Relevant bibliographies by topics / Graphic narrative

Contents

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

Academic literature on the topic 'Graphic narrative'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Graphic narrative"

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Chute, Hillary L., and Marianne DeKoven. "Introduction: Graphic Narrative." MFS Modern Fiction Studies 52, no. 4 (2006): 767–82. http://dx.doi.org/10.1353/mfs.2007.0002.

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Foster, David William. "Argentine Graphic Narrative." American Book Review 40, no. 1 (2018): 6. http://dx.doi.org/10.1353/abr.2018.0116.

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Freedman, Ariela. "Comics, Graphic Novels, Graphic Narrative: A Review." Literature Compass 8, no. 1 (January 2011): 28–46. http://dx.doi.org/10.1111/j.1741-4113.2010.00764.x.

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Stamant, Nicole. "Graphic Narrative: An Introduction." South Central Review 32, no. 3 (2015): 1–7. http://dx.doi.org/10.1353/scr.2015.0034.

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Horstkotte, Silke, and Nancy Pedri. "Focalization in Graphic Narrative." Narrative 19, no. 3 (2011): 330–57. http://dx.doi.org/10.1353/nar.2011.0021.

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Romu, Leena. "Mielen ja ruumiin pyörteissä. Kokemuksellisuus Kati Kovácsin sarjakuvateoksessa Karu selli." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 1 (June 1, 2017): 5–23. http://dx.doi.org/10.30665/av.64258.

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In the Carousel of Body and Mind. Experientiality in Kati Kovács’ Graphic Narrative Carousel The article explores the medium­specific qualities of graphic narration for representing experientiality. Kati Kovács’ graphic narrative Karu selli (”Carousel”, 1996) utilizes a variety of experimental formal means for conveying the psychological develop­ ment story of a jealous housewife. The theoretical point of departure is the concept of experientiality by Monica Fludernik who stresses the importance of experience as the defining quality of narratives. In order to analyze the formal structure of the book the writer applies the theory of spatio­topicality by Thierry Groensteen. As Groensteen suggests, the analysis of a graphic narrative must consider how the spatial layout of the pages is utilized in delivering the story and guiding the reader. In Kovács’ book, the space of the page is used as a narrative layer to convey the experiences of the character. Analogous relation between the structural space of the page and the story space supports the movement of the character in the story world. In addition, Kovács’ book utilizes symbolic frames in order to represent the emotions of the character, or alternatively, the stance of the narrator. The reoccurring symbolic creatures in the frames, such as snakes, worms, and insects, emphasize the subjective nature of the story. At the end of the book, the reader finds out that most of the events have taken place only inside the mind of the protagonist. The mental carousel – to which the name refers – of the main character is represented by using a wide range of symbolic, verbal, visual and spatial means. By analyzing the book with narratological concepts and tools from comics theory the writer aims to show the potential of graphic narratives as an object of narratological analysis.
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Munk, Tea-Maria. "The Holocaust in Pictures: Maus and the Narrative of the Graphic Novel." Leviathan: Interdisciplinary Journal in English, no. 2 (March 15, 2018): 54–59. http://dx.doi.org/10.7146/lev.v0i2.104696.

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This article examines the effect of comic conventions and the depiction of characters as anthropomorphic animals in Art Spiegelman’s graphic novel Maus, a pivotal piece depicting the Holocaust and its impact on the survivors and their children. The article will claim that instead of the graphic medium being a hindrance, Spiegelman uses the comic conventions to his advantage, allowing the reader to identify with the characters and narrative in a unique way. In this way the graphic narrative underlines the verbal, demonstrating that the medium of the comic and graphic novel is not purely preserved for fiction or child narratives.
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Kohn, Ayelet, and Rachel Weissbrod. "Remediation and hypermediacy: Ezekiel’s World as a case in point." Visual Communication 19, no. 2 (July 12, 2018): 199–229. http://dx.doi.org/10.1177/1470357218785931.

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This article deals with Kovner’s graphic narrative Ezekiel’s World (2015) as a case of remediation and hypermediacy. The term ‘remediation’ refers to adaptations which involve the transformation of the original work into another medium. While some adaptations strive to eliminate the marks of the previous medium, others highlight the interplay between different media, resulting in ‘hypermediacy’. The latter approach characterizes Ezekiel’s World due to its unique blend of artistic materials adapted from different media. The author, Michael Kovner, uses his paintings to depict the story of Ezekiel – an imaginary figure based on his father, the poet Abba Kovner who was one of the leaders of the Jewish resistance movement during World War II. While employing the conventions of comics and graphic narratives, the author also makes use of readymade objects such as maps and photos, simulates the works of famous artists and quotes Abba Kovner’s poems. These are indirect ways of confronting the traumas of Holocaust survivors and ‘the second generation’. Dealing with the Holocaust in comics and graphic narratives (as in Spiegelman’s Maus: A Survivor’s Tale, 1986) is no longer an innovation, nor is their use as a means to deal with trauma; what makes this graphic narrative unique is the encounter between the works of the poet and the painter, which combine to create an exceptionally complex work integrating poetry, art and graphic narration.
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Kumaat, Aprilia Debora, and Alfiansyah Zulkarnain. "The use of Freytag’s Pyramid Structure to Adapt “Positive Body Image” Book into a Motion Graphic Structure." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 77–82. http://dx.doi.org/10.37312/imoviccon.v2i1.95.

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Narrative structure is the framework of the story as the basis for presenting the narrative to the audience. Narrative structure is generally applied to something that is fictional to determine the direction of the plot of a story, such as story books, novels, films, and animations. This paper will discuss the adaptation of a scientific book by Justin Healey on the problem of body image which will be adapted into motion graphic media using the Freytag Pyramid narrative structure method. The adaptation of scientific books with a narrative structure is carried out with the aim of helping the process of grouping information that will be used into a designed motion graphic video, as well as to help in making motion graphic structures by writing the script. The methodology used in this paper is research by conducting a literature study from existing sources and references from books or journals, before entering the stage of analysing scientific books. The adaptation phase begins by analysing a scientific book entitled Positive Body Image using the Freytag's Pyramid narrative structure method. It is not only used to analyse and classify information but is also used as a reference in writing scripts based on the narrative structure of the Freytag Pyramid, which can determine the structure of the designed motion graphic. From the results of this analysis, it can be concluded that the narrative structure method can also be used to analyse scientific and nonfiction books, as well as being applied in designing motion graphics.
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North, Laurence. "Architecture and the graphic novel." Journal of Illustration 6, no. 2 (December 1, 2019): 341–64. http://dx.doi.org/10.1386/jill_00018_1.

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Abstract Richard McGuire's Here (2014) and Chris Ware's Lost Buildings (Glass et al. 2004) are discussed as examples of graphic novels that demonstrate a synergistic relationship with architecture. The synergistic relationship is examined through its use of decorative forms and the use of architectural reference as a narrative device and a signifier of space and time. The article goes on to explore the potential for architectural structures to function as graphic novels. The late medieval frescos attributed to the architect and painter Giotto, that decorate the chapels at Assisi and Padua, are used as examples of illustrations that rely on their architectural context. Giotto's work is explored as a model to inform the development of the graphic novel into an architectural form. Laura Jacobus' (1999) and Jenetta Rebold Benton's (1989) analyses of Giotto's works at Padua and Assisi provide us with an understanding of Giotto's work and the importance of decorative features in relation to the audience's perception of real and pictorial space, experienced time and narrative time. Jacobus' and Rebold Benton's analysis is then applied to two of London's Art on the Underground projects by Wallinger and Trabizian and also The Factory, Hong Kong. At these contemporary architectural sites, images have been installed to rehabilitate mundane structures and enrich the users experience. The installed imagery allows users to become immersed in narratives by eroding barriers between real and pictorial space, experienced time and narrative time. These contemporary examples describe the graphic novel's potential to be authored and read as an architectural form.
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Dissertations / Theses on the topic "Graphic narrative"

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Deardorff, Philip. "Novice Teachers' Stories Represented As a Graphic Narrative." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271802/.

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The issue of alternative certification teacher training has greatly affected art education over three decades. As a result of training through alternative certification, many art educators enter the profession unprepared and unable to cope with the realities of teaching. This study attempts to understand and represent the experiences and struggles of four alternatively certified art teachers, including myself. By reading these stories, others within the education community can empathize with and provide support for struggling novice teachers. This creative thesis uses a graphic novel format to represent participants' stories. By combining text and imagery, the graphic novel format provides different meanings, interpretations, and insights into the teachers' lives. This medium offered a unique and rich perspective on the stories of what it is like being an alternatively certified art teacher.
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Steiling, David. "Icon, representation and virtuality in reading the graphic narrative." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001818.

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Wege, Birte. "Drawing on the Past : Graphic Narrative Documentary / Birte Wege." Frankfurt : Campus, 2019.

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McGregor, Mandy Lea Polo de Bernabé José Manuel. "The image of women in graphic and narrative representations." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2558.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Romance Languages Spanish." Discipline: Romance Languages; Department/School: Romance Languages.
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Davies, Paul Fisher. "Making meanings with comics : a functional approach to graphic narrative." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/69049/.

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Palmer, Rebecca. "Understanding graphic narrative through the synthesis of comic and picturebooks." Thesis, Anglia Ruskin University, 2016. http://arro.anglia.ac.uk/701523/.

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This study was undertaken to develop a better understanding of comics, picturebooks, and their relationship through progressive attempts to combine them in practice. The study was motivated by an interest in hybrid forms as a site where narrative techniques from different forms are put to alternative use in a new context. The research contributes to current scholarly discussion of graphic narrative from a practitioner’s perspective. Reflective practice offers unique potential as a method for critical study. Comparative analysis of changes over time throws light on each form’s typical mechanisms for graphic storytelling, and demonstrates their function in different contexts. Problems arising in practice are catalysts for a process of dynamic, analogical theory-formation and -testing, which often challenges or supplements existing knowledge, leading to a more nuanced understanding of the forms with which practice engages. Findings evolved, firstly, from the insight that conventions for graphic storytelling function differently depending on the mode of reading and the formal context. Secondly, the degree to which the practitioner is constrained by formal limitations was found to demand a disciplined distillation of content that deliberately creates space for different kinds of readerly engagement. The study concluded that, due to their adaptation towards solitary reading, comics exert greater control over their readers, whereas picturebooks tend to be more flexible in order to accommodate different modes of reading. The way readers engage with a work impacts on the function of conventions and techniques for graphic storytelling as much as a change in formal context. Moreover, the discipline of the picturebook form demands greater economy, which can create more space for reader participation. However, neither distinct modes of reading nor differing degrees of constraint constitute grounds for definitive distinction between comics and picturebooks: instead, they offer alternative frameworks for the critical consideration of graphic narratives.
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Vanegas-Farfano, Minerva, Ramírez Mónica González, and Guzmán Rodrigo Cantú. "Stress and emotion regulation with graphic activities and expressive narrative." Pontificia Universidad Católica del Perú, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/99978.

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The present study evaluated instructions in graphic and expressive writing tasks as stress and emotion regulation activity aids. Six experimental groups were composed of thirty university students. Effects were measured with the Mexican versions of the Perceived Stress Scale (PSS) and the Positive and Negative Affect Schedule (PANAS). The groups were similar in  the perceived stress and affect measures in time 1. Results demonstrated positive changes in both variables in time 2,for the intervention groups. The results indicate that it is necessary to evaluate the types of instructions given in experimental and clinical settings.
Se evalúa el impacto de las instrucciones dadas para el uso de actividades gráficas y escritura expresiva como una forma de apoyo en el manejo del estrés y las emociones a partir de seis grupos experimentales con treinta estudiantes universitarios. Los efectos fueron estimados mediante la adaptación mexicana de la Escala de Estrés Percibido y la adaptación de Escala de Afecto Positivo y Negativo. Los grupos fueron similares en su estrés percibido y en emociones en el tiempo 1. Los resultados indican que ambas variables mejoran tras la intervención (tiempo 2), mostrando diferencias entre los grupos. Se concluye que es necesario evaluar el tipo de instrucciones en ambientes experimentales y clínicos considerando estas diferencias.
O propósito do estudo foi avaliar o impacto das instruções dadas para o uso de atividades gráficas e escritura expressiva como uma forma de apoio no controle do estresse e das emoções. A amostra foi formada por trinta estudantes universitários. Deste modo formaram-se seis grupos experimentais, cujos efeitos foram medidos mediante a adaptação mexicana da Escala de Estresse Percebido e a adaptação da Escala de Afeto Positivo e Negativo. Os grupos foram similares no estresse percebido e nas emoções no tempo 1. Os resultados indicam que ambas variáveis melhoram depois da intervenção (tempo 2); mas com diferenças entre os grupos. Deste modo se conclui que é necessário avaliar o tipo de instruções em ambientesexperimentais e clínicos considerando estas diferenças.
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Johnson, Hanna. "Narrative Perspective in a Wordless Graphic Novel: Shaun Tan's The Arrival." Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-164813.

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In a narrative the narrator tells the story, and the focalizer is a character through whose eyes the story is seen. The narrator is thus the one who speaks, whilst the focalizer is silent. The identification of these two narratological features is made with the help of verbal cues such as personal pronouns for instance. Determining the narrator and the focalizer can sometimes be challenging due to ambiguous cues in the analyzed text, as well as narratological aspects which at times can be difficult to distinguish from each other. Determining the narrator and the focalizer in graphic narratives (comics) with no narrative voice, or which completely lack words, must be done with the help of pictorial cues instead. In this thesis, Shaun Tan’s wordless graphic narrative The Arrival is used in order to show how the narrator and the focalizer can be determined by combining pictorial cues with the reader’s general knowledge of storytelling as well as his or her experiences from real life scenarios. To analyze narratological features in The Arrival, I employ terminology from comics studies, literary and film narratology. My analysis shows that determining the narrator and the focalizer in narratives lacking explicit narrative voice is possible by using only pictorial cues.
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Hetrick, Nicholas M. "Making Bodies Matter: Disability Narrative After the ADA." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306377901.

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Whittemore, Rhys Duncan. "Tabletop Role-Playing Games and the Actual Play Show: Author, Audience, and Adaptation." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/103882.

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Though tabletop role-playing games, or TRPGs, have received some scholarly attention since the creation of Dungeons and Dragons in the 1970s, very few scholars have considered how TRPGs function as a vehicle for long-form narrative. As an inherently collaborative form of narrative, the TRPG demonstrates a unique relationship between author and audience, as participants take on both roles during play. Previous narratological models of author-audience interaction are insufficient to understand the way that authorship functions in the TRPG, and the rise of actual play shows, where TRPGs are broadcast for an audience of nonparticipants, adds an extra layer of complexity to these author-audience relations. This thesis identifies key narrative elements of the TRPG, including game mechanics, framing, and collaboration, and examines how popular actual play shows and their graphic adaptations engage with these elements to create their narratives. This examination indicates that TRPGs create complex author-webs where each participant is both author and audience, and this influence pushes actual play shows and further adaptations of TRPG narratives to expand the ways in which audiences can influence and interact with narratives as they are created. The TRPG genre continues to explore how these elements can be developed beyond traditional understandings of narrative, and this development provides a framework for further narratological study of interactive works, which will only continue to evolve and grow in popularity and complexity in the continuing digital era.
Master of Arts
The tabletop role-playing game, or TRPG, has been growing in popularity since the creation of Dungeons and Dragons in the 1970s, and the rise of the actual play show, where a TRPG game is broadcast to viewers via video or podcast, has spurred both casual and scholarly interest in the TRPG. Players of TRPGs create narratives through collaborative storytelling moderated by certain rules and game mechanics, so each participant in a TRPG acts as both author and audience, as they create certain elements of the narrative and also witness the narrative creations of the other players. This particular collaborative author-audience model is not seen in any other form of narrative, and existing models of author-audience interactions do not account for authorship in the TRPG. Therefore, this thesis examines how several elements of the TRPG, such as the use of game mechanics to structure the narrative, the multiple frames in which players interact with each other, and the collaboration inherent in every game, contribute to the ways that authorship and audience interact in the narrative. It also looks at how popular actual play shows and the graphic novels they've created of their narratives engage with these elements to create their own unique audience interactions. As audience participation in the development of the stories they're consuming become more prominent with the rise of video games and other interactive media, an understanding of the evolving relationship between authorship and audience developed by the TRPG becomes important for examining interactive works in general.
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Books on the topic "Graphic narrative"

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Graphic women: Life narrative and contemporary comics. New York: Columbia University Press, 2010.

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McKean, Dave. Pictures that tick: Short narrative. Milwaukie, Or: Dark Horse Books, 2009.

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From comic strips to graphic novels: Contributions to the theory and history of graphic narrative. Berlin: De Gruyter, 2013.

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From comic strips to graphic novels: Contributions to the theory and history of graphic narrative. Berlin: De Gruyter, 2015.

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Crossing boundaries in graphic narrative: Essays on forms, series and genres. Jefferson, NC: McFarland & Company, Inc., Publishers, 2012.

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Eisner, Will. Graphic storytelling and visual narrative: Principles and practices from the legendary cartoonist. New York: W.W. Norton, 2008.

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Mark, Sinclair, ed. Pictures and words: New comic art and narrative illustration. New Haven, CT: Yale University Press, 2005.

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Vollmar, Rob. Bluesman.: A twelve bar graphic narrative in the key of life and death. New York: ComicsLit/NBM, 2006.

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Laborie, Guillaume. Jim Steranko: Tout n'est qu'illusion. Lyon: Moutons électriques, 2009.

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Laborie, Guillaume. Jim Steranko: Tout n'est qu'illusion. Lyon: Moutons électriques, 2009.

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Book chapters on the topic "Graphic narrative"

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Oats, Joclyn M. "A graphic narrative." In An Illustrated Guide to Furniture History, 155–78. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780367808297-7.

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Davies, Paul Fisher. "Representing Processes in Graphic Narrative." In Comics as Communication, 63–95. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29722-0_3.

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Davies, Paul Fisher. "Abstraction and the Interpersonal in Graphic Narrative." In Comics as Communication, 133–68. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29722-0_5.

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Heinen, Sandra. "Fact, Fiction, and Everything in-between: Strategies of Reader Activation in Postcolonial Graphic Narratives." In Narrative in Culture, edited by Astrid Erll and Roy Sommer, 109–28. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654370-007.

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Donahue, James J. "Graphic (narrative) presentations of violence against Indigenous women." In The Routledge Companion to Gender and Sexuality in Comic Book Studies, 119–33. Abingdon, Oxon; New York, NY, 2020. | Series: Routledge companions to gender: Routledge, 2020. http://dx.doi.org/10.4324/9780429264276-12.

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Davies, Paul Fisher. "Games Comics Play: Interpersonal Interaction in Graphic Narrative." In Comics as Communication, 97–131. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29722-0_4.

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Barton, Simon. "Graphic Storytelling and Visual Narrative: Images in Prose Fiction." In Visual Devices in Contemporary Prose Fiction, 92–122. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137467362_4.

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Schmid, Johannes C. P. "Framing Actuality: Frame Theory, Graphic Narrative, and (Post)-Documentary." In Frames and Framing in Documentary Comics, 31–63. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63303-5_2.

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Whalen, Zach, Chris Foss, and Jonathan W. Gray. "Introduction: From Feats of Clay to Narrative Prose/thesis." In Disability in Comic Books and Graphic Narratives, 1–13. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137501110_1.

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Bourelle, Andrew. "Not Just Novels: The Pedagogical Possibilities of the Graphic Narrative." In Teaching Graphic Novels in the English Classroom, 11–28. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63459-3_2.

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Conference papers on the topic "Graphic narrative"

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Trisusana, Anis, and Arik Susanti. "Graphic Organizers for Students’ Descriptive and Narrative Writing." In International Joint Conference on Arts and Humanities (IJCAH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201201.162.

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Afonso, Raquel, Ana Breda, and Eugénio Rocha. "GRAPHIC AND MULTIMEDIA DESIGN OF A NARRATIVE-BASED MATH GAME." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.0861.

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Soelistyarini, Titien Diah. "The World through the Eyes of an Asian American: Exploring Verbal and Visual Expressions in a Graphic Memoir." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.6-5.

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This study aims at exploring verbal and visual expressions of Asian American immigrants depicted in Malaka Gharib’s I was Their American Dream: A Graphic Memoir (2019). Telling a story of the author’s childhood experience growing up as a bicultural child in America, the graphic memoir shows the use of code-switching from English to Tagalog and Arabic as well as the use of pejorative terms associated with typical stereotypes of the Asian American. Apart from the verbal codes, images also play a significant role in this graphic memoir by providing visual representations to support the narrative. By applying theories of code-switching, this paper examines the types of and reasons for code-switching in the graphic memoir. The linguistic analysis is further supported by non-narrative analysis of images in the memoir as a visual representation of Asian American cultural identity. This study reveals that code-switching is mainly applied to highlight the author’s mixed cultural background as well as to imply both personal and sociopolitical empowerment for minorities, particularly Asian Americans. Furthermore, through the non-narrative analysis, this paper shows that in her drawings, Gharib refuses to inscribe stereotypical racial portrayal of the diverse characters and focuses more on beliefs, values, and experiences that make her who she is, a Filipino-Egyptian American.
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Nikula, Silja. "IS IT A STORY – OR JUST ARTWORK? GRAPHIC IMAGE AS A NARRATIVE." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-140.

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Lus Arana, Luis M. "La Ligne Claire de Le Corbusier. Time, Space, and Sequential Narratives." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.814.

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Abstract: In 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema” where Le Corbusier, signing as ‘De Fayet’, vindicated the figure of Rodolphe Töpffer (1799-1846), a Swiss a pioneer of comics, as a key element in the development of cinema. Marginal as it may seem, this reference unveils a deeper relationship between Jeanneret and Töpffer’s work which started in his childhood, and would have a key role in the development of some of Le Corbusier’s trademark obsessions: travel, drawing, and cinematic narratives. In this context, “La Ligne Claire de Le Corbusier” proposes a close examination of the presence of graphic narrative and its aesthetics in Le Corbusier's early work in relation to its evolution from a sequential promenade architecturale to multispatial enjambment. The paper explores themes such as narrative and the inclusion of time in le Corbusier's Purist paintings, or his evolution from a painterly approach to drawing to an idealized, linear and synthetic rendering style. Keywords: Sequence; Enjambment; Purism; Avant-Garde; Töpffer ; Bande Dessinée. DOI: http://dx.doi.org/10.4995/LC2015.2015.814
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Dunst, Alexander, Rita Hartel, and Jochen Laubrock. "The Graphic Narrative Corpus (GNC): Design, Annotation, and Analysis for the Digital Humanities." In 2017 14th IAPR International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2017. http://dx.doi.org/10.1109/icdar.2017.286.

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Kurnia, Ramona, Darnies Arief, and Irdamurni Irdamurni. "Development of Teaching Material for Narrative Writing Using Graphic Organizer Story Map in Elementary School." In International Conferences on Educational, Social Sciences and Technology. Padang: Fakultas Ilmu Pendidikan, 2018. http://dx.doi.org/10.29210/20181121.

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Romá-Mateo, Carlos, Conrado Javier Calvo, Gloria Olaso-González, Antonio Alberola, Álvaro M. Pons, Patricia Antón-Enguidanos, Marta Avinent-Pérez, et al. "PHYSIOLOGY COMICS: POTENTIAL OF GRAPHIC NARRATIVE RESOURCES FOR THE TEACHING-LEARNING PROCESS IN HEALTH SCIENCES." In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.1870.

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Aswita, Darma, Syahrul Ramadhan, and Taufina Taufik. "Development of Teaching Material for Narrative Writing Using Graphic Organizer Type Circle Organizer in Elementary School." In Proceedings of the International Conference on Language, Literature, and Education (ICLLE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iclle-18.2018.42.

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Avila, Santiago, María J. Ruiz, Ritu Arya, Brian Callender, Yasmin Hasan, Josephine S. Kim, Nita Lee, et al. "Abstract 105: Communicating the Gynecologic Brachytherapy Experience (CoGBE): Clinician Perceived Benefits of a Graphic Narrative Patient Education Tool." In Abstracts: 9th Annual Symposium on Global Cancer Research; Global Cancer Research and Control: Looking Back and Charting a Path Forward; March 10-11, 2021. American Association for Cancer Research, 2021. http://dx.doi.org/10.1158/1538-7755.asgcr21-105.

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Reports on the topic "Graphic narrative"

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Lance, Brent J., Jonroy Canady, and Kelvin S. Oie. Design and Functionality of the Graphical Interactive Narrative (Gin) System Version 0.2. Fort Belvoir, VA: Defense Technical Information Center, August 2012. http://dx.doi.org/10.21236/ada568916.

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