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Journal articles on the topic 'Comic books, strips, etc'
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ADAMS, JIMI. "Glee's McKinley High: Following Middle America's sexual taboos." Network Science 3, no. 2 (May 13, 2015): 293–95. http://dx.doi.org/10.1017/nws.2015.16.
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Writers for popular media frequently draw on insights known about social networks in developing their plotlines and character biographies (whether in books, television, movies, etc.). Perhaps most known to network analysts in this respect, Freeman (2000) presents a collection of network concepts represented in comic strips. These depictions often are consistent with the patterns network analysts observe in real-world empirical examples. For example, the long-running sitcom Friends exhibited strong homophily (McPherson et al., 2001) or assortative mixing on race and socioeconomic status among the main characters. Other times the violation of these typical patterns can serve to generate dramatic tension or a source of comedy. For example transitivity—or the tendency of one's friends to also become friends (Holland & Leinhardt, 1972)—is absent in the movie Hush where Jessica Lange's character plots to kill the daughter-in-law she does not like. P-O-X social balance (Heider, 1948) describes the tendency for friends to share common interests, which was violated to comedic effect in the Seinfeld episode where Jerry's character simply cannot accept his date's refusal to try a taste of the pie he finds delicious, bothering him for days and ultimately leading to his ending the relationship.
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John, A. L. "Comic Books and Comic Strips: A Bibliography of the Scholarly Literature." Choice Reviews Online 44, no. 11 (July 1, 2007): 1855–67. http://dx.doi.org/10.5860/choice.44.11.1855.
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Li, Yuzhang. "The Development and Evolution of Narrative Characteristics from Comic Strips to Original Chinese Picture Books." Communications in Humanities Research 26, no. 1 (January 3, 2024): 216–26. http://dx.doi.org/10.54254/2753-7064/26/20232066.
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After nearly one hundred years of interpretation, comic strips can be chronologically sorted into emergent, prosperity, change and bottleneck. Through research, this paper discusses the comprehensive impact of social and economic factors on each of these periods and deduces and summarizes the characteristics of differentiated narratives. In the new period, Chinese comic strips gradually receded due to market factors, while original Chinese picture books grew. Although there is a difference in the visual presentation form between the two, they have partly inherited the characteristics of the comic strips in the 80's and 90's. The thesis conducts a comparative study on the differences and similarities between the two and discusses their creative value and contemporary significance.
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Whatley, Edward. "Sources: Comics Through Time: A History of Icons, Idols, and Ideas." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 80. http://dx.doi.org/10.5860/rusq.54n4.80a.
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Comics Through Time: A History of Icons, Idols, and Ideas is an ambitious, four-volume title that "seeks to capture some of the richness" of comics history and "provide information on this history for a wide range of users, from casual fans of comics to professional scholars of the form" (xxiii). Each of the four volumes covers a specific time period, beginning in the 1900s with comic strips and continuing to the present. Just as the volumes cover a broad expanse of time, they also deal with a diverse array of subjects, including comic strips, comic books, comics creators both well-known and obscure (often accompanied by large photographs), comics publishers, and genres such as science fiction and horror.
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Kühn Paulsen, Felix. "Rytme og netværk i Homo Metropolis." Passage - Tidsskrift for litteratur og kritik 33, no. 79 (July 1, 2018): 47–59. http://dx.doi.org/10.7146/pas.v33i79.127527.
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This article investigates serialization in newspaper comic strips (exemplified by Danish Nikoline Werdelin’s strip Homo Metropolis) with a dual focus on publication structure and composition of individual strips. Reading the forms of Rhythm and Network as symptoms of serialization, the analysis seeks to outline the difference between meeting the comic strip in daily newspapers or in collected books. Furthermore, it investigates how the actual punchlines takes form through constant fluctuation between repetition and interruption. In this way, the article reads Homo Metropolis as an example of how serialized storytelling constantly negotiates the tension between the individual story/punchline and larger network of narratives.
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Zahavi, Dan. "Manhattan Dynamite and no pancakes: Tradition and normality in the work of Tove Jansson." SATS 19, no. 1 (July 26, 2018): 5–19. http://dx.doi.org/10.1515/sats-2017-3001.
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Abstract It is not uncommon to read the Moomin tales through existentialist lenses. Although there might be natural reasons for focusing on and privileging the nine classical Moomin books, it would, however, be a mistake to overlook Jansson’s comic strips. This is so, not only because of the quality of Jansson’s drawings and because of the way she innovatively worked with and developed that graphic medium, but certainly also because of the stories they contain. When read alongside the books, the comic strips add important aspects and nuances to Jansson’s portrayal of human existence. By allowing herself the freedom to radically change the setting and scenery of the stories, Jansson was able to explore quite different topics than was possible in the novels, and in particular to offer a somewhat different account of the role of customs, normality and tradition.
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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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Jiang, Yajun, and Lina Paola Ángel Jiménez. "Money Metaphors We Live By: Analyzing Chinese Comic Books based on CMA." International Journal of Literature Studies 4, no. 1 (January 18, 2024): 11–20. http://dx.doi.org/10.32996/ijts.2024.4.1.2.
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Chinese comic books appear to be filled with bright colors and interesting characters, but they also offer insight into the daily life relations and societal principles of modern China. In this study, we examined the construction and underlying meanings of money metaphors in Zhu Deyong’s comic book series We Are All Patients, and We Are All Patients 2: Love with an Idiot, using the conceptual metaphor theory (CMT). By mapping abstract concepts into more concrete and familiar domains, CMT conveys complex ideas, emotions, and social commentary in a way that readers can easily understand. We analyzed thirty-nine randomly chosen comic strips from Zhu’s comic books using Charteris-Black’s (2004) inductive method, conceptual metaphor analysis (CMA), to identify, explain, and interpret different metaphors. Through our analysis, we highlighted the most prominent money metaphors and how they relate to the current love and friendship relations made by modern Chinese people in their everyday lives. We found that money metaphors are classified into seven source domains: barrier, drug, tool, almighty, exchange, principle, and ambition.
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Dozier, Ayanna. "Wayward Travels." Feminist Media Histories 4, no. 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.
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Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black woman navigating racialized gender discrimination and pursuing her desires despite her “respectable status,” with sometimes terrifying results. In the process, it works to redress the paucity of scholarship on Black women's contributions to comic books and strips.
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Bertetti, Paolo. "Buck Rogers in the 25th century: Transmedia extensions of a pulp hero." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 200–219. http://dx.doi.org/10.1515/fns-2019-0013.
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AbstractThe Buck Rogers in the 25th century A.D. comic strip first appeared in the newspapers on 7 January 1929, an important moment in the history of comics. It was the first science fiction comic strip, and, along with Tarzan – which curiously debuted in comics the same day – the first adventure comic. However, many people are unawere that the origins of Buck Rogers are not rooted in comic strips, but in popular literature. In fact, Anthony Rogers (not yet “Buck”) was the main character of two novellas published in the late 1920 s in Amazing stories, the first pulp magazine: Armageddon 2419 A.D. (August 1928) and its sequel, The airlords of Han (March 1929). At first, the stories in the daily comic strips closely followed those of the novels, but soon the Buck Rogers universe expanded to include the entire solar system and beyond. This expansion of the narrative world is particularly evident in the weekly charts published since 1930. Soon, Nowlan’s creature became a real transmedia character: in the following years Buck appeared in a radio drama series (aired from 1932 until 1947), in a 12-episode 1939 movie serial, as well as in a 1950/51 TV series. Toys, Big Little Books, pop-up books, and commercial gifts related to the character were produced, before the newspaper comic strip ended its run in 1967. In recent years, the character has been reeboted a couple of times, linked to the TV series of the late 1980 s and to a new comic book series starting in 2009. Buck Rogers thus found himself at the centre of a truly character-oriented franchise, showing how transmedia characters can be traced back almost to the origins of the modern cultural industry. The following article focuses on the features that distinguish Buck Rogers as a character and on the changes of his identity across media, presenting a revised version of an analytical model to investigate transmedia characters that has been developed in previous publications.
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Bunok, Grazella monary, Nihta V. F. Liando, and Alloysius Rettob. "TENTH-GRADE STUDENTS’ READING HABIT." SoCul: International Journal of Research in Social Cultural Issues 2, no. 1 (May 19, 2023): 496–504. http://dx.doi.org/10.53682/soculijrccsscli.v2i1.2769.
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The present study tries to find out how students’ reading behavior in this digital era, especially during Covid 19 pandemic by assessing SMA students’ preference for online materials, their preferred language when reading online materials, the online reading habits of the students, and the amount of time they spend in reading online every day. The study was a survey that involved 44 tenth graders at SMA Negeri 1 Tabukan Utara in Likungan, Sangihe. The data were collected using a questionnaire adapted from Abidin, Pour-Mohammadi, & Jesmin (2011). The data collected were analyzed in percentages. Results of the analysis indicated that (1) the most common activities they are interested in are chatting, surfing the internet, and games, (2) concerning online reading materials, they prefer reading e-books, e-mail, stories, or novels, and comic strips/jokes. The majority of the respondents 89% prefer reading online reading materials in Indonesia, and (3) male respondents read more news, e-mails, and comic strips/jokes. Female respondents, on the other hand, preferred reading e-magazines, e-books, and movie reviews, and (4) the highest percentage of respondents (43%) spent 1-3 hours online daily reading. It is concluded that female respondents spent more time on online reading compared to their male counterparts.
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Suseno, Edy. "TEACHING GRAMMAR TO YOUNG LEARNERS USING COMIC STRIPS AND GTM AND THE IMPACT ON THEIR SPEAKING SKILLS." Jurnal Pendidikan Bahasa Inggris Indonesia 8, no. 2 (November 26, 2020): 19–30. http://dx.doi.org/10.23887/jpbi.v8i2.3034.
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Practicing speaking in EFL to the young learners especially to the fifth graders is challenging. They do not have enough vocabulary in their repertoire so that it is often difficult for them express their ideas in the foreign language.They also could not construct appropriate sentences to reflect how well they have learnt so far. For this reason, the implementation of the grammar-translation method may be needed to help them focus on grammatical aspect of the foreign language to enhance their perspective in learning grammar and reading comprehension. Moreover, the use of books, podcast, comic strips and electronic dictionary could support the process of treatment. By implementing this kind of method, the students could enhance their speaking skills. They also have the opportunity to experience with language use and support their progress in speaking. This kind of development could be seen from the result of the pre-test and post-test. The progress of development was significant which reflect the positive impact of comic strips and GTM on children speaking skills
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Engel, E. A., and M. V. Deneko. "Linguacreative Foundations of the German Comic Book "Dig, Dag, Digedag"." Bulletin of Kemerovo State University 21, no. 4 (December 31, 2019): 1139–49. http://dx.doi.org/10.21603/2078-8975-2019-21-4-1139-1149.
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The paper features linguistic and creative foundations in the German comic book "Dig, Dag, Digedag". Modern linguacultural, cognitive studies, and discursive practices are aimed at studying comics, which are a series of drawings with brief accompanying texts. However, comic books consist of two components – verbal and nonverbal, which means that graphic novels and strips have linguacreative foundations. The author performed philological and semiotic analyzes to identify the linguistic and creative foundations of the German comic book. The algorithm of the philological analysis included literary description of the time and place, the most original and interesting scenes in several editions, lexical expressive means and stylistic devices. The semiotic analysis featured the graphics related to the non-verbal component. The linguistic and creative foundations of the comic are manifested in original plots that allow its readers to escape from everyday and political problems through fun, exciting, and informative trips to Ancient Rome, Sicily, ancient Arab countries, the Moon and Mars, as well as to an uninhabited island. The carefully selected scientific and mundane knowledge is transmitted through verbal means and comic book graphics, making young readers expand their horizon. The use of such tools as hyperbole, metaphor, pun, as well as diverse vocabulary within the text of the comic, also suggests linguistic creativity of the German comic book "Dig, Dag, Digedag".
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Lefèvre, Pascal. "The Conquest of Space." European Comic Art 2, no. 2 (June 1, 2009): 227–52. http://dx.doi.org/10.3828/eca.2009.4.
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This article focuses on panel arrangements and page layouts of early comics published in Belgium in the five decades before the start of Tintin in 1929. It investigates the degree of standardisation in this pivotal period, in which the old system of graphic narratives with captions evolved to comics with balloons. The years between 1880 and 1929 boasted a variety of publication formats (broadsheets, illustrated magazines for adults and for children, comic strips, artists' books), within which one can see both similar and different conventions at work.
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Novaković, Nikola. "Carnivalesque humour in Ça, c’est Filarmo, Nic." Libri et liberi 8, no. 1 (October 31, 2019): 27–54. http://dx.doi.org/10.21066/carcl.libri.8.1.4.
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The article analyses the humour in Hermann Huppen and Morphée’s series of comic books about a boy called Nick, with primary focus on the third issue, Ça, c’est Filarmo, Nic [That’s Filarmo, Nick]. Drawing on Bakhtin’s theory of the carnivalesque, the article identifies a variety of humorous devices, including wordplay, puns, quotations, unusual transformations, and mésalliances. Special attention is paid to the visual level of the comic book. Humour is located in visual metamorphoses, invisible “phantom” panels, and the incongruity between words and images. The article also addresses the comic book’s intertextual ties with Little Nemo in Slumberland, a series of comic strips from the early 20th century, and compares the way authority is represented and challenged in the two texts. The impossible spaces that Nick traverses within the chronotope of the road are examined as places that invert the usual hierarchies and relations, allowing Nick to experience a level of agency usually reserved for adults. The end of Nick’s travels across the dreamscape is examined as both a departure and continuation of the pattern from Little Nemo, and as a logical conclusion of a temporary carnivalesque subversion of traditional structures that dominate the adult world.
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Chireau, Yvonne. "Looking for Black Religions in 20th Century Comics, 1931–1993." Religions 10, no. 6 (June 25, 2019): 400. http://dx.doi.org/10.3390/rel10060400.
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Relationships between religion and comics are generally unexplored in the academic literature. This article provides a brief history of Black religions in comic books, cartoons, animation, and newspaper strips, looking at African American Christianity, Islam, Africana (African diaspora) religions, and folk traditions such as Hoodoo and Conjure in the 20th century. Even though the treatment of Black religions in the comics was informed by stereotypical depictions of race and religion in United States (US) popular culture, African American comics creators contested these by offering alternatives in their treatment of Black religion themes.
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Roberts, Garyn G. "Understanding the Sequential Art of Comic Strips and Comic Books and Their Descendants in the Early Years of the New Millennium." Journal of American Culture 27, no. 2 (June 2004): 210–17. http://dx.doi.org/10.1111/j.1537-4726.2004.00131.x.
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Borodo, Michał. "Exploring the Links Between Comics Translation and AVT." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 2 (November 22, 2016): 68. http://dx.doi.org/10.21992/t9xk9x.
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For a very young but steadily developing subfield of Translation Studies such as the translation of comics it seems only natural to look to other research areas within the discipline for inspiration and research methods. This is also one of the aims of the present article, which will attempt to point to certain similarities between comics translation and the subdiscipline of Translation Studies known as AVT (Audiovisual Translation) and the field of subtitling in particular. Both films and comic books are multimodal texts based on the interplay between the verbal and the visual. What is more, both films and comic books are primarily based on dialogue, which is nevertheless transcribed and communicated in writing in both subtitled films and translated comics. Text will, in both cases, usually appear in clearly specified areas, that is at the bottom of the screen (with some exceptions) in subtitled films, and in speech balloons (with some exceptions) in the case of comics. Furthermore, text may be condensed due to the existence of spatial and technical constraints, such as the limited number of characters that may appear at the bottom of the screen or the size of speech balloons and the type of the lettering employed in the case of comics. It is particularly the latter aspect, that is textual condensation related to both spatial constraints and the multimodal character of comics, that the article will focus on, investigating the first Polish translations of Calvin and Hobbes comic strips created by the American cartoonist Bill Watterson.
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Segovia, Raquel. "Transfer phenomena and intercultural movements of texts." Journal of Intercultural Communication 9, no. 1 (March 10, 2009): 1–11. http://dx.doi.org/10.36923/jicc.v9i1.475.
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The complexity of contemporary international communication requires an analysis of the transfer phenomena occurring within it. This paper addresses the subject from the perspective of cultural approaches to translation by adopting the concept modes of discursive transfer, which refers to any form of text processing that can be produced within and/or across cultures and media (translation, summary, adaptation for children, comic strip or film, etc.). To illustrate the transformations that textual material can undergo, I draw on the well-known example of Harry Potter and the Philosopher’s Stone and its discursive multiplication within the book industry. Focusing more specifically on cover illustrations and plot summary, I adopt a cross-cultural perspective and present a comparison and contrast of the English, US, and Spanish editions.
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Krasovec, Aleksandra. "Samira Kentrić’s Graphic Novel “Balkanalia: Growing up in the Age of Transition” and His Hybrid Poetics." Stephanos Peer reviewed multilanguage scientific journal 47, no. 3 (May 31, 2021): 7–31. http://dx.doi.org/10.24249/2309-9917-2021-47-3-7-31.
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The article analyzes the autobiographical graphic novel of the Slovenian artist, illustrator and performer Samira Kentrić (b. 1976) “Balkanalia: growing up in the age of transition” (2015), in particular the hybrid nature of the genre of this work and its poetics. In this example, the genre incorporates elements of autobiographical comics strip, comics book about the war (in Bosnia), family album, graphic poetry, political illustration, philosophical parable, etc. Visual and textual narratives are designed to reflect the transculturality, the hybridity of the space of the former Yugoslavia, the territory between Bosnia and Slovenia, the two homelands of the protagonist, which became separate states during her growing up. The aesthetic layers are including images of classical artistic heritage, surrealism, popular, ethnic culture, as well as subcultural references (rock and punk music, graffiti), which the artist transforms into a unique fusion through postmodern techniques of irony and deconstruction.
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Semenchenko, Yury I. "NEW BOOKS ON METATEXTUALITY." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 2 (June 1, 2021): 151–59. http://dx.doi.org/10.18522/2415-8852-2021-2-151-159.
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The review considers recent scholar publications of foreign researchers devoted to the phenomenon of metatextuality, in particular “Metafiction Short Story Writers” (2016) by G. Brand, the chapter “World Building and Metafiction in Contemporary Comic Books” by D. Mellier in the collective monograph “World Building. Transmedia, Fans, Industries” (2017), as well as A. Macrae’s monograph “Discourse deixis in metafiction” (2019). G. Brand’s book presents itself as a kind of compendium of short prose by those authors who, in one way or another, have thematized the creative process. In reviewing the work by D. Mellier, emphasis is laid on the subgenre of meta-comics identified by the scholar. The monograph by A. Macrae can become a solid foundation for a linguistic interpretation both postmodernist metafiction and textual experiments of high modernism (S. Beckett, A. Artaud, T. Bernhard, etc.). The review concludes that research in recent years is helping to fill gaps in the description of narrative and linguistic markers and tools of metatextuality.
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Erokhina, Tatiyana I., and Evgeni S. Zheltov. "Representation of the soviet era in national comics." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 185–92. http://dx.doi.org/10.20323/2499-9679-2021-1-24-185-192.
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The article studies representation of the soviet era images in the national comics culture. Paying attention to the popularity and relevance of soviet culture in contemporary mass culture, the authors emphasize the controversial nature of showing the «Soviet past». Analyzing the peculiarities of representation, which is a polysemantic concept and can pursue different goals, the authors focus on the «spectacular» function of representation typical of modern mass culture. The article givess a thorough analysis of national comics in which the representation of the soviet era is most obvious; moreover, the comic strips creators claim it is a deliberate technique. The authors of the article note that the representation of the soviet era can be featured in the plot of a comic book, with references to historical events or historical chronotope of the soviet era. The soviet era can be represented in the system of recognizable characters with possible prototypes in soviet culture. National comic books, addressed to the russian reader, can actualize the visual images of the soviet era. Analyzing various techniques and ways of showing the Soviet era in comics, the authors offer a functional analysis of representation, noting that resorting to the soviet era can serve different purposes and have both positive and negative connotations. The article examines different functions of the soviet era representation connected both with nostalgic trends in society and with ironic perception of the soviet past.
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Johnson, Gareth J. "Comic Books and Comic Strips in the United States through 2005: An International Bibliography2007149John A. Lent. Comic Books and Comic Strips in the United States through 2005: An International Bibliography. Westport, CT and London: Praeger Publishers 2006. vii + 345 pp., ISBN: 978 0 313 33883 0 £59.99/$104.95 Bibliographies and Indexes in Popular Culture, No. 13." Reference Reviews 21, no. 3 (April 3, 2007): 40–41. http://dx.doi.org/10.1108/09504120710738328.
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Dr.Muhammad Ismail Joyia and Dr.Ahmad Hussain Haady. "Col.Muhammad Khan’s Comic Writing With Reference to Basalamat Ravi." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 176–86. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.61.
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Colonel Muhmmad Khan is one of the greatest humor writer of the Pakistan Millitary humorists. Along the military he has also a valuable place among the other literary movements. He wrote different books on humor, and from them “BaslamatRawi”, is consisting of 335 pages. Basically this book is a “Travelogue” because of Colonel Muhammad Khan travelled across the country many times. He has a very close and keen abservations of the people of the other countries, he also knows their traditions, customs, and systems. So, he urges all this in his books in a very beautifly style of humor. His humor is full of joy, pleasure and sweetness. He uses short, simple and easy sentences in his writing. He is very different kind of humor writings. He is a master-piece of humorists writer. He has also a fun of writing according to the situation. He avoides the artificial writings, focuses on the originality and purity. In his humor, he uses other languages along with Urdu, like as English, Parsian, Arabic etc. So, he fulfilled a strong tradition of humor writings in the field ofUrdu humor.
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Derkachova, Olga, Oksana Tytun, and Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 16–22. http://dx.doi.org/10.15330/msuc.2022.26.16-22.
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The article deals with the research on comics' educational and cultural potential, particularly inclusive comic books, and their influence on inclusive culture formation. Inclusive graphic stories have long been part of the readership abroad. Gradually, this tradition is becoming popular in the Ukrainian cultural space. The chronology of the implementation of inclusive education in Ukraine is established, a brief overview of the regulatory framework is given. There is more and more inclusive literature on the Ukrainian book market: it is both translations and works of domestic writers, it is literature for the youngest, teenagers, adults, and it is fiction and nonfiction. In 2019 the first inclusive comic book "Friends 2.0" appeared. It was published with the support of the Ukrainian Cultural Foundation within the framework of the Inclusive Art program. The comic book "Friends 2.0" is an illustrative material for the analysis. The given research identifies the features of inclusive literature and clarifies its role in forming a tolerant society. The main evolutionary steps of comics are conveyed (Egyptian drawings in the burial chambers, "Ocelot's Claw", The Bayeux Tapestry, William Hogarth’s caricatures, stories in drawings by Rodolphe Töpffer, "Max und Moritz" by Wilhelm Busch, "The Yellow kid" by Richard Outcault and others). The basic terms and concepts of comic book culture are explained, taking into account the specifics of their translation. The history of Ukrainian comics is written daily, undergoes great changes, forms the main slogans and ideas in which it operates and develops. Currently, Ukrainian comics are established as a separate literary and art genre. Inclusive "Friends 2.0". comics are five stories based on real events. Every story is a story of struggle and victory. These are the first inclusive stories in the Ukrainian cultural space. They proclaim that everyone in the world is important, that disability is not a sentence, the importance of adaptation and inclusion, faith and dreams that come true. The article highlights the structural and semantic components of the stories in the comic book "Friends 2.0", analyzes the role of the motto in the content of the stories of this book, the background of panels, characters, and more. The analysis of inclusive comic strips as achievements of comic book culture and as examples of graphic texts in which the inclusive component dominates is offered. It helps to identify a special type of superhero in "Friends 2.0". The educational potential of such comics and their influence on the context of inclusive culture are identified.
Keywords: inclusive literature, inclusive comics, comic book, diegesis, narrative, encapsulation, motto, superhero.
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Ramos, Paulo Eduardo. "Os formatos da tira no ensino." REVISTA INTERSABERES 12, no. 25 (May 23, 2017): 84. http://dx.doi.org/10.22169/intersaberes.v12i25.580.
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RESUMO Um dos impactos da indústria cultural nas histórias em quadrinhos foi a criação de formatos regulares para a construção de tiras. Necessidade dos jornais, o molde fixo foi o modo encontrado de padronizar a produção para levar o mesmo produto a mais de um diário. Este artigo tem como objetivo demonstrar como esses diferentes formatos narrativos têm sido apropriados por materiais didáticos brasileiros. A exposição procurará demonstrar que a variedade de moldes narrativos tem explicações em seu processo de produção e circulação. É algo que, se contextualizado ao aluno, ajudaria no processo de identificação do gênero e de construção do sentido, permitindo uma leitura mais crítica daquele conteúdo. Palavras-chave: Formato. Tira. Ensino. ABSTRACT One of the impacts of culture industry towards comic books was the creation of regular formats for comic strips. The regular format was the way to standardize them for newspapers. The following paper has the objective of showing how Brazilian textbooks have used such different narrative formats. It will try to show that the each narrative format has its own characteristics in its production and circulation process. Such explanation could help students identifying the comic strip genre as well as its content construction, which would allow them to have a critical point of view when reading it. Keywords: Format. Comic strip. Teaching. RESUMEN Uno de los impactos de la industria cultural en las historietas fue la creación de formatos estándar para la construcción de tiras. Una necesidad de los periódicos, el molde fijo fue el camino encontrado para estandarizar la producción para llevar el mismo producto hasta más de una revista. En este artículo se pretende demostrar cómo estos diferentes formatos narrativos han sido apropiados para los materiales de enseñanza brasileños. La exposición tratará de demostrar que la variedad de moldes narrativos tiene explicaciones en su proceso de producción y circulación. Es algo que, si contextualizado al estudiante, ayuda en la identificación del género y en la construcción del sentido, lo que permite una lectura más crítica de ese contenido. Palabras-clave: Formato. Tira. Enseñanza.
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Sanyal, Debarghya. "The sound of silence: Blank spaces, fading narratives and fragile frames in comics." Studies in Comics 10, no. 2 (November 1, 2019): 215–33. http://dx.doi.org/10.1386/stic_00003_1.
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Abstract How does one translate silence onto a silent medium? Printed comic books and graphic novels are generally a non-auditory art form. This has caused them to be traditionally perceived as ‘silent’. This also means that comics artists have come up with some of the most innovative ways of translating sound to a primarily visual medium ‐ bold letters, onomatopoeic words, fading images, etc. Nonetheless, these innovations have often in fact failed to address silence. As an art form where both the blank space and the printed word acquire their own unique visual signification, is comics rather a stubbornly un-silent medium? If so, then how does one depict silence in an un-silent medium? My article addresses these questions by first examining the works of Scott McCloud, Thierry Groensteen and Barbara Postema and their study of sound in comics. I then build on these theoretical frameworks to problematize the conventional correlation of visual signifiers with sound and silence, primarily examining the use of blank space or the lack of words as a default signifier of silence. Ultimately, I will argue that comic books provide a unique transmedial approach to re-analyse our conventional ideas for visual representations of sound.
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Engel, E. A., and V. A. Petrova. "New Formats of Interaction Between the Author and the Reader as a Parameter of Linguistic Creativity in <i>Spider-Man</i>, <i>The Incredible Hulk</i>, and <i>Daredevil</i> Comic Books." Bulletin of Kemerovo State University 24, no. 2 (May 19, 2022): 273–82. http://dx.doi.org/10.21603/2078-8975-2022-24-2-273-282.
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According to linguistic creativity studies, the text is a product of creative activity of the author, who uses linguistic innovations and creative means mainly at the lexical level. However, linguistic creativity can manifest itself at any linguistic level. The present research featured the manifestation of linguistic creativity at the level of communication and discourse. The paper describes the formats of interaction between the author and the reader in the text of a comic book, which acts as a parameter of linguistic creativity on the communicative and discursive level. American comic books about Spider-Man, Hulk, and Daredevil (1960s–1980s) contain the traditional narrator – reader / listener interaction when the author comments on the real events and gives detailed information about the devices and appliances used by the characters. New creative formats include we (creators) – you (reader) and we (creators and readers). In the we (creators) – you (reader) format, authors share their opinions on the current comic book, publish teasers about the next issue, congratulate themselves and the personages on the work done, and openly communicate with readers through letters to the editorial office. The we (creators and readers) format presupposes a joint participation of authors and readers in the story. These formats emerge under the influence of temporal, cultural, social, economic, and political factors and are mediated by the discursive practices of rotation, dissemination, approximation, convergence, etc.
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de Aguillar Pinho, Maria Luiza Carvalho, Angela Maria Cavalcanti da Rocha, Celso Roberto de Aguillar Pinho, and Cristiane Junqueira Giovannini. "“Monica and Friends”: the challenge to internationalize." Emerald Emerging Markets Case Studies 7, no. 2 (June 22, 2017): 1–26. http://dx.doi.org/10.1108/eemcs-06-2016-0139.
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Subject area International business or International marketing. Study level/applicability The case is recommended for undergraduate and graduate courses in the fields of international business and international marketing. The aim is to show students the problems that a family business in the animation industry faces while growing and internationalizing. Specifically, the case discusses the entry mode selection and market selection challenges faced by an emerging market company in the comic book and animation industry to operate overseas and compete with entertainment giants such as Disney and DC Comics. The case enables the instructor to discuss international market selection theories and evaluate entry modes. For graduate students, the international market selection can be further developed by using more robust concepts such as psychic and cultural distance. Case overview This case examines the trajectory of a pioneering company in the comic book and animation industries, and in the licensing of trademarks in Brazil. Mauricio de Sousa Productions was founded in 1959 and is considered to be one of the most successful cultural producers in the country. According to a leading Brazilian public opinion research agency, 97 per cent of Brazilian children and 96 per cent of their parents are familiar with the Monica and Friends characters. As one of the main players in the publishing market, with 86 per cent of market share, Mauricio de Sousa Productions has a product portfolio that goes beyond Monica and Friends comic strips: the company’s show on the Cartoon Network ranks third in audience viewing in the country and the company has produced animated movies, books, shows and games. However, despite its experience in publishing comic books in several countries, Mauricio de Sousa Productions (MSP)’s worldwide operations have not been as profitable and sustainable as expected. Aiming at expanding its global presence, MSP’s top management decided in 2014 to review the company’s internationalization strategy and operations to enhance the firm’s performance. Expected learning outcomes The case highlights the key factors facing firms when expanding from an emerging markets. Students are expected to discuss and evaluate options, thus developing their knowledge and decision processes related to family-owned business challenges and opportunities, international market selection theories and international market entry mode. Developing strategies to face challenges as those presented by competitors such as Disney should bring opportunities to students to think outside models and weigh risks. Finally, the case gives students opportunity to base their decision processes and evaluations on logistics problems as well as psychic and cultural distances. It also compels the students to appreciate the various challenges involved in exploiting international market with animation content and intellectual properties as a service. Supplementary materials Company presentation to use in the discussion introduction can be found in: www.monicaandfriends.com/content/video.php Subject code CSS 5: International business.
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Xidakis, Ioannis. "Neomythology: A New Religious Mythology." Religions 13, no. 6 (June 11, 2022): 536. http://dx.doi.org/10.3390/rel13060536.
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The purpose of this paper was to present the link between the myths in the plots of modern entertainment products, such as science fiction novels, movies, comic books and video games, with the motifs of New Religiosity. The plots employed in these products are of a mythical nature. This re-emergence of myth is once more taking centre stage today. The social sciences and humanities concerned with this phenomenon call it “neomythology”. Neomythology, in whatever form, as a comic book, video game, etc., shows gods and supernatural heroes or villains interacting with one another in certain ways. The ways these mythical elements are combined and displayed confirm that neomythology belongs to New Religiosity and repeats motifs of New Religions and New Age myths, such as the secularization of the absolute, that is to say, the placing of the transcendental element in the material and explainable world, the absolutisation not only of the acquisition of power but also those who bear it, the correlation of magic and technology, and the reuse and utilization of the mythology of the past and of traditional religious teachings, in order to produce a new myth.
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Amey, Evgenia. "The distant snowy land where rounded creatures dwell." Matkailututkimus 19, no. 2 (December 14, 2023): 6–31. http://dx.doi.org/10.33351/mt.124944.
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With the release of the Moominvalley (2019–) animated TV series, the Moomin characters have once again appeared on screens across the world. Whether this newest adaptation of Tove Jansson’s books and comic strips will initiate a new ‘Moomin boom’ remains to be seen. Nevertheless, the re-appearance of the Moomins in domestic (Finnish) and international media has sparked a resurgence of nostalgia among audiences already familiar with the characters. The present study examines what meanings are attributed to the Moomin stories and sites associated with them in the context of media-induced tourism. The study draws on seven English-language press articles featuring authors’ observations and reflections on their visits to places with connections to the Moomins and/or Tove Jansson in Finland. The personal importance of Jansson’s works and associated locations for these members of the audience is revealed through analysis of the notions of belonging and nostalgia in their accounts. On a wider sociocultural level, the findings demonstrate that values associated with Jansson’s texts are (re)negotiated in new contexts and found relevant in times of contemporary socioeconomic, political and environmental crises, and that it reflects in how places with connections to her and her works are viewed and experienced. The data further show that themes in the Moomin books are viewed in parallel to what is perceived as Finnish values, such as care for others, equality and respect for nature. Finland is also imagined as a fairytalesque land, both the home of the writer and even of the Moomins themselves.
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Monica, Monica, and R. Drajatno Widi Utomo. "KONSEP SISTEM SINTAKTIK VISUAL DALAM KOMIK TAHILALATS." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 3, no. 2 (June 9, 2021): 245. http://dx.doi.org/10.25105/jsrr.v3i2.9434.
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<p>Abstract<br />One of the famous comic strips in Indonesia since 2014 is Tahilalats (Instagram @tahilalats). With its<br />simple visual characteristics, Tahilalats comics are able to become interesting, recognizable, sustainable,<br />and comfortable comics to watch. This study will discuss the design elements in Tahilalats comics<br />that form a syntactic visual system as an effort to achieve consistency in each episode. This study<br />uses qualitative methodologies and descriptive analysis methods with Charles Morris’ semiotic theory<br />and literacy methods by collecting data from books, journals, articles, and pages on the internet that<br />are related to the object. Through this research, it can be concluded that the syntactic visual system<br />makes comics look interrelated and when there are too many episodes, it will be seen as a unified design<br />that distinguishes it from other similar comics. The results of this study are expected to be useful for<br />designers and comic artists to understand a good syntactic system in sustainable design works..<br /><strong>Keywords: comic, design elements, syntactic</strong></p><p><strong></strong><br />Abstrak<br />Salah satu komik strip yang terkenal di Indonesia sejak tahun 2014 adalah Tahilalats (Instagram @tahilalats). Dengan ciri khas visual yang sederhana, komik Tahilalats mampu menjadi komik yang menarik, mudah dikenali, berkesinambungan, dan nyaman untuk dilihat.<br />Penelitian ini akan membahas elemen desain dalam komik Tahilalats yang membentuk sistem visual sintaktik sebagai upaya mencapai konsistensi dalam tiap episodenya. Penelitian ini menggunakan metode kualitatif dengan pendekatan teori semiotika Charles Morris. Data dikumpulkan menggunakan metode literasi yang memiliki keterkaitan dengan objek. Melalui penelitian ini dapat disimpulkan bahwa sistem sintaktik visual membuat komik terlihat<br />saling berkaitan. Selain itu ketika episode yang dibuat sangat banyak akan terlihat sebagai satu kesatuan desain yang mempunyai pembeda dari komik sejenis lainnya. Hasil penelitian ini diharapkan dapat berguna bagi desainer komunikasi visual terutama komikus agar dapat memahami sistem sintaktik visual dalam karya desain yang berkesinambungan.<br /><strong>Kata kunci: komik, elemen desain, sintaktik</strong></p>
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Fadeeva, Tatiana E., and Aleksandra D. Staruseva-Persheeva. "Experimental Narrative Strategies in Comics." Observatory of Culture 16, no. 5 (December 4, 2019): 476–87. http://dx.doi.org/10.25281/2072-3156-2019-16-5-476-487.
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The article is devoted to modern comics, which are considered as a kind of “laboratory” for experiments in the field of visual narratives, focusing on the construction and dynamics of their spatial-temporal continuum. The entire perceptual “space” of comics is significative (Fresnault-Derruelle); all elements of this space constitute the narrative. It is not only about the “space” of a book or a magazine; contemporary comics are intensely exploring new media, a key feature of which is interactivity. The article examines both the “classic” way of presenting visual material (comics in the form of book, “codex”), and the web-comics, which are similar to scrolls in their form, and have a new (compared to books) potential for interactivity. The article provides a systematic comparison of the ways of chronotope organizing in comics and screen arts (cinema, video art, media projects, etc.), and draws an analogy between the behavioral models of a comic book reader and a gamer going through the plot of a video game. One of the main theses of the article is the following: even though there are significant differences between the formats of comic books and web comics, there is a basic commonality in the nature of their impact on the reader. The images on the pages of comics and the spacings between them create an illusion of time through the mechanism of “closure” (S. McCloud). Therefore, the real interaction between space and time is possible only with an active participation of the viewers who add their corporeality to this equation, matching it with the visual and textual register. In this way, in the process of the “assembling” perception of comics, the corporeal and the intellectual merge.
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Gomes, Vitor. "Ensaio sobre uma fenomenologia da resiliência em Charlie Brown: contextos interrelacionais em Peanuts." REVISTA INTERSABERES 15, no. 36 (November 10, 2020): 764–84. http://dx.doi.org/10.22169/revint.v15i36.1953.
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RESUMOTrata-se de um artigo, com características de ensaio transdisciplinar, que desvela aspectos constituintes de uma fenomenologia da resiliência do menino Charlie Brown, das tiras Peanuts. Apresenta o Charlie Brown em suas interrelações, constituição autoimagética e comportamental na interação com outros personagens: Linus, seu melhor amigo (estrutura de suporte); Lucy, a garota com a necessidade sádica de ser sua algoz (desestrutura) e Sally, sua irmã caçula, sobre a qual exerce relação de zelo (empoderamento). Em termos metodológicos, realiza os seguintes procedimentos: define os limites “do que” e “quem” seriam observados, identificando quais personagens teriam maior diálogo com o protagonista. Seleciona um espaço-tempo de análise, no caso, uma série de tiras dos personagens publicadas no período de 1961 a 1962. Conclui que a relação entre os interlocutores revela um conjunto de suportes que potencializam comportamentos de resiliência psicológica e que, frustrando expectativas, o personagem central demonstra relação de superioridade diante das adversidades e do autoconceito negativo, desenvolvendo resiliência em contraposição ao que poderia ser psicologicamente autodestrutivo. Palavras-chave: Resiliência; História em quadrinhos; Fenomenologia. ABSTRACTIt is an article, with transdisciplinary essay characteristics, that reveals constituent aspects of a phenomenology of resilience of the boy Charlie Brown, from the comic strips Peanuts. It presents Charlie Brown in his interrelations, self-imaginary and behavioral constitution in the interaction with other characters: Linus, his best friend (support structure), Lucy, the girl with the sadistic need to be his tormentor (destructuring) and Sally, her younger sister, on which he exerts a relationship of zeal (empowerment). In methodological terms, we performed the following procedures: we traced the limits of "what" and "who" would be observed, identifying which characters had greater dialogue with the protagonist. We selected a space analysis time, in this case, a series of comic strips of the characters published in the period from 1961 to 1962. It is concluded that the relationship between his interlocutors reveals a set of supports that enhance behaviors of psychological resilience and that, frustrating expectations, the main character demonstrates a relationship of superiority in the face of adversity and the negative self-concept, revealing resilience as opposed to what could be psychologically self-destructive.Keywords: Resilience; Comic books; Phenomenology. RESUMENSe trata de un artículo, con características de ensayo transdisciplinario, que desvela aspectos constituyentes de la fenomenología de la resiliencia en el niño Charlie Brown, de las tiras cómicas Peanuts. Presenta a Charlie Brown en sus interrelaciones, en la construcción de la autoimagen y comportamiento en la interacción con otros personajes: Linus, su mejor amigo (estructura de soporte); Lucy, la chica con la necesidad sádica de ser su verdugo (des-estructura) y Sally, su hermana menor, sobre la que ejerce relación de celo (empoderamiento). En términos metodológicos, el estudio realiza los siguientes procedimientos: traza los límites "de lo que" y "quiénes" serán observados, identificando qué personajes establecen más diálogo con el protagonista. Selecciona un espacio-tiempo de análisis, en el caso, una serie de tiras de los personajes publicadas en el período de 1961 a 1962. Concluye que la relación entre los interlocutores revela un conjunto de soportes que potencian comportamientos de resiliencia psicológica y que, frustrando expectativas, el personaje central demuestra relación de superioridad ante las adversidades y el autoconcepto negativo, demostrando resiliencia en contraposición con lo que podría ser psicológicamente autodestructivo.Palabras-clave: Resiliencia; Novelas Gráficas; Fenomenología.
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Perrot, Jean. "Keep the thread up! From humour to poetry. Silence as a spur to read and speak." Ondina - Ondine, no. 6 (September 7, 2021): 23–35. http://dx.doi.org/10.26754/ojs_ondina/ond.202164513.
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The purpose of this article is to proceed with a semiotic examination of several wordless picturebooks focussed on the use of a thread, Considering that it is the visual image which first and foremost prompts the meaning in iconotexts, we shall deal with it more particularly through the examination of two French picturebooks: the first one by Robert Scouvart, Histoire d’un fil (The Story of a Thread, Magnard 1990) shows how a single thread can magically delineate different characters introduced in an alluring play on words. The book will offer a distanced staging of the reading process through a humorous use of stereotypes close to those resorted to in comic strips. In the second part of my presentation we shall deal with Boutique Tic Tic, (Shop Pop Pop) by Frédéric Clément, (Albin Michel Jeunesse, 2018) a poetical description introduced under the aesthetic spell of Lewis Carrol’s The Adventures of Alice in Wonderland, as suggested by the image of the white rabbit winking from a globe on the cover page. The book in the end will tell how a magical thread can unexpectedly and poetically have a « golden voice » during « a long minute of silence of Big Ben »… An original achievement fully illustrating Sandra Becket’s declaration that « the ‘interactive’ and ‘cinematic’ qualities of similar productions [...] make them books for the ‘digital age.’ (2012, p. 99)
Keywords: the magic thread, album without words, Histoire d'un fil, Boutique Tic Tic, humour, poetry.
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Obielodan, Omotayo Olabo, Amos Ochayi Onojah, Adenike Aderogba Onojah, Oyeronke Olufunke Ogunlade, and Kefas Olumide Aliu. "The Extent at Which Undergraduate Students Use the Internet for Reading." Indonesian Journal Of Educational Research and Review 4, no. 3 (December 1, 2021): 400. http://dx.doi.org/10.23887/ijerr.v4i3.41631.
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This study aims to investigate the extent at which undergraduate students use the internet for reading. The study specifically, (i) Examine the extent at which undergraduate students use the internet for reading, (ii) Investigate the difference on the extent of the use of internet for reading of male and female undergraduate students, (iii) Examine the difference of extent of the internet usage on reading of undergraduate students based on areas of specialization. The study was a descriptive research of survey type. A structured questionnaire designed by the researcher was used in data collection. A simple random sampling technique was used to select 150 respondents that were involved in this study from the University of Ilorin, Ilorin, Nigeria. Frequency count, mean and percentages were used to answer the research questions. Hypothesis one was tested with independent t-test while hypothesis two was tested using Analysis of Variance (ANOVA). All hypothesis were tested at 0.05 level of significance. The findings established that Undergraduates always use the internet for reading online news, E books, Email, Health information, Jokes, Comic strips, Fashion, Food/Nutrition and Sales information. Also, there was no significant difference between the extent of the internet usage on reading of undergraduate students based on gender and areas of specialization. It was however recommended that there is a need for extensive training program organized at regular interval so that all categories of users can improve their efficiency in the use of the internet.
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Shcherbin, Vyacheslav K. "Methods of modelling of socio-economic phenomena – method of constructing multiple spirals and multimodal analysis." Journal of the Belarusian State University. Sociology, no. 4 (December 16, 2021): 15–25. http://dx.doi.org/10.33581/2521-6821-2021-4-15-25.
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The article considers the methods of semiotic modelling (method of constructing multiple spirals, and multimodal analysis, etc.). The relevance of the use of these methods for the study of socio-economic phenomena is determined. Features of the use of these methods are described with help of two groups of key notions: a) the group of concept-variables of such concepts as code (genetic, iconic, information, cultural, memetic, social, civilisation, language), gene (biological, cultural, social, philosophic, economic), spiral (Archimedes, double, multiple, plane, spatial, triple, etc.); b) the group of concept-variables of such concepts as modalisation, modality, mode and multimodality. Differences between the methods under consideration are due not only to the different sets of concepts used to describe them, but also due to the main objects studied using these methods. So, as the main object of modeling using the method of constructing multiple spirals, various types of such complex signs as codes and genes are most often used. The objects of multimodal analysis are, as rule, macrolevel semiotic units (video, comic books, creolised and poly-code texts, posters, and other polymodal texts). The conclusion is substantiated that the method of constructing multiple spirals and multimodal analysis, together with the previously considered semiotic and chain analyses, form a single methodological system of social semiotics.
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Repenkova, Maria M. "Processes in the literature of 1990s-2000s Turkiye." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2023): 196. http://dx.doi.org/10.31857/s086919080023952-4.
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This study focuses on the situation in Türkiye's literature during the 1990s and 2000s. It was marked by a dramatic paradigm shift in the attitudes of creators, the desacralization of writing, the loss of cognitive and educational functions by literature, and its conversion into a job, a business, and a game. The paper argues that Turkish literature's focus on consumption alone allows for a " vertical" classification – i.e., separation based on the intellectual capacity of the readers: high art/elite literature, designed for a narrow circle of connoisseurs and requiring considerable effort and a large cultural outlook for the adequate perception of the text (Orhan Pamuk, Ayfer Tunç, Sema Kaygusuz, Hakan Günday, etc.) and the mass literature to be read, say, in public transport or at home after a hard day's work (Alp Aras, Gülse Birsel, Nermin Bezmen, Funda Özlem Şeran, Kudret Alkan, Gündüz Öğüt, etc.). The study devoted a special place to the middle-ground literature (Ömer Zülfü Livaneli, Ayşe Kulin, Buket Uzuner, Ahmet Ümit, Canan Tan, İskender Pala, Tuna Kiremitçi, Seray Şahiner, etc.), usually called "belles-lettres" in Russian and international literary studies. The term failed to take root in Turkish literary studies. The middle-ground belles-lettres is closely related to both the "upper" and the "lower" strata of literature. Only time can determine whether a certain text belongs to belles-lettres, "high art" or "mass" prose. As part of this vertical gradation, the author reviews the mainstream genre in Turkish mass literature: fiction (subgenres, authors, publishers specializing in the genre, etc.). The study highlights that research into Turkish fiction is complicated by the fact that it is becoming increasingly difficult to classify it as a purely literary phenomenon. Fiction books compete with Turkish Hollywood – Yeşilçam – as well as comic books and video games. As a result, the author concluded that researching modern Turkish fiction only through the lens of literary studies is hardly feasible. Studying this phenomenon requires involving specialists from other humanities – cultural studies, sociology, philosophy, and psychology – necessitating the development of new interdisciplinary methods.
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Bernadska, Nina. "Genre nature of Ostap Vyshny's literary smiles." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION SCHOLARLY PAPERS PHILOLOGY, no. 18 (December 29, 2021): 66–76. http://dx.doi.org/10.32626/2309-7086.2020-17-2.66-76.
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The article considers the genre features of Ostap Vyshnya’s works, which were included in his collection «Literary Vyshnya’s Smiles» (1927). Compositionally, it consists of two parts: actually smiles and literary cartoons dedicated to writ-ers (Mykola Khvylov, G. Kotsyuba, G. Kosynets, M. Ivchenko, J. Mamontov, A. Lyubchenko), and critics and literary critics V. Koryak, M. Zerov, Y. Mezhenko.In smiles, the writer raises in a humorous way the problems of contemporary literary life, in particular expresses his attitude to the diversity of literary organi-zations and styles («Plow», «Garth», panfuturists, symbolists, neoclassicists, re-alists), refl ects on literary skills, massism, extreme vulgar sociological criticism.The author avoids sharp sarcastic judgments, and in a friendly manner, as is typical of smiles, unfolds their plots, based on the comedy of words and situa-tions depicted in them. At the same time, Ostap Vyshnya does not hide his critical attitude to experimentation for the sake of experimentation, the primitivism of some works of his contemporaries, and the massism cultivated by organizations of proletarian and peasant writers.In literary cartoons, the writer skillfully reproduces the stylistic features of the authors, imitating their style of writing – impressionistic, romantic, etc., as well as skillfully parodies the themes of works (Nikolai Khvylovy – «Blue Etudes», «Ivan Ivanovich», G. Kotsyuba – «Son of the Earth», A. Lyubchenko – «Stormy Way», G. Kosynka – «Triangular Battle», J. Mamontov – «When the people are liberated»).Ostap Vyshnya was well acquainted not only with the work of contemporary writers, but also interested in critical reviews of their books. The result was the writing of literary reviews-parodies of critical products of such well-known mas-ters of the critical pen at the time, as V. Koryak («Shevchenko and the Canary», «She Died (End of Ukrainian Literature)», «Six and Six»), M. Zerov «Resurrected (The Beginning of Ukrainian Literature)», Yu. Mezhenko («Critical Notes»). At the same time, the genre experimentation of the humorist can be traced, who modifi es and fi lls smiles with a wide range of comic means – from play on words to depicting comic confl icts, stylization of contemporary literary-critical rhetoric. In fact, he creates «artistic» criticism in the genre of parody, cartoon, instant photography, sketch, feuilleton, etc., which are dominated by irony, a friendly smile, wit and laughter.
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Moroz, Nina A. "“Dr. Seuss of Beasts and Men: the Cartoonist’s Experience and the Illustrated Tales of the 1930–1950s." Literature of the Americas, no. 15 (2023): 250–75. http://dx.doi.org/10.22455/2541-7894-2023-15-250-275.
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The paper deals with the first decades in the work of Dr. Seuss (the pseudonym of Theodor Geisel, 1904–1991), one of the most prominent children’s authors of the 20th century. Seuss was not only the author of children’s tales, but also a talented artist who illustrated his own books and whose manner was deeply influenced by his 15-year experience as a cartoonist. In 1920–1940s he worked for different print media, from humor magazines to a political newspaper, drew cartoons and commercial advertisements. Our aim is to study the mutual influence of Seuss-thecartoonist and Seuss-the-writer and illustrator. Our main focus is the “bestiary” of Dr. Seuss, the animal characters of his cartoons and tales. Seuss created his first eccentric animals in the series of cartoons and anecdotes for a weekly satirical magazine Judge in 1927; he blended the Victorian tradition of nonsense and the features of newspaper cartoons and comic strips of the first decades of the 20th century. The motif of eccentricity is developed in the first children’s tales that Seuss published at the turn of the 1930–40s. The same motif is significantly transformed in his political cartoons for a daily newspaper PM in 1941–1942. Seuss puts the familiar animal images into the context of World War II and gives them different political meaning, from the totalitarian insanity of the Axis leaders to the carelessness and blindness of the “America First” supporters. Interestingly enough, Dr. Seuss used in his political cartoons some plot elements of his tales for children, as well as his old sketches and drawings. In its turn, his post-war tales are peculiar parables that absorb the political issues of the previous historical period. Creating his images of tyrants, Seuss makes use of the techniques of political cartoons. He puts his human and animal characters into the situations of tyranny or isolationism, that can be overcome with the help of common sense.
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Andito, Tegar. "PERANCANGAN KOMIK ANDHE ANDHE LUMUT BERDASARKAN RELIEF KISAH PANJI DI KOMPLEKS CANDI PENATARAN." DeKaVe 10, no. 2 (March 24, 2018): 49. http://dx.doi.org/10.24821/dkv.v10i2.1993.
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Andhe Andhe Lumut is a folktale that derived from many versions of Panji tales. Andhe Andhe Lumut is the popular one amongst Indonesian, especially Javanese cultures. In popular culture, there are many works in various media that derived from Andhe Andhe Lumut story. Originally, as one of Panji tales, Andhe Andhe Lumut background story takes place at Kediri Kingdom era, but most of visual works like comics, picture story books, animations, drama costumes, etc use far more modern era style of traditional Javanese culture. Beside of that, from original text, Andhe Andhe Lumut folktale is designed for adult audiences, however most Indonesians have identified that folktale is a bedtime story for children. That’s why people can’t find visual works from Andhe Andhe Lumut story for adult audiences. As mentioned before, Panji tales have many versions. They are also already popular since Majapahit era. This is proven by carvings about some scene from Panji tales at Penataran Temple Complex which most of stuctures are built at Majapahit era. Panji tales themselves are semi fictional stories. Prince Panji or Inu Kertapati is inspired from King Kameswara II, seventh king of Kingdom of Kediri, and Princess Candra Kirana is inspired from Queen Kirana from Jenggala, but in Panji tales, their origins are opposite. Panji is from Jenggala and Candra Kirana is from Kediri. Ancient Javanese temple carvings could shows anything, but always showed environmental situations when the carvers live.”Teras Pendopo” building, where Panji tales carvings are located, was built at Majapahit era, when King Hayam Wuruk reigned. It is about 100 years after fall of Kediri, so the carvings are the closest visualization of Kingdom of Kediri daily life.Visualization of Andhe Andhe Lumut folktale based on original text and Panji tales characters at Penataran Temple Complex has never done before. Panji tales at Penataran Temple itself does not tell Andhe Andhe Lumut version of Panji. This comic design, if done properly can gives a new point of view about Andhe Andhe Lumut and can be the first comic of Andhe Andhe Lumut for adult audience with some historical accuracy.
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Kuzma, I. "THE USE OF HUMOROUS MEDIA PRODUCTS AT PRESCHOOL EDUCATIONAL INSTITUTIONS AND PRIMARY SCHOOLS." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 2(109) (October 19, 2022): 284–300. http://dx.doi.org/10.35433/pedagogy.2(109).2022.284-300.
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The article reflects the description of application of humorous media products at preschool educational institutions and primary schools from the perspective of the analysis of psychological and pedagogical literature. Humorous media products are viewed as multifunctional media tools used for the development of motivation, thinking, imagination, creativity and communication skills in children. Besides, they serve for the leisure time organization purposes, national-patriotic and moral education, health saving, pedagogical diagnostics, as well as for preventive purposes, in particular to prevent aggressive behavior. Also, the use of humorous media products is considered to be an effective way to reduce the level of stress and anxiety in children in the challenging conditions of military invasion.
Frequency of application of humorous media products in the interaction with children by the primary school teachers and kindergarten teachers has been diagnosed and analyzed. There have been defined the ways to improve training of future primary school teachers and kindergarten teachers at the institutions of higher education considering the application of humorous media products. They include the following forms: lectures "The problem of humor in the history of pedagogy", "Using humorous media tools for the preschoolers speech development", "Formation of transition skills of primary school students by means analysis of media with humorous potential", "Laughter therapy and health saving of preschool and primary school age children", "Humor therapy in work with children in crisis situations" in the course of study of the disciplines: "Actual problems of preschool education", "Organization of preschoolers game activities", "Introduction to pedagogy”, "Pedagogical technologies at primary school", etc.; methods: interactive, game, project; means: visual (books, periodicals), audial (audio fairy tales, etc.), audiovisual (cartoons).
Ideas worth to be used at preschool educational institutions and primary schools have been identified. They refer formation of children’s ability to distinguish between jokes and mockery; make jokes only in appropriate situation; to reveal the comic and the serious, the fictional and the real in humorous media products.
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Sverbilova, Tetiana. "COMPATIVE LITERATURE : FROM COMPARATIVE MEDIACULTURAL STUDIES TO TRANSMEDIAL NARATOLOGY." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 41–50. http://dx.doi.org/10.28925/2412-2475.2019.137.
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The article is devoted to the review of the prospects of multidisciplinary media-cultural studies in modern comparative literature studies towards comparative cultural studies and transmedial naratology. Comparative cultural studies syncretically combine the concepts of comparative literary criticism with the study of culture in the aspect of media-cultural studies, not limited to literature, but also various arts, mass media, computer games, etc. Literature is understood only as one of the media among other media. This is a transdisciplinary turn in comparative literature studies. Comparative naratology, and later transmedial naratology, in turn, is seen as a new discipline on the verge of literary comparativism, intermedialism, and naratology. The typology of intermedial forms of naratology in the classifications of Werner Wolf, Marie-Laure Ryan, and Jan-Noël Thon is discussed. Modern studies of various medial forms of narratives, which may also be presented in cinema, painting, graphic arts, ballet, comic books, and other mediums, and the discovery of the intermedial properties of narratives, lead to a rethinking of the fact that all narratives have a purely linguistic nature. Modern naratology as a separate discipline tends to go beyond purely literary narrative and transfer the concept of narration to other types of arts. Intermediate methodologies have already entered into comparative literature studies and have been successfully used in the analysis of literary works. It is about syncretic theoretical and methodological synthesis of three branches of art studies — naratology, intermedialism and literary comparativism, cross-disciplinary narrative studies. The combination of narrative and intermedial approaches to literature is becoming one of the most urgent tendencies of modern both naratology and the theory and practice of intermediality.
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Jiresch, Ester, and Vincent Boswijk. "CONTEMPORARY RECEPTION OF EDDIC THEMES IN NEW MEDIA: VIRTUAL 'NORDIC' IDENTITIES, CASE STUDY: DARK AGE OF CAMELOT." Tijdschrift voor Skandinavistiek 37, no. 1 (June 24, 2020): 38–54. http://dx.doi.org/10.21827/tvs.37.1.36929.
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This article discusses the most recent (twenty-first century) development in reception and adaptation of Nordic mythology (particularly referring to the Prose and Poetic Edda) and the appropriating of Nordic identities (stereotypes) that is taking place in the so-called new media. In the last two decades the reception of Nordic mythology or Nordic 'themes' in different new media like film, comic books, heavy metal music and computer games has exploded. New media are generally considered expressions of 'popular' culture and have therefore not yet received much scholarly attention. However, since those media are growing notably and especially computer games (console and online applications) reach an enormous audience.Scientific interest in them has increased in recent years. Miller mentions the 'sexiness of Vikings in video games, the pretense of Viking-like settings for popular television programs […]' (Miller, 2014, p. 4). The case study is Dark Age of Camelot (DAoC – Mythic Entertainment 2001) which is a MMORPG (Massive Multiplayer Online Role Playing Game) that is currently (2015) still available to play online. We will show examples of themes (characters, narratives, objects etc.) deriving from Eddic texts and how they are represented and deployed in the game. Since the representation of 'Nordic' identity is a key feature in the game's construction, it will therefore be addressed as well. The fictional world of DAoC consists of three realms – Albion, Hibernia and Midgard – that are at war with each other. Their (human) inhabitants are respectively based on medieval Anglo-Saxon, Celtic and Norse tribes that differ distinctively in their character traits. Our goal is to elaborate on the representation of identity traits of the fictional 'Norse' races (as defined by the game) that appear in DAoC. We will scrutinize if and how the game uses older or more current concepts of (national) identity. In order to do so, an overview of Scandinavian / Nordic identity constructions that have been popular and / or widespread from antiquity will be presented, via medieval sources to romanticism and nineteenth century nationalism until current discussions of national identity.
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Bidaud, Samuel. "Proust et Hergé : de quelques points communs entre À la recherche du temps perdu et Les Aventures de Tintin." Interlitteraria 23, no. 1 (August 5, 2018): 173–88. http://dx.doi.org/10.12697/il.2018.23.1.18.
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Proust and Hergé: on some similarities between À la Recherche du temps perdu and Les Aventures de Tintin. Part I. Marcel Proust and Hergé seem to have nothing in common. Their works are indeed very different: they do not belong to the same genre, nor treat the same themes or have the same public. What parallel could be established between À la Recherche du temps perdu (In Search of Lost Time), which revolutionized the genre of the novel, and Les Aventures de Tintin (The Adventures of Tintin), a series of comic albums apparently intended only for children? A closer study reveals however that Proust and Hergé, beyond what one could think at first sight, share deep similarities on wh ich this article, published in two parts, will focus. First of all, À la Recherche du temps perdu as well as Les Aventures de Tintin rest on the creation of a specific world, which can be characterized by Balzac’s principle of returning characters and by the importance of the imaginary of space (Proust’s rêveries about the names of places, Hergé’s fictitious geography). Moreover, Proust and Hergé’s characters have a very singular language and linguistic features which can be identified easily (let us think of Dr. Cottard’s puns, of Odette’s anglicisms, etc. in Proust, o r of Captain Haddock’s insults or Dupond and Dupont’s slips of the tongue in Hergé). Eventually, Proust and Hergé both develop a reflection on time which gives rise to a singular temporality in their books, and more precisely a reflection on lost and regained time, with two opposite situations and therefore two opposite conceptions for each of the authors. This first part of our study focuses on the principle of returning characters adopted by Proust and Hergé, on their imaginary of space and on the language of their characters, while the second part, which will be published in the next issue of Interlitteraria, will be devoted to the problematics of time.
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Kropyvko, I. "Fantasy in Ukraine: an in-action cultural tradition." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 28 (2023): 127–39. http://dx.doi.org/10.34079/2226-3055-2023-16-28-127-139.
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Fantasy as a metagenre exists in many (art and non-art) forms, due to which scholars refer to it as a symbol of broad modern cultural development (O. Manakhov). Fantasy enhances the magicization of the real world and creates the secondary, non-existing one; it pushes numerous amateurs toward artistic self-implementation, unites the experts in various fields in their shared attempt to explore and create fantasy worlds, to arrange their life space. Fantasy as an in-action cultural tradition has not yet been interpretated as separate research; however, certain issues are regularly raised. Modern culture of fantasy penetrates literature, films, movie series, comic strips, manga, videogames in a way that makes fantasy one of the most important artistic styles of today, and is embodied in three dimensions – cultural, economic, and transmedia (K. Maj). The scholars refer to comicons, videogames, artificial intelligence that will create animated 3D maps of fantasy locations (O. Manakhov) as well as to various types of fan-art (Ye. Kanchura, Ya. Yukhymuk), fanzines activity (S. Legeza), K. Kaczor). All these works have one common trait: each of them emphasizes the aspect connected with the main aim of the research and places a smaller focus on the fact that this is an in-action process – not only intertextual but also multiple media, often extraart, as it covers different areas of the life of a modern individual who wishes to take an active part in this process rather than to be a mere consumer of the cultural product. The research seeks to prove that modern fantasy, particularly in Ukraine, is an in-action literary and, in a broader sense, cultural tradition, a multidirectional process affected by all the components of fantasy and making it impossible to clearly distinguish their positions; all taken together, they build the magic fantasy world, which combines an artistic illusion with the present. Fantasy in Ukraine is indeed an in-action cultural tradition, which is actively spreading beyond literature and targets both writers, and artists involved in numerous types of art (comics, live action etc.), as well as critics and fan community. Moreover, fantasy is a part of applied arts, street art and leisure activities (videogames, board games, festivals). The development of any fantasy-related activities testifies to the transgressive crossing of any borders – between experts and amateurs (fantasy created and explored by fans, fan-art, field-specific journals and fanzines, competitions and workshops run by editorial houses and fanzines, special projects and amateur online platforms, festivals and comicons), between art and routine life (wall art, paintings, fantasy décor), between high and pop culture (from art-house, indie-projects to merch). This trend is intrinsic not only to Ukrainian fantasy. Ukrainian culture is actively entering the global cultural process. The future focus of the research will be placed on Ukrainian fantasy, which is actively growing and becoming a part of the global literary and non-literary practice namely as an in-action cultural tradition, which is built under the influence of the fan community and embodied in various media and cultural forms thus testifying to the development of fantasy discourse of modern society. Key words: fantasy, tradition, cultural product, fan-art, globalization.
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Paz, Otacílio Lopes de Souza da, and Ivandra Alves Ribeiro. "HISTÓRIA EM QUADRINHOS NA ANÁLISE GEOGRÁFICA DO SÉCULO XX: proposta de encaminhamento metodológico no ensino médio." Revista Cerrados 15, no. 02 (March 16, 2020): 107–28. http://dx.doi.org/10.22238/rc24482692v15n22017p107a128.
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A Geografia enquanto componente curricular contribui para a formação de indivíduos capazes de analisar criticamente o espaço. Propostas alternativas no ensino de Geografia, em contrapartida à tradicional forma mnemônica e descritiva de ensino, destacam-se nas aulas, a citar: músicas, aulas de campo, recursos visuais, etc. Entre os recursos didáticos pautados na linguagem visual destacam-se as Histórias em Quadrinhos (HQ) como forma de expressão de realidades, podendo ser consideradas pontos de partida para a leitura do espaço geográfico. Objetiva-se explorar as HQ enquanto encaminhamento metodológico auxiliar nas aulas de Geografia em conteúdos ligados ao século XX, a citar: período pós-guerra, Guerra fria, Guerra do Vietnã e nova ordem mundial. As atividades ocorreram na disciplina “Prática de docência em ensino de Geografia no ensino médio”, componente curricular do curso de licenciatura em Geografia da Universidade Federal do Paraná (UFPR). A aplicação foi na turma do 2º ano do Ensino Médio Integrado ao Curso Técnico de Petróleo e Gás, do Setor de Educação Profissional (SEPT) da UFPR, em Curitiba - Paraná. Concluiu-se que as HQ contribuem no processo de ensino e aprendizagem, pois facilitam o processo cognitivo e auxiliam análises geográficas autônomas.
Palavras-chave: Ensino; Geopolítica; Pós-guerras; Nova ordem mundial; Guerra fria.
COMIC BOOKS IN GEOGRAPHIC ANALYSIS OF THE TWENTIETH CENTURY: proposal of methodological in high school
Abstract
Geography as a curricular component contributes to the formation of individuals capable of analyzing space critically. Alternative proposals in the teaching of Geography, in contrast to the traditional mnemonic and descriptive form of teaching, stand out in the classes, to mention: songs, field lessons, visual resources, etc. Among the didactic resources based on the visual language is Comics (HQ) as a way of expressing realities, and can be considered starting points for the reading of the geographic space. The objective is to explore the comics as an auxiliary methodological guide in Geography classes in contents related to the twentieth century, to mention: the post-war period, the Cold War, the Vietnam War and the new world order. The activities took place in the discipline "Teaching practice in geography teaching in high school", curricular component of the licentiate course in Geography of the Federal University of Paraná (UFPR). The application was in the group of the 2nd year of High School Integrated to the Technical Course of Oil and Gas, of the Sector of Professional Education (SEPT) of UFPR, in Curitiba - Paraná. It was concluded that the HQ contribute to the teaching and learning process, since they facilitate the cognitive process and help autonomous geographic analysis.
Keywords: Teaching; Geopolitics; Postwar Wars; New world order; Cold War.
CÓMICS EN EL ANÁLISIS GEOGRÁFICO DEL SIGLO XX: propuesta de encaminación metodológica en la enseñanza medio
Resumen
La Geografía como componente curricular contribuye a la formación de individuos capaces de analizar críticamente el espacio. Las propuestas alternativas en la enseñanza de Geografía, en contrapartida a la tradicional forma mnemónica y descriptiva de enseñanza, se destacan en las clases, a citar: músicas, clases de campo, recursos visuales, etc. Entre los recursos didácticos pautados en el lenguaje visual se destacan los cómics (HQ) como forma de expresión de realidades, pudiendo ser consideradas puntos de partida para la lectura del espacio geográfico. Se pretende explorar las HQ como encaminamiento metodológico auxiliar en las clases de Geografía en contenidos vinculados al siglo XX, a citar: período post-guerra, Guerra fría, Guerra de Vietnam y nuevo orden mundial. Las actividades ocurrieron en la disciplina "Práctica de docencia en enseñanza de Geografía en la escuela secundaria", componente curricular del curso de licenciatura en Geografía de la Universidad Federal de Paraná (UFPR). La aplicación fue en la clase del 2º año de la Enseñanza Media Integrada al Curso Técnico de Petróleo y Gas, del Sector de Educación Profesional (SEPT) de la UFPR, en Curitiba - Paraná. Se concluyó que las HQ contribuyen en el proceso de enseñanza y aprendizaje, pues facilitan el proceso cognitivo y auxilian análisis geográficos autónomos.
Palabras clave: Enseñanza; Geopolítica; Pos-guerras; Nuevo orden mundial; Guerra Fría.
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Smith, Raymond W. "ANIMATION, CARICATURE, AND GAG AND POLITICAL CARTOONS IN THE UNITED STATES AND CANADA: AN INTERNATIONAL BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 3). John A. LentCOMIC ART OF EUROPE: AN INTERNATIONAL, COMPREHENSIVE BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 5). John A. LentCOMIC BOOKS AND COMIC STRIPS IN THE UNITED STATES: AN INTERNATIONAL BIBLIOGRAPHY (Bibliographies and Indexes in Popular Culture, Number 4). John A. Lent." Art Documentation: Journal of the Art Libraries Society of North America 14, no. 1 (April 1995): 32–33. http://dx.doi.org/10.1086/adx.14.1.27948714.
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Chen, Shukun, and Zenan Zhong. "Perceiving the poetic world: A corpus-assisted transitivity analysis of poetry comics." Frontiers in Psychology 13 (December 28, 2022). http://dx.doi.org/10.3389/fpsyg.2022.1061169.
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While modern adaptations of Chinese classics have drawn keen scholarly interests lately, the comic adaptation of Chinese traditional poetry remains under-investigated. Extending the previous research on intersemiotic translation and comics, this paper, drawing on the analytical framework of systemic functional semiotics, examines distribution of process types of language in poems in comparison with that in comic images in the exemplary case drawn by Cai Zhizhong, using UAM image as the annotation tool. The comic book formulates a multimodal corpus that consists of 1,097 clauses and 605 images. We have manually analyzed the process type of the poems and their corresponding comic panels. Our quantitative and qualitative results show that there are distinct patterns of process-type distributions between verbal poems and images. Poems have been turned into perceptions, actions, and verbal processes in comic strips, which serve various purposes such as construction of the poet’s gaze, relations building, storyline development, dramatization, metaphor visualization, etc. The paper is concluded with discussion on how the intersemiotic translation of poems might produce effects on readers.
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Boyd, Kelly. "Big Nate Makes the Grade by L. Peirce." Deakin Review of Children's Literature 2, no. 3 (December 24, 2012). http://dx.doi.org/10.20361/g27w2j.
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Peirce, L. Big Nate Makes the Grade. Missouri: Andrews McMeel Publishing, LLC, 2012. Print. Nate Wright is back in another dynamic graphic novel by author and illustrator Lincoln Peirce. For fans of the series, Big Nate Makes the Grade will not disappoint. Readers will find Nate to posses the same mischievous personality that has made him famous. He still holds the school record for detentions and continues to try and outdo his nemesis at every opportunity. In Big Nate Makes the Grade, readers are treated to Nate’s old tricks as he tries to navigate through an entire school year at P.S. 38. An ensemble of middle school characters like Mrs. Godfrey, Principal Nicholas, custodian Emmitt and Nate’s buddies are a comical supporting cast. Lincoln Peirce has been drawing the Big Nate comic strip for the past 20 years. A former high school teacher, Peirce knows all about classroom antics. This experience coupled with his passion for cartooning has led to a successful career as an author/cartoonist. Peirce has adopted the traditional comic book storytelling pattern, with sequences of pictures in a four panel format. He also uses a spattering of less uniformed pages dispersed throughout the book. These pages aid readers in following the storyline as there are no chapter breaks. The purposeful use of font by Peirce supports the humorous overtone of the text and conventional black and white sketches capture the full range of emotion. It would be remiss if I did not mention the misleading nature of the cover. Nate does not in fact receive an A+ on a test at any point throughout the book. Cautionary note: some of the humour belittles others (name calling etc.). This is a book that will appeal to young readers, especially boys or those reluctant to delve into longer texts. For anyone still needing their “Big Nate” fix, check out www.bignatebooks.com! Recommended: 3 out of 4 stars Reviewer: Kelly Boyd Kelly Boyd is a teacher-librarian and Social Studies teacher at Summerside Intermediate School in Summerside, PEI. She loves to read and sharing this passion with her students is one of the highlights of her job. She is excited to make selections and recommend books that will hook reluctant readers and open the world of reading to them.