan? And can a graphic novel be considered literature? Whether you’re reading Watchmen for the fi rst time or have been a fan for more than twenty years, Watchmen and Philosophy will help you read deeper into the philosophical questions and the revolutionary story that changed comic fi ction forever. MARK D. WHITE is an associate professor in the Department of Political Science, Economics, and Philosophy at the College of Staten Island/CUNY and coeditor of { Batman and Philosophy. A RORSCHACH TEST WATCHMEN WILLIAM IRWIN is a professor of philosophy at King’s College. He originated the philosophy and popular culture genre of books as coeditor of the bestselling The Simpsons and Philosophy and has overseen recent titles, including Batman and AND PHILOSOPHY Philosophy, House and Philosophy, and Watchmen and Philosophy. -
E Hundred Demons Stephen E
162 Graphic Novels of Art Spiegelman © 2009 by The Modern Language Association of America. All rights reserved. Printed in the United States of America. Second printing 2010 Teaching the alie op de Beeck Graphic Novel tobifictionalography: .uu.-u.ug Do in Lynda Barry's Edited by e Hundred Demons Stephen E. Tabachnick the far left margin of the copyright page to Lynda Barry's One 'Hu.w.ared Demons, hand-scrawled uppercase print advises, "Please note: is a work of autobifictionalography." Just beneath the table of con this word appears again in red, curly cursive lettering on torn green Barry's looping letters look approachable and greeting-card friendly. hand printing on another paper scrap asks the question, "A re stories 0 true or 0 fa lse?," with red check marks in each box to im- that these stories, perhaps all stories, are a li ttle of both. Barry pro a postmodern critical viewpoi nt in a noncombative way, encourag- genuine curiosity about the relation of autobiography to fiction and of to comics. She asks how well any written, drawn, or spoken ~LtmmL represents the truth, or a truth, and she playfully complicates The Modern Language Association of America by casting a semiautobiographical Lynda as her protagonist. Fur- New York 2009 she urges amateurs to write and illustrate work of their own, by tak up the Asian brushwork technique that inspired Demons in the first Michel de Certeau has ca lled "making do." Barry's combina of critical and creative inquiry-effectively demonstrating her own in an unaffected manner-makes Demons an excellent text for the and graduate classroom. -
Watchmen Thesis
1 I. Introduction My argument begins with a quote from the blog of Tony Long, a writer for the magazine Wired , a magazine which is immersed in popular culture and technology, and is usually ahead of the times in its cultural evaluations. However, there are still some areas in which the writers are not completely aware of the changes of genre, as Long demonstrates in his argument for why a graphic novel that was recently nominated for the National Book Award should not be eligible. Long says, I have not read this particular "novel" but I'm familiar with the genre so I'm going to go out on a limb here. First, I'll bet for what it is, it's pretty good. Probably damned good. But it's a comic book. And comic books should not be nominated for National Book Awards, in any category. That should be reserved for books that are, well, all words. This is not about denigrating the comic book, or graphic novel, or whatever you want to call it. This is not to say that illustrated stories don't constitute an art form or that you can't get tremendous satisfaction from them. This is simply to say that, as literature, the comic book does not deserve equal status with real novels, or short stories. (para 15-16) Long feels quite strongly that graphic novels are “comic books,” and does not know of any distinction between the two. He considers “comic books” and graphic novels to both be “illustrated stories” and so not eligible to be considered “literature.” His distinction of literature seems to be that of novels and short stories, and the reason those are literary is because they are “all words.” Long is displaying a prejudice towards what he considers “comic books” that is endemic to the mind of the American reader, and most American scholars. -
AML 3285.0989 a Cultural History of American Women in Comics Fall 2017
AML 3285.0989 A Cultural History of American Women in Comics Fall 2017 Time: T 5-6, R 6 —► Tuesdays ll:45am-l :40pm, Thursdays 12:50pm-l :40pm Place:TUR 2318 Canvas Website:http://elearning.ufl.edu/ Course Website:https://americanwomenincomics.wordpress.com/ Instructor Name:Dr. Margaret Galvan Email:[email protected] Office: TUR 4348 Office Hours:Tuesdays 10:30am-11:30am, Thursdays 2:45pm-3:45pm, and by appointment Course Description: Despite a long history of female creators, readers, and nuanced characters, women’s participation in American comics has frequently been overlooked. Contemporary scholars have focused on recovering these forgotten women. In this class we will explore why women’s contributions have not been visible in comics histories. We will start by reading how comics have been variously defined. Reading these definitions alongside this understudied tradition of women’s comics, we will ask: is there something about the definitions that exclude women in comics? We will read comics by women in addition to reading comics for and about women, since female random and characters have also been minimized. We will read a variety of forms, both print and digital, and consider how we might wield this digital space to right the balance. Course assignments will include digital reflections on a shared course website, a short formal essay, and a research project that includes an annotated bibliography, proposal, Wikipedia edits, and formal paper. Books to Purchase: Lynda Barry, Syllabus (2014), Drawn & Quarterly, ISBN: 1770461612 Kate Beaton,Hark! A Ir agrant (2011), Drawn & Quarterly, ISBN: 1770460608 Thi Bui, The Best We Could Do (2017), Abrams, ISBN: 1419718770 Emil Ferris, My Favorite ThinglsMonsters (2017), Fantagraphics, ISBN: 1606999591 Cristy C. -
LYNDA BARRY Associate Professor in Interdisciplinary Creativity Chazen Family Distinguished Chair in Art [email protected]
LYNDA BARRY Associate Professor in Interdisciplinary Creativity Chazen Family Distinguished Chair in Art [email protected] EDUCATION 1978 BA The Evergreen State College, Olympia WA RECENT HONORS AND AWARDS: 2020 MacArthur Fellow 2020 Nomination for Cartoonist of the Year – National Cartoonists Society Rubin Award 2019 United States Artist Award 2019 Nomination for Cartoonist of the Year –National Cartoonists Society Ruben Award 2018 Nomination for Cartoonist of the Year –National Cartoonists Society Ruben Award 2017 Milton Caniff Lifetime Achievement Award – National Cartoonists Society 2016 Inducted into the Cartoonist’s Hall of Fame – Ruben awards ComiCon San Diego 2016- Chazen Family Endowment Distinguished Artist Chair 2015 -Doctor of Arts, Honorary Degree, Philadelphia University of Art 2014- Holtz Center Outreach Fellowship -Edna Wiechers Art in Wisconsin Award, Arts Institute -Society of Illustrators 2014 Push and Kicks Award of Excellence in the World of Graphic Books -French Edition of “One Hundred Demons”, official selection of the Angouleme Festival, Agoulême, France -“Freddie Stories” nominated for Ignatz Awards, outstanding Anthology Selected Awards - Two additional William Eisner awards, - The American Library Association’s Alex Award, - The Wisconsin Library Association’s RR Donnelly Award, - Washington State Governor’s Award - Wisconsin Visual Art Lifetime Achievement Award BOOKS 2019 Making Comics (Drawn and Quarterly) 2017 The Good Times are Killing me, revised new hardcover edition with paintings and new afterword