Relevant bibliographies by topics / Comic books

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Comic books'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 June 2025

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Journal articles on the topic "Comic books"

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Le, Van Huynh Ha, and Oanh Thi Kieu Doan. "Comic Books." International Journal of Computer-Assisted Language Learning and Teaching 12, no. 4 (October 1, 2022): 1–22. http://dx.doi.org/10.4018/ijcallt.310082.

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Collaborative learning is an educational approach that allows learners to learn effectively in groups and construct new knowledge together. Online collaborative learning takes place on an online platform. This educational approach is evaluated as an effective solution to the learner's isolation in online courses. This action research aims to investigate the impact of online collaborative learning by designing comic books on diminishing the learner's isolation and exploring the obstacles to making online comic books. One hundred fifty freshmen at Van Lang University, Vietnam took part in a 10-week project. The action research method was used in combination with three data collection instruments: notes, questionnaires, and focused group interviews. The findings indicate that online collaborative learning with comics can remove the isolation feelings and bring a sense of community to online learners. The research also pointed out difficulties that may arise during designing comics. The action plan has pedagogical values and should be duplicated for the sake of online learning and teaching.
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Aleixo, Paul A., Daniel Matkin, and Laura Kilby. "What do teachers think about the educational role of comic books?: A qualitative analysis." Studies in Comics 11, no. 2 (November 1, 2020): 387–404. http://dx.doi.org/10.1386/stic_00037_1.

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An exploratory, qualitative, study into the views of teachers on the use of comic books in education was carried out. Three secondary school teachers with varying experiences of comic books were interviewed using an open-ended format. Results of a thematic analysis indicated three clear areas of thinking around comic books: firstly, comic books are considered to be a medium of children’s entertainment, and not associated with educational practice; secondly, when the medium is employed in education, it should primarily be used with students that require extra support and thirdly, comic books represent a ‘missed opportunity in education’ and have not achieved their full potential due to a lack of comic book resources for use in the classroom. All three concepts are discussed in light of research evidence supporting the use of comics in educational contexts and concerns are highlighted that suggest these themes might represent a barrier to the future use of comics in these areas. Further qualitative and quantitative research to expand these initial findings is also suggested.
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Scanlon, Meaghan. "Canadian Comic Books at Library and Archives Canada." Papers of The Bibliographical Society of Canada 56, no. 1/2 (July 16, 2019): 37–51. http://dx.doi.org/10.33137/pbsc.v56i1/2.30363.

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Library and Archives Canada (LAC) has what is likely the largest collection of Canadian comic books in a Canadian library. LAC’s collection has three distinct parts: comics acquired via legal deposit,the John Bell Collection of Canadian Comic Books, and the Bell Features Collection. These holdings, which span the history of the comics medium in Canada, represent a significant resource for researchers studying Canadian comics. This article looks at each of the three main parts of LAC’s comic book collection, giving anoverview of the contents of each part, and providing information on how researchers can discover and access these comics. The article also briefly explores other comics-related holdings at LAC. Its purposeis to provide a starting point for researchers seeking to make use of LAC’s comic book collections.
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Głownia, Dawid. "Pacification of Rebellious Comics by the Comic Code On the Example of Changes Introduced Into Reprints of Pre-1955 Comics." Kultura Popularna 60, no. 2 (January 31, 2020): 188–204. http://dx.doi.org/10.5604/01.3001.0013.7343.

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The article discusses the issue of changes introduced into reprints of pre-1955 American comics in order to adapt them to requirements of the Comic Code. Pre-1955 American comic books are characterized as “rebellious” — challenging norms and aesthetic rules of contemporary America – and the activities of Comic Code Administration as a form of their pacification. What follow next is a presentation of main strategies of adaptation of pre-1955 comics to the requirements of the Comic Code identified on the basis of analysis of fifty reprints. In the last part the author compares the original and reprinted versions of three comics books stories, shows how dramatically the plot of stories could change due to introduction of prescriptions of the Comic Code Administration.
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Lichtblau, Krzysztof. "Polski komiks wojenny z czasów PRL-u." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 12, 2017): 80–89. http://dx.doi.org/10.24917/3919.

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Polish comic books from the Polish People’s Republic period After years of fighting with comics book the authorities of the Polish People’s Repulic started using it for its own objectives. Propaganda was the basic target of the comic book narration and interference in history was the main element of it. In my publication I will present images of war created by authorities in the main comic books from the Polish People’s Republic period.Propaganda used by authorities helped to show friendship between Poland and Soviet Union. What is more, using comic books in a political game allowed to create a demonic image of the so-called enemies; Germany especially, but also everything what was connected to the west politics and culture was considered hostile.Comic books became a great tool in governments’ hands for propaganda objectives. Simpifications and contrasts which are used in comics were a great way of ideological speech.Key words: comic book; war; propaganda;
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Belov, Dmytro. "Types and Genre Specificity of the Comics in Ukraine." Ukrainian Journal on Library and Information Science, no. 5 (June 19, 2020): 29–42. https://doi.org/10.31866/2616-7654.5.2020.205728.

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The article is devoted to the coverage of the main trends in the comics’ development in Ukraine from the standpoint of its types and genre specificity. The increase of comic books popularity as an information product on the domestic book publishing market has been revealed. Based on the analysis of statistical data, the tendency to increase both the number of names of domestic comics and the number of publishers specializing in comics’ products has been shown. The perspectives of comics as a tool for engaging in reading in an informative society have been substantiated. An attempt to classify comics in Ukraine by format, genres and originality (translated, adaptations of classic and contemporary Ukrainian literary works, original ones) has been made. The development of the domestic comic book market towards more expensive and better products – production of graphic novels has been revealed. The peculiarities of different types of domestic comics are revealed, the influence on the popularity of historical and heroic types of comic books of social and political processes, in particular the events of the Revolution of Dignity and War in the East of Ukraine, has been emphasized, the attempt to create a national pantheon of superheroes has been reviewed. The educational functions of comics in Ukraine, modernization and integration of comics by means of modern social contexts that are important in terms of national identity have been underlined. Against the backdrop of the growing popularity and the fantasy comic book genre development and widespread presence on the book market of historical and heroic comics, the decline of the humorous comic book in Ukraine has been noted. Such forms and means of comic book promotion and dissemination of comics’ culture in Ukraine as festivals, blogs, thematic evenings, presentations, special Internet resources have been substantiated. It has been determined that cinema is a powerful means of promoting comics.
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Lo, Patrick, Bradley Allard, Kevin K. W. Ho, Joyce Chao-chen Chen, Daisuke Okada, Andrew Stark, James Henri, and Chung-chin Lai. "Librarians’ perceptions of educational values of comic books: A comparative study between Hong Kong, Taiwan, Japan, Australia and New Zealand." Journal of Librarianship and Information Science 51, no. 4 (March 29, 2018): 1103–19. http://dx.doi.org/10.1177/0961000618763979.

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Comic books are becoming increasingly popular in the field of education. In the past, comic books were excluded from school libraries and classrooms. However, with the resurgence in the popularity of comic books and students’ increased demands for them, they are now considered as recreational reading with educational value. In response to this, school libraries have begun collecting comic books and including them as part of their regular collections. This research paper reflects on the current situation of comic books in primary and middle school library collections and examines school librarians’ perceptions towards educational values of comics. The investigation was launched in Hong Kong, Taiwan, New Zealand, Australia and Japan – making comparisons amongst different levels (primary school and secondary school), and different types (public school and private school) of schools in five different countries. Questionnaire surveys were sent to selected school librarians and were the main method of data collection. A total number of 683 responses were collected for this study. Research results include librarians’ attitudes towards comic books in school libraries, adolescent readers’ use of school libraries, their reading and borrowing practices, as well as other problems encountered with the on-going maintenance of comic books as part of the school libraries’ regular collections.
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Ciemniewski, Marcin. "Indian spooks: What Indian Comic Books Readers Are Afraid of." Politeja 16, no. 2(59) (December 31, 2019): 161–76. http://dx.doi.org/10.12797/politeja.16.2019.59.11.

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The comic book industry in India began in 1950. Back then leading American comic books like The Phantom, Flash Gordon and Rip Kirby started to be published in India and translated into local languages. Indian youngsters in no time became interested in the new medium, especially in superhero comics known from the American popular culture. The success of these translations encouraged local publishers and cartoonists to create Indian themed comic books, set in India with Indian heroes (and superheroes) − even though Indian comics were still strongly influenced by American ones, mainly in terms of esthetics. However, around 1950, American comics publishing companies also tried to attract adult readers by presenting more adult content in a form of horror and thriller stories. Publishers in India quickly adapted this trend launching a very popular comic book series in Hindi of thrill, horror and suspense. In this way horror – till then almost completely absent from Indian literature and popular culture – was introduced to the local audience. The question remains, how different are those local spooks from the American ones and finally: what are Indians afraid of?
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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (December 23, 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.

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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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Srikandi, Cut Novita, Muntasya Biha, and Muntasya Biha. "Interactive Learning Through ‘Si Ito’ Comics: Promoting Sumatera’s Eco-Tourism and Education." Globish: An English-Indonesian Journal for English, Education, and Culture 14, no. 1 (January 1, 2025): 146. https://doi.org/10.31000/globish.v14i1.13172.

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This research discusses an eco-friendly bilingual Ito comic integrated application aimed at promoting Sumatra tourism, emphasizing comedic content that can enhance foreign tourist visitation to locations in North Sumatra. Data was gathered from the 2022 publication of Ito Comic. This comic was produced by a researcher and her esteemed colleagues in the Ito Comic Team. This research seeks to promote tourism in North Sumatra while fostering entrepreneurship through the production of comic books that advocate for eco-friendly initiatives. This study was executed using qualitative research methods. Assessment of market prospects involving 86 females and 37 males aged 10 to 30 years. Data indicated that 33% of respondents expressed a strong interest, while 55% indicated a general interest in reading Si Ito comics, which are produced from recycled paper and feature comic applications available in the market. The results indicate that Si Ito comics can serve as a medium for promoting tourism in North Sumatra to an international audience. In addition to endorsing eco-friendly initiatives, Si Ito's comic books serve as a vehicle for promoting tourism in North Sumatra through bilingual content, functioning as a learning medium for foreign language acquisition.
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Dissertations / Theses on the topic "Comic books"

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Day, Kenna Alise. "Crazier than Sack of Ferrets!: Deadpool as the Post-Watchmen Superhero." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/75308.

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Watchmen has been hailed as revolutionary not only for the literary quality of Alan Moore's script and the precise execution of Dave Gibbon's art, but also for the novel's successful exploration of sophisticated subject matter and realistic moral conflict. Perhaps the most interesting question Watchmen forces us to consider is why an individual would put on the costume and don the mask, and how such a constructed persona affects the individual psychologically and morally. For those heroes that came before, the compulsion to fight crime was often an in-born ideology of justice. But for Moore's Watchmen, we find that even superheroes are corruptible, flawed, imperfect, and even (more than) a little crazy. In the wake of what is arguably one of the most influential superhero novels published to date, the comics industry saw a rise in the popularity of anti-heroes like Moore's, but it wasn't until the 1991 creation of Marvel's Deadpool that fans saw exactly what it means to be a hero in the post-atomic, post-Vietnam age. Through self-reflexivity, genre deconstruction, and dark hysteria, Deadpool shows us that it isn't so easy to walk the straight line of the righteous, and that sometimes it's much easier to submit to the madness of a chaotic, morally ambiguous world.<br>Master of Arts
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RAMOS, ANDRE DE FREITAS. "DIGITAL COMICS: THE VISUAL LANGUAGE OF THE COMIC BOOKS AND THE DIGITAL PARADIGM." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30279@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>A pesquisa parte do princípio de que as histórias em quadrinhos constituem um importante meio de entretenimento e comunicação. Em decorrência da característica de mesclar imagem e texto como nenhuma outra forma de arte, se desenvolveram em um nicho próprio. Considera-se que a linguagem das HQs evolui a partir da estrutura de códice com seu sistema de páginas. Detentora de uma linguagem visual própria percebe-se na contemporaneidade, transformações com o advento das tecnologias. Atualmente, podem ser lidas em dispositivos móveis agregando incrementos ao se aproximar de outras mídias. Diante deste novo paradigma digital atinge nível de mobilidade que o computador pessoal não permitia, propondo um novo nicho de expressão e produção artística. Com foco na fruição e leitura em plataformas digitais, a pesquisa traça um panorama dos principais aplicativos de distribuição e leitura enquanto analisa títulos e narrativas específicas. Também aborda a evolução da linguagem visual das histórias em quadrinhos, contemplando a transposição para o mundo digital na internet e aspectos relacionados com a adaptação para os dispositivos móveis.<br>This research is based on the principle that comics represent an important form of entertainment and communication. Due to its capability to combine image and text like no other art form, it establishes itself as a unique means of expression. We could determine that its configuraton originates from pages of a códex structure. Since it holds its own specific visual language. Nowadays comics can be read on mobile devices more elements in connection with other media. On account of these new digital paradigms comics reach a mobility level that the personal computer alone coudn t offer, opening up new áreas of expression and artistic creativity. Considering its utilization in digital platforms, this study presents a outline of the main applications in its circulation and reading, trying at the same time to analyze titles and specific characteristics. It also covers the evolution of the visual language in comics, including its transposition to the digital world of the interner as well as other aspects related to the adaptation to the mobile devices.
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Gabilliet, Jean-Paul. "Des comics et des hommes : histoire culturelle des comic books aux États-Unis /." Nantes : Éd. du Temps, 2004. http://catalogue.bnf.fr/ark:/12148/cb399717761.

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Guarino, Jeffrey Mark. "Comix in the classroom: A resource guide for graphic novels and comic books." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1503.

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Egelström, Christian. "Comic Books - Images, Words and Language Acquisition : Using comic books as an alternative material for teaching the English language." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-38159.

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The purpose of the research described in this essay is, by analysing the content of comic books, to (1) evaluate comic books as material for teaching, (2) if possible, to create an exercise that could be used in the classroom in which comic books are used for teaching ESL and (3) to suggest innovative material and related tasks that could be used to introduce students to issues related to meaning, with the focus on “literal or speaker meaning”, “multimodality” and “deixis”, and drawing upon principles and concepts described within the disciplines of semiotics, semantics and pragmatics. Accordingly, the thesis questions of this essay are described as follows: If possible, how could comic books be used in the classroom as an alternative material for teaching the ESL? If possible, how could comic books be used to introduce students to issues related to meaning through linguistic approaches, with the aid of semantics, semiotics and pragmatics?  Comic books, in theory and in practice, could be used in the classroom as an alternative material for teaching the English language and introduce students to issues related to meaning through linguistic approaches, with the aid including semantics, semiotics and pragmatics. Furthermore, the material used in this essay is just a small fraction of possible material that is available to teachers, and there are numerous ways of using comic books in teaching aspects of language from varied perspectives.
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Meade, Alayna Naomi, and Alayna Naomi Meade. "Revitalizing the Stagnating U.S. Comic Book Industry: A Historic Analysis and Creative Fusion of American and Japanese Comic Books." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625096.

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The United States and Japan both have internationally recognized comic book industries. However, their levels of financial success and social relevance differ greatly. As the United States struggles to gain new readers, Japan has made comics a staple of life for all its residents. The following research essay elaborates on this phenomenon using historical context, and suggests how the United States can make its comic industry more prosperous by analyzing the global and domestic success of Japanese comics. In conjunction with this essay is a full comic book influenced by visual, storytelling, and historic aspects of comics from both countries. This creative portion is meant to serve as an example for how American comic book artists can learn from the Japanese comic industry in terms of capturing new readers without losing their American identity.
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Lorenz, Peter. "Maßnahmen zur Schaffung einer zukunftsfähigen Organisation der Comic-Spezialbibliothek "Bei Renate"." Berlin : Humboldt-Universität zu Berlin, 2005. http://books.google.com/books?id=SYtQAAAAMAAJ.

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VASCONCELLOS, PEDRO VICENTE F. "MANGA-DO: THE WAYS OF JAPANESE COMIC BOOKS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8973@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Nos últimos anos o mangá, nome dado aos quadrinhos japoneses, tem se consolidado como fenômeno da cultura popular a nível global, inclusive no Brasil. Após mais de um século de fusão entre influências ocidentais e tradições artísticas japonesas, o mangá tornou-se um tipo de narrativa visual impressa bastante peculiar, tendo um lugar de destaque não apenas na sociedade japonesa contemporânea, mas recentemente, tem-se visto suas influências alcançando o cenário cinematográfico norte-americano. Esta dissertação destina-se a esquadrinhar os caminhos pelos quais o mangá se desenvolveu visualmente até sua forma atual e suas atuais influências sobre outros meios de comunicação.<br>In recent years manga, as the Japanese comic books are called, has been consolidated as a pop culture phenomenon in a global scale, including Brazil. After over a century of fusions between Western influences and Japanese artistic traditions, manga has become a rather peculiar form of printed visual story-telling, achieving a distinctive place not only in modern Japanese society, but also, its influences have been felt in the North American cinema scene as well. This thesis objective is to examine the ways through which manga has developed visually up to its actual state and its present influences over other media.
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Lombard-Cook, Kathleen. "Interrogating and analysing narrative structure through comic books." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23507.

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How can the structures of graphic narratives help us to interrogate, analyse, and ultimately ground stories of ourselves and our world? By not relying solely on verbal or visual language, but the complex interplay between multiple signification strategies, comics open up possibilities for transcending the limits of any single linguistic mode and more fully enunciating the complex layers of superimposed truths that make up our lived experiences. In this doctoral project, I utilize media-specific analysis of graphic narratives and interrogate the multi-modal communication strategies inherent in comics. The result is a multidisciplinary construction of the structural and semiotic modes of comics as an enactment of contemporary narrative ideals that privilege reader-centric, subjective constructions of meaning. My submission consists of four chapters of written research, to be submitted at the end of January, and a collection of autobiographical narrative works that will form an exhibition which will be shown at the time of the viva in April. The presentation of the textual material is an inseparable component of the content, and a piece of practical work in itself. The chapters can be read in any sequence; for the purposes of this abstract, I will discuss them in alphabetical order. My practice work challenges the traditional use of comics-specific affordances, such as panel borders, gutter, use of space as time, and other verbo-visual techniques by remediating them outwith book and digital book-like objects we associate with graphic narratives. Each chapter in the dissertation is its own book-object that enacts the content as well as relates to the larger body of practice work. Childhood Memoirs—Autobiographical Approaches The use of multiple signification strategies allows for communication that transcends the limits of textual or verbal language and can allow a creator to enunciate what may be unspeakable or incomprehensible, such as moments of trauma. I pay special attention to how subjectivity is presented in graphic memoirs within this context, as the drawn nature of comics allows for shifts in the status of the author/narrator that are unique to the medium. Comics as a Synthetic Medium—A Very Short Introduction The ‘introductory’ chapter contextualizes my research and comics studies more generally within non-binary, non-hierarchical concepts of rhizomatic knowledge structures that utilize the concept of text in the Barthesian sense as a mode of communication rather than solely lexicographic writing. In comics, text and imagery can actively oppose each other, creating a space where new meaning can be synthesized from this tension. This is Derrida’s deconstruction, Benjamin’s inclusion of cultural production in literature, or Barthes’ writerly text. Each utterance on a comics page may convey multiple levels of independent meaning, making it unique among narrative media. By examining the semiotic and structural theories presented by Barthes and Derrida, as well as Benjamin, Deleuze, Witgenstein and others, I develop the case for a comics-specific theory of trans-medial, subjective, deconstructed communication. Mapping the Journey—The Cartography of Autobiography In this chapter, I analyse the mythology of the supposed inductive system of representation in mapping and explore how including a secondary visual semiological system, that of the map, within the primary system of comics impacts reader perception of truth through verifiability. I also explore the intersection of non-representational theory within geography and authentication within autographics. Media Specificity of Non-traditional Graphic Narratives The focus of this chapter is on the impact of disseminatory (re)mediation on the medium of graphic narratives. I assert that neither digital nor print is superior to the other, but deliver different experiences to the reader. Through close analysis of the formal qualities inherent in digital and physical representation of comic content, I articulate the qualities unique to each distribution strategy and theorize ways that creators can take advantage of the media at their disposal. The practical element of my submission takes the form of a collection of objects that utilize a variety of graphic narrative structures outwith traditional comics forms in order to explore facets of my childhood memories. The exhibition will be constituted of several lanterns, dioramas and dolls’ houses, as well as some printed material. I attempt to ground my memories in architecture and place, while aware that the sense of solidity this lends my recollections is a false sense of objective security. To counteract any attempt to present a wholly unified and reliable narratorial self, I present the same places and memories through various angles and media. I make explicit some of the dissonant ‘truths’ myself and other members of my family were presented with, as an attempt to consciously confront the fragility of utilizing such collectively constructed memory to construct a stable self-image.
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Ehritz, Andrew A. "FROM INDOCTRINATION TO HETEROGLOSSIA: THE CHANGING RHETORICAL FUNCTION OF THE COMIC BOOK SUPERHERO." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1155044370.

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Books on the topic "Comic books"

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1969-, Haugen David M., ed. Comic books. Detroit: Greenhaven Press, 2005.

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Ryall, Chris. Comic Books 101. Cincinnati: F+W Media, Inc., 2009.

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Nall, Alex. Are comic books real? Denver, CO]: Kilgore Books, 2021.

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Kevin, Smith. Clerks: The comic books. Portland, OR: Oni Press, 2000.

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1954-, Gordon Ian, Jancovich Mark, and McAllister Matthew P, eds. Film and comic books. Jackson: University Press of Mississippi, 2007.

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Schecter, Harold. Start collecting comic books. Philadelphia, Pa: Running Press, 1990.

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1938-, Steranko, ed. 100 greatest comic books. Atlanta, Ga: Whitman Pub., 2004.

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Sotheby's (Firm). Science fiction art, books and related memorabilia ; Comic books and comic art. New York: Sotheby's, 1995.

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Asimakoulas, Dimitris. Rewriting Humour in Comic Books. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19527-4.

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Capp, Al. Shmoo: The complete comic books. Milwaukie, Or: Dark Horse, 2008.

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Book chapters on the topic "Comic books"

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Forni, Kathleen. "Comic Books." In Beowulf’s Popular Afterlife in Literature, Comic Books, and Film, 98–121. New York: Routledge, 2018. | Series: Routledge studies in medieval literature and culture; 9: Routledge, 2018. http://dx.doi.org/10.4324/9780429466014-6.

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Kunka, Andrew J., and Rachel R. Miller. "Comic Books." In The Routledge Introduction to American Comics, 59–102. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003185079-3.

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Higgins, David M., and Matthew Iung. "Comic Books 1." In The Routledge Companion to Cyberpunk Culture, 91–100. London; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351139885-12.

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Garcia, Rafael A. "Kickbacks for Comic Books." In Bribery and Corruption Casebook, 53–63. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119204718.ch6.

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Le Dû-Blayo, Laurence. "Underwater Landscapes in Comic Books." In Underwater Seascapes, 119–33. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-03440-9_8.

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Wilson, Eydie. "Comic Books, Technology, And Dialogue." In Transforming Urban Education, 107–25. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-563-2_7.

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Kiehl, Jeffrey T. "Archetypal Dimensions of Comic Books." In Contemporary Religion and Popular Culture, 141–59. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20127-1_7.

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Asimakoulas, Dimitris. "Repeated Logic Offenders: Comic Characters." In Rewriting Humour in Comic Books, 125–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19527-4_5.

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"Comic Books." In The Routledge Research Companion to Media Geography, 83–98. Routledge, 2016. http://dx.doi.org/10.4324/9781315613178-9.

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Lent, John A. "Comic Strips and Comic Books." In Encyclopedia of International Media and Communications, 247–57. Elsevier, 2003. http://dx.doi.org/10.1016/b0-12-387670-2/00033-9.

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Conference papers on the topic "Comic books"

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Zhuykova, E. "COMICS AND LITERATURE: THE HISTORY OF FRIENDSHIP." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3761.rus_lit_20-21/353-358.

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The reputation of comics in Russia was seriously spoiled in the 90s, when they were viewed as a purely entertaining and mass form. But in fact, in the modern world, the graphic novel is becoming a completely serious genre: great artists are creating comics, scripts for them are written by Ph.D's, and they often touch on complex topics. Moreover, comics have a long history of relationship with literature (for example, in the 30s of the 20th century, during the first wave of emigration, Russian literary comics were valued throughout the world). And in the last decade, this line of interaction has only intensified: many graphic adaptations of classic literary works, comic book biographies of writers and poets are appearing, and descriptions of comic books are increasingly appearing in modern literature. The article will be devoted to the history of various forms of interaction between literature and comics.
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Tammaro, Rosanna, Anna D’Alessio, Anna Iannuzzo, and Alessia Notti. "TEACHING ENGLISH WITH A CHILLY FORMAT: THE GRAPHIC NOVEL!" In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end111.

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"Recently, the term graphic novel is commonly used in the educational area, and it’s often associated with another term, which is ‘comic book ‘. In a typical perception, the graphic novel provides an interesting way to communicate language concepts with a number of characteristics that may help students learning in a more effective manner rather than traditional textbooks. Given that it has been introduced in school lessons, it has certainly represented an opportunity for teachers. However…what exactly is a graphic novel? It is a didactic tool. A graphic novel, as its name suggests, is a novel that tells a complete story via illustrations. A graphic novel will offer the type of resolution that one expects from a novel, even if it is part of a series. Effectively, this makes a graphic novel longer and more substantive than a comic book, which is a serialized excerpt from a larger narrative story. Humankind has long told stories via images, beginning, perhaps, with the cave paintings of ancient civilizations. It was in the twentieth century, that we witnessed the rise in the use of comic books, which experienced a golden age during the Great Depression and World War II with the ascendance of Marvel and DC Comics. The Cold War era saw comic books and novels emerge into what is now known as a graphic novel. The term “graphic novel” traces back to an essay written by Richard Kyle in the comic book fanzine Capa-Alpha (although to this day there is not one fixed definition of “graphic novel”). The term is thought to have become mainstream with the publication of Will Eisner's A Contract with God in 1978. The authors provide an overview of the graphic novel format and its use in school lessons. The work is aimed at describing the most important steps of this format, with its implications for teachers and students. and the theoretical base that highlights how and why it can be a useful tool to present content relevant for the current generation of students. The authors provide examples of how the graphic novel medium could be applied to English concepts and conclude with the future prospects of this studying/teaching tool."
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Damando Santos, Fabrícia, Eduarda Lucas Leal, Letícia Vieira Guimarães, and Sara Rúbia Monteiro Abre. "Elétroino: Um relato de experiência no desenvolvimento de histórias em quadrinhos para o ensino de eletrônica na educação básica." In Computer on the Beach. Itajaí: Universidade do Vale do Itajaí, 2024. http://dx.doi.org/10.14210/cotb.v15.p252-257.

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ABSTRACTIn recent years, the number of teaching materials developed and applied in the educational area has increased significantly, mainly due to the support that these materials have given to the teaching and learning process. This article presents teaching material developed in the form of comic books (comics), with 03 (three) volumes, which contain innovative electronics concepts. In the exact area, female participation has been decreasing over the years and, currently, several actions to increase female representation in the computing area have been promoted. Therefore, the Project Include gurias is developed as comica, to be worked on in the classroom with women, who are present in the final years of elementary school, seeking to present electronics in a more playful and creative way.
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Rigaud, Christophe, Srikanta Pal, Jean-Christophe Burie, and Jean-Marc Ogier. "Toward speech text recognition for comic books." In MANPU '16: First International Workshop on coMics ANalysis, Processing and Understanding. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3011549.3011557.

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"Automatic Text Localisation in Scanned Comic Books." In International Conference on Computer Vision Theory and Applications. SciTePress - Science and and Technology Publications, 2013. http://dx.doi.org/10.5220/0004301308140819.

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Silva, Wildemarkes, Luís Carlos C. Fonseca, Fernando Pontes Pontes, and Christiano Viana. "Explorando o potencial do ChatGPT para geração de conteúdo didático: Uma proposta para construção de histórias em quadrinhos para ensino de programação." In Computer on the Beach. Itajaí: Universidade do Vale do Itajaí, 2024. http://dx.doi.org/10.14210/cotb.v15.p304-306.

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ABSTRACTThis study investigates the use of comic books (HQs) developedwith the help of generative artificial intelligence (AI) and promptengineering (EP) techniques for teaching Python programming.The methodology includes generating scripts, dialogues, andillustrations through AI, with expert technical review. Qualitativeresearch examines how visual elements can aid in the understandingof programming concepts. Preliminary results point to theeffectiveness of this approach in enhancing student comprehension,indicating the potential of comic books as a teaching resource.Future research will assess its comparative effectiveness totraditional methods and explore the applicability of differentgenerative models and programming languages.
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Ho, Anh Khoi Ngo, Jean-Christophe Burie, and Jean-Marc Ogier. "Panel and Speech Balloon Extraction from Comic Books." In 2012 10th IAPR International Workshop on Document Analysis Systems (DAS). IEEE, 2012. http://dx.doi.org/10.1109/das.2012.66.

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Rigaud, Christophe, Jean-Christophe Burie, and Jean-Marc Ogier. "Segmentation-Free Speech Text Recognition for Comic Books." In 2017 14th IAPR International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2017. http://dx.doi.org/10.1109/icdar.2017.288.

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Henchobdee, Waricha, and Sakol Teeravarunyou. "The Effect of Mobile User Interface Design on Comic Reading Performance." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001746.

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For decades, the comic industry has continuously reached out to more readers with the help of smartphones. Many comic books have increasingly transformed from physical to digital versions. Even though the size of smartphones nowadays is expanding, the scanned comic pages must fit the screen. The current text and image size are more difficult to read and require users to zoom in or frequently scroll. In this study, researchers wanted to find out how to redesign the online comic format on the phone to be more efficient. The variables were the number of columns, turning page interactions, and navigations with the arrow button and thumbnail. The researchers also recognized the importance of the finger reach area. Twenty subjects who already had the online comic on the phone reading experience participated in this experiment. The results show that the two-column layout satisfies the participants’ reading size the most. Another result shows that scrolling the page is faster than swiping across the screen. Moreover, the participants interacted with the arrow navigation faster than the thumbnail. These results will benefit the future designs of mobile user interfaces to enhance the comic reading performance and pleasure levels.
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Barros, Diomara Martins Reigato, Luiz Ricardo Begosso, Jose Augusto Fabri, Alexandre L'Erario, and Vanderley Flor da Rosa. "The use of Comic Books in the Software requirements specification." In 2016 11th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2016. http://dx.doi.org/10.1109/cisti.2016.7521557.

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Reports on the topic "Comic books"

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Hoogendoorn, Kathryn. Lab’s original mission inspires entire genre of comic books, characters. Office of Scientific and Technical Information (OSTI), October 2021. http://dx.doi.org/10.2172/1828682.

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Olivier Nsengimana, Olivier Nsengimana. A conservation comic book: Involving Rwandan children in saving endangered Grey Crowned Cranes. Experiment, September 2014. http://dx.doi.org/10.18258/3557.

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.
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Cameroon: Peer education and youth-friendly media reduce risky sexual behavior. Population Council, 2003. http://dx.doi.org/10.31899/rh2003.1009.

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Cameroonian researchers at the Institute of Behavioral Studies and Research (IRESCO), with support from FRONTIERS, conducted an operations research project between 2000 and 2002 to assess strategies to encourage abstinence, increase contraceptive use, and reduce sexually transmitted infection (STI) rates among sexually active youth. The intervention combined peer-education strategies with media campaigns to promote healthy behavior among youth in the Mokolo neighborhood of Yaoundé. IRESCO trained 49 peer educators aged 19–25 in reproductive health (RH) communication strategies. The team coordinated educational talks, counseling sessions, conferences, and cultural and athletic events; produced comic books and brochures; and sold French and English editions of Among Youth magazine, featuring celebrity interviews and information on RH, unwanted pregnancy, and STI transmission. IRESCO evaluated the intervention’s impact through baseline and endline surveys of 2,500 youth in Mokolo and the control site, New Bell, in Douala. This brief concludes that urban youth in Cameroon are knowledgeable about HIV/AIDS and the risks of early pregnancy, but their behavior often fails to reflect their knowledge. Peer-education programs targeting youth through one-on-one counseling, theatrical performances, youth magazines, and sporting events increases abstinence and fidelity and improves consistent and correct condom use.
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