Journal articles: '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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Salmi, Charlotta. "The Global Graphic Protest Narrative: India and Iran." PMLA/Publications of the Modern Language Association of America 136, no. 2 (March 2021): 171–89. http://dx.doi.org/10.1632/s0030812921000018.

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AbstractThis article situates the graphic narrative form within the current politics of protest movements. It argues that the graphic narrative captures the forms of civil disobedience that shape late-twentieth-century and twenty-first-century protest. Protest movements increasingly operate within, or in accordance with, the systems they seek to challenge. The graphic narrative, similarly, combines complicity and critique in its narrative style and structure. The argument draws on two examples from different regional and political contexts—Vishwajyoti Ghosh's graphic narrative about the years of emergency rule in India in the 1970s, Delhi Calm, and Amir Soltani and Khalil's work on Iran's Green movement, Zahra's Paradise—to show how the global graphic narrative acts as an archive of popular protests that inform present-day movements and offers a platform for those movements to perform civic action. It advocates a new formalist approach to the global graphic narrative as a popular protest form.

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Chute, Hillary. "Comics as Literature? Reading Graphic Narrative." PMLA/Publications of the Modern Language Association of America 123, no. 2 (March 2008): 452–65. http://dx.doi.org/10.1632/pmla.2008.123.2.452.

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Comics—A form once considered pure junk—Is sparking interest in literary studies. I'm as amazed as anybody else by the comics boom—despite the fact that I wrote an English department dissertation that makes the passionate case that we should not ignore this innovative narrative form. Yet if there's promoting of comics, there's also confusion about categories and terms. Those of us in literary studies may think the moves obvious: making claims in the name of popular culture or in the rich tradition of word-and-image inquiry (bringing us back to the illuminated manuscripts of the Middle Ages). But comics presents problems we're still figuring out (the term doesn't settle comfortably into our grammar; nomenclature remains tricky and open to debate). The field hasn't yet grasped its object or properly posed its project. To explore today's comics we need to go beyond preestablished rubrics: we have to reexamine the categories of fiction, narrative, and historicity. Scholarship on comics—and specifically on what I will call graphic narrative—is gaining traction in the humanities. Comics might be defined as a hybrid word-and-image form in which two narrative tracks, one verbal and one visual, register temporality spatially. Comics moves forward in time through the space of the page, through its progressive counterpoint of presence and absence: packed panels (also called frames) alternating with gutters (empty space). Highly textured in its narrative scaffolding, comics doesn't blend the visual and the verbal—or use one simply to illustrate the other—but is rather prone to present the two nonsynchronously; a reader of comics not only fills in the gaps between panels but also works with the often disjunctive back-and-forth of reading and looking for meaning. Throughout this essay, I treat comics as a medium—not as a lowbrow genre, which is how it is usually understood. However, I will end by focusing attention on the strongest genre in the field: nonfiction comics.

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Williams, Ian C. M. "Graphic medicine: comics as medical narrative." Medical Humanities 38, no. 1 (January 25, 2012): 21–27. http://dx.doi.org/10.1136/medhum-2011-010093.

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Kunert-Graf, Rachel. "Lynching Iconography: Looking in Graphic Narrative." Inks: The Journal of the Comics Studies Society 2, no. 3 (2018): 312–33. http://dx.doi.org/10.1353/ink.2018.0022.

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Gardner, J., D. Herman, and S. Keen. "Fast Tracks to Narrative Empathy: Anthropomorphism and Dehumanization in Graphic Narratives." SubStance 40, no. 1 (January 1, 2011): 135–55. http://dx.doi.org/10.1353/sub.2011.0003.

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Hague, Ian, Nancy Pedri, José Alaniz, Stefano Ascari, and Silke Horstkotte. "Book Reviews." European Comic Art 7, no. 1 (March 1, 2014): 112–26. http://dx.doi.org/10.3167/eca.2014.070106.

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Daniel Stein and Jan-Noël Thon, eds, From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic NarrativeBarbara Postema, Making Sense of Fragments: Narrative Structure in ComicsShane Denson, Christina Meyer and Daniel Stein, eds., Transnational Perspectives on Graphic Narratives: Comics at the CrossroadsMélanie Van Der Hoorn, Bricks and Balloons: Architecture in Comic Strip FormThomas Hausmanninger, Verschwörung und Religion: Aspekte der Postsäkularität in den franco-belgischen Comics [Conspiracy and Religion: Aspects of Post-Secularity in Franco-Belgian Comics]

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Nayar, Pramod K. "Graphic Memory, Connective Histories, and Dalit Trauma." English Language Notes 57, no. 2 (October 1, 2019): 143–50. http://dx.doi.org/10.1215/00138282-7716229.

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Abstract The collage-style merging of histories of oppression in Srividya Natarajan and Aparajita Ninan’s A Gardener in the Wasteland is an exercise in memorializing. Here memorialization has its ontological and etiological foundations in the Dalit narratives’ fusion, without reduction, of different histories of oppression. The national signifier of caste appropriates the global form of the graphic narrative. The spatial rhetorics of the graphic page enable Dalit memories to locate themselves in the global memory landscape. Together, these generate a “concentrationary imaginary.”

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Oksman, T. "Graphic Women: Life Narrative and Contemporary Comics." Contemporary Women's Writing 5, no. 3 (August 8, 2011): 258–60. http://dx.doi.org/10.1093/cww/vpr006.

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Brykova, Aleksandra Andreevna. "The narrative strategies of the Soviet graphic stories for children (a comparative analysis of the graphic stories about Clever Masha with D. Kharms’s and N. Gernet’s texts)." Communication Studies 7, no. 2 (June 30, 2020): 379–402. http://dx.doi.org/10.24147/2413-6182.2020.7(2).379-402.

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The article discusses the narrative strategies of original graphic stories about Clever Masha (published in “Chizh” magazine in 1934-1937) and reprinted versions of these stories, which texts were written by N. Gernet (firstly published in 1965). Syntactic and pragmatic analyses help us to show, that both these strategies have common principles of textual coherence and chronological continuation. At the same time the narrative strategy of the original stories actualizes chronotope and dynamic elements of the plot and contains the subject vocabulary duplicating the visual part of the stories so that it demonstrates lot in common with the representative and iconic type of children’s speech. Meanwhile the narrative strategies of Gernet’s texts show the higher level of creolization because of usage of different types of predicates, more complicated way of representation and changing the monologic type of speech to the dialogical one. Moreover, the narrative strategy of the reprinted stories focuses on adult’s narration instead of children’s oral narration in the original stories which means the explicit cooperation with the readers influencing their perception and forming their views and opinions, so that now these stories don’t fulfill the entertaining, but the pedagogical function encouraging young readers to behave as Clever Masha does.

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WORTH, JENNIFER. "Unveiling: Persepolis as Embodied Performance." Theatre Research International 32, no. 2 (July 2007): 143–60. http://dx.doi.org/10.1017/s0307883307002805.

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This paper examines Marjane Satrapi's graphic novels Persepolis 1 and Persepolis 2 as examples of unconventional solo performance, and argues that these personal narratives can be read as a type of embodied performance that might otherwise be denied Satrapi. The traditional novel is regarded as an outlet for women denied a public presence; the graphic novel goes a step further, allowing presence both vocally and physically through repeated self-portraiture, which deals frankly with distinctly corporeal issues of visibility, sexuality and identity. These are threaded through the narrative and dealt with frankly in both word and image. Drawing on comic and performance theory to discuss how Satrapi uses the interplay of visual and narrative languages to perform herself, I contend that graphic novels may best be understood as occupying a middle ground between the novel and the theatre, where their formal liminality frequently echoes the liminal states of their protagonists.

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Nöth, Winfried. "Time embodied as space in graphic narratives: A study in applied Peircean semiotics." Semiotica 2020, no. 236-237 (December 16, 2020): 297–318. http://dx.doi.org/10.1515/sem-2019-0003.

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AbstractThe paper is a study of how graphic narratives (graphic novels and the comics) represent time in external visual space as well as in inner (mental) representations. Peirce’s semiotics is the main tool of research. After a survey of various approaches to the study of time in narratives in general and in graphic narratives in particular, an outline of the various aspects of the embodiment of time in space in general is given before the forms of the embodiment of time in the space of graphic narratives is examined in detail. Signs of time are signs that represent time as their object and create mental representations of time as their interpretant. On this semiotic premise, the paper proposes a reinterpretation of Genette’s theory of time in narratives. A comparison with narratives in prose reveals that narrative time in graphic narratives evinces marked discontinuities in their spatial representation. The paper distinguishes between time as continuity, time as age, and points in time. It concludes that time as continuity is typically embodied in the form of spatial diagrams whereas time as age and points in time are mainly of the nature of indexical signs. The insights into the forms of embodiment of time in space derived from these premises are applied to examples from recent graphic novels and some traditional comics.

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Hartanto, Ignatius Soekarno, Ahadiat Joedawinata, and Sangayu Ketut Laksemi Nilotama. "KAJIAN MEDIA INFORMASI PANEL DISPLAY PADA PAMERAN MUSEUM BANK INDONESIA." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 3, no. 1 (November 1, 2020): 39. http://dx.doi.org/10.25105/jsrr.v3i1.8300.

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The Study Of Information Media Panel Display At Museum Bank Ndonesia. Excellence in terms of education for visitors is manifested by the Bank Indonesia Museum in the form of exhibitions that represent real places or places where historical events have occurred. Of course visitors and visitors just walk around and have a look, in terms of education. Various forms of exhibition display are designed and depicted diachronic (timeline), through visual displays and display panels containing narratives that guide visitors around to find information conveyed by the Bank Indonesia Museum. The uniqueness of the visual information pattern from the panel display in the Bank Indonesia Museum exhibition is interesting to be appointed as the object of research, because the information in the form of narrative stories from Bank Indonesia is conveyed and described in detail in the panels used. Consideration in achieving this, an approach is made through graphic design studies with regard to information design and editorial design. The initial step of observation is in the field, by looking at and sorting out the tendency of the panel displays used in conveying information in the form of narratives and literature studies carried out as a theoretical basis relating to museums and exhibitions, media, information, graphic information media, etc. The next stage is an analysis of visual information patterns from the display panel of the Bank Indonesia Museum which is carried out based on a graphic design approach with regard to information design and editorial design. The approach used is set on the arrangement of grid patterns, hierarchies of information, utilization of graphic processing, and utilization of narrative forms of information. From the graphic design approach revolving around information and editorial design with regard to exhibitions, it was found that the display pattern of the exhibition’s visual information panel that entered the Museum Bank Indonesia exhibition had a clear and structured hierarchy of information delivery, continuous graphic display with the narrative found, and Arrangement and utilization of media size or layout between narrative content and graphic processing content.

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Hudoshnyk, O. "Documentary comics in modern scientific discourse and Ukrainian comics space." Communications and Communicative Technologies, no. 19 (May 5, 2019): 32–40. http://dx.doi.org/10.15421/291905.

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The characteristics of documentary comics in modern multidisciplinary scientific space is presented, the methods of nonlinear historiography (narrative, oral history, commemoration) and post-documentalism are presented. The scientific discourse focuses on the types of interpretation of reality in comics, the hybridity of genre and style features, the types and forms of empathic involvement of the reader, the compositional specifics of graphic journalism. Scientists’ particular attention is focused on the forms of representation of the “lost history and the history of the lost” (N. Chute), on the means of expanding the space of human memory and historical narrative. The modern direction of scientific research, where documentary comics act as a kind of memory archiver in the form of a visual narrative (N. Mickwitz), as an effective means of understanding and experiencing the historical trauma, brings comics’ studies into the space of global commemorative and historical perspective research. In its own working definition of the genre, narrative, temporal deferment, and veracity of subjective evaluation are actualized. Using the formation example of the Ukrainian comic-space, the principles of accelerated and almost simultaneous deployment of the heroic and documentary narratives are characterized, the features of documentalism in the comic “Will”, the graphic novel “Hole” by S. Zakharov are analyzed. Documentary storytelling in the format of comic journalism is investigated on the basis of the collection “Shadows of forgotten ancestors. Graphic stories”, multiplatform (dos-a-dos format book, comic book, audio performance on YuoTube) hybrid presentation of thematic narrative is illustrated within the “Underground Sky” publication.

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Yang, Chao-Ming, and Tzu-Fan Hsu. "New Perspective on Visual Communication Design Education: An Empirical Study of Applying Narrative Theory to Graphic Design Courses." International Journal of Higher Education 6, no. 2 (April 12, 2017): 188. http://dx.doi.org/10.5430/ijhe.v6n2p188.

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Visual communication design (VCD) is a form of nonverbal communication. The application of relevant linguistic or semiotic theories to VCD education renders graphic design an innovative and scientific discipline. In this study, actual teaching activities were examined to verify the feasibility of applying narrative theory to graphic design courses. Matched group design was employed to equally divide 30 participants into experimental and control groups, who participated in distinct activities over a 4-week period. The results revealed that incorporating narrative theory into graphic design courses enabled increasing students’ poster design capabilities across various dimensions, including thematic concept, image creativity, and visual aesthetic. Narrative is a storytelling method. Applying narrative techniques to VCD not only facilitates the creativity of designers, but also elicits the audience’s visual memory, thereby encouraging a bidirectional communication between the two entities.

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Azéma, Marc. "Prehistoric Cave Art: From Image to Graphic Narration." Paragraph 44, no. 3 (November 2021): 379–93. http://dx.doi.org/10.3366/para.2021.0377.

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This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics.

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Garcia, Javier Gonzalez, and Tirtha Prasad Mukhopadhyay. "The Role and Efficacy of Creative Imagination in Concept Formation: A Study of Variables for Children in Primary School." Education Sciences 9, no. 3 (July 5, 2019): 175. http://dx.doi.org/10.3390/educsci9030175.

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Children’s creative imagination is tested through tasks involving narrative and drawing abilities for participants between the age of 8 and 12 years. The test determines the relative importance of ‘narrative’ against ‘graphic’ imagination in interpretive, problem-solving strategies, and also considers how such distinctive functions of the creative imagination could affect ‘general’ creativity of the child learner. Participants were chosen from designated primary schools in the state of Guanajuato, Mexico. The test on creativity complements facts from observational methodology in a population of mixed Castilian-speaking children. The name of the test is Prueba de Imaginación Creativa Niños (2008) or ‘Test of Creative Imagination in Children’, the Castilian acronym being PIC-N. It comprised four sub-tests: Three designed to evaluate narrative (verbal) creativity, and one for drawing (i.e., graphic) creativity. The first three ‘exercises’ in the suite indicates (a) fluency, (b) flexibility, and (c) originality in narrative representations, whereas the fourth indexes (d) graphic abilities of the child learner. Results suggest that creative imagination causes variations in specific aspects of creativity, like narrative and graphic improvisation, and also modifies ‘general’ creativity as understood from the perspective of a developmental psychology of learning abilities in growing children within the defined age group.

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Zeller, Sara. "Centering the Periphery: Reassessing Swiss Graphic Design Through the Prism of Regional Characteristics." Design Issues 37, no. 1 (January 2021): 64–75. http://dx.doi.org/10.1162/desi_a_00625.

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In the literature, the history of Swiss graphic design is regularly told as a linear development from illustrative tendencies to Modernist abstraction. Recent research has shown that these narratives were constructed and disseminated by a group of Modernist graphic designers through journals and their own publications. By the mid-1950s, the Modernists themselves began dividing designers of the time into two camps: the individual or illustrative versus the abstract or Modern. This dichotomy, which established itself quickly, continues to shape the narrative of Swiss graphic design to this day. However, this article argues that the reality of graphic design practice in Switzerland in the 1950s was more diverse than previously assumed. Outside an exclusive circle of practitioners, illustration and abstraction were understood more as design methods than as attitudes. Taking this as its starting point, this article looks beyond this dichotomy by drawing on unpublished sources of the time and, thereby, challenges the traditional understanding of Swiss graphic design.

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Schultze, Brigitte. "Textual and pictorial components in the focus: paratext in translated graphic novels." Zeitschrift für Slawistik 63, no. 4 (November 5, 2018): 561–90. http://dx.doi.org/10.1515/slaw-2018-0039.

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Summary In spite of manifold textual-pictorial make-up and remarkably varied meaning making function, paratext is one of the neglected research topics around graphic novels (graphic narrative in general). Even more so, this goes for translated graphic novels. Distinguishing between carrier media of paratext (front and back covers, blurbs) and forms of information (introduction, imprint, appendix), this study starts from describing most characteristic components of graphic novels’ paratext. Different from many articles on graphic narrative, this contribution is not only based on English, French and German, but also on Slavic (Czech, Polish, Serbian) source and target texts. All source texts are internationally respected, prize-winning examples of the genre. Comparative analysis profits from this enlargement of research material: it yields new insight into meaning making contained in or connected with paratext – including target recipients’ privileged position.

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Wiese, Doro. "Figures of Thought in Marjane Satrapi’s Persepolis and Riad Sattouf’s The Arab of the Future." Exchanges: The Interdisciplinary Research Journal 8, no. 1 (October 29, 2020): 57–70. http://dx.doi.org/10.31273/eirj.v8i1.642.

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This article takes Deleuze and Guattari’s ideas on art’s inventive function as a point of departure to analyse two graphic narratives that undermine ideas about truthfulness: Marjane Satrapi’s Persepolis and Riad Sattouf’s The Arab of the Future. It is argued that these allegedly autobiographical memoirs undermine genre conventions to create an implied readership who co-witnesses Satrapi’s and Sattouf’s experiences of oppression, racism, and war during their respective childhoods. It is shown how Satrapi and Sattouf undermine the autobiographical pact through graphic narrative’s ‘figures of thought’, a term introduced to capture the formal, thematic, and narrative possibilities of comics and graphic literature to make readers come into contact with unforeseen visions—and to possibly think anew. Specific attention is paid to the narrative voice, which in Satrapi’s and Sattouf’s works often goes beyond the personal perspective to account for collective experiences, as well as to the use of colour and line work that add critical layers to the stories told. In line with Deleuze and Guattari’s arguments, the poetic, which is the productive function of art, is shown to go beyond questions of truthfulness and falseness, allowing for new ways of thinking and for the creation of new worlds.

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Kukkonen, Karin. "Adventures in Duck-Rabbitry: Multistable Elements of Graphic Narrative." Narrative 25, no. 3 (2017): 342–58. http://dx.doi.org/10.1353/nar.2017.0018.

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Royal, D. P. "Introduction: Coloring America: Multi-Ethnic Engagements with Graphic Narrative." MELUS: Multi-Ethnic Literature of the United States 32, no. 3 (September 1, 2007): 7–22. http://dx.doi.org/10.1093/melus/32.3.7.

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Royal, Derek Parker. "Sequential Poe-try: Recent Graphic Narrative Adaptations of Poe." Poe Studies/Dark Romanticism 39-40, no. 1-2 (January 12, 2006): 55–67. http://dx.doi.org/10.1111/j.1754-6095.2006.tb00186.x.

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Juan Gutiérrez, Pablo J., and Carlos L. Marcos Alba. "Swapping lines for points: digital photogrammetry and graphic narrative." EGE-Expresión Gráfica en la Edificación, no. 9 (June 1, 2016): 78. http://dx.doi.org/10.4995/ege.2016.12468.

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Este trabajo de investigación analiza las aplicaciones de la fotogrametría digital desde una óptica contemporánea en la que se establecen maneras alternativas de considerar el problema del levantamiento de la realidad construida y de un patrimonio que no tiene por qué obedecer siempre a las mismas y convencionales geometrías que imaginamos cuando pensamos en arquitectura patrimonial.Con la técnica fotogramétrica digital, la realidad, capturada en una base de datos fotográfica, tendrá su correspondencia con una nube de millones de puntos cualificados por su posición y color, cuyo rigor permitirá modelizarla en el espacio virtual. La hipótesis considerada en esta investigación es que esta nube de puntos es, de hecho, parte de una nueva codificación gráfica y no solo una nueva forma de acceder a los códigos espaciales propios de una determinada tecnología. El paso de la línea al punto, es decir, del conocido y acertado código grafico que constituye el dibujo fundamentado en la línea como elemento básico de la representación gráfica, pasaremos a una nueva narrativa grafica –posible gracias a las tecnologías digitales- en la que el punto, como base de toda geometría en el espacio, se erige en protagonista.

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Segal, Eyal. "From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative." Poetics Today 36, no. 4 (December 2015): 570–72. http://dx.doi.org/10.1215/03335372-3455186.

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Sari, Resty Maya, Wisma Yunita, and Azwandi . "IMPROVING STUDENTS’ ABILITY TO WRITE NARRATIVE TEXT BY USING GRAPHIC ORGANIZER." JOALL (Journal of Applied Linguistics & Literature) 1, no. 2 (March 11, 2018): 40–45. http://dx.doi.org/10.33369/joall.v1i2.4179.

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This paper was aimed to explain whether using Graphic Organizer can improve students’ ability in writing narrative text and factors that influence the improvement of students’ ability at grade IX A of SMPN 22 Kota Bengkulu in the 2012/2013 academic year. The result of this research shows that using graphic organizer has successfully improved the students’ ability in writing narrative text, the improvement was influenced by the used of interesting material chosen and teacher’s participation toward the students

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Lee, Wan Yi, and Susan Wright. "Interlocutor–child Interactions: Supporting Children's Creativity in Graphic-narrative-embodied Play." Australasian Journal of Early Childhood 42, no. 3 (September 2017): 73–81. http://dx.doi.org/10.23965/ajec.42.3.09.

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FOSTERING CREATIVITY IN CHILDREN'S learning is prioritised in a number of early childhood education framework documents across the world. Despite this emphasis, the educator's role in supporting children's creativity is often mitigated due to lack of understanding about the nature of creativity and how to appropriately provide support. This paper presents a practitioner-based case study of children's graphic-narrative-embodied play experiences through interlocutor–child interactions in one early childhood setting in Melbourne, Australia. The study aimed to investigate how one-to-one creative dialogues support children's drawing, talking and gesturing. Three children's graphic-narrative-embodied play and interlocutor–child interactions were video-recorded, transcribed and analysed using an interpretivist paradigm. The analysis process was guided by sociocultural theories and pre-existing frameworks on children's creative dispositions, thinking styles and creative processes in multimodal meaning-making. Key findings include conditions that favour creativity in children's graphic-narrative-embodied play and approaches to co-creating this with children.

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Ty, Eleanor. "Asianfail in the City: Michael Cho’s Shoplifter." Asian Diasporic Visual Cultures and the Americas 4, no. 1-2 (March 4, 2018): 45–64. http://dx.doi.org/10.1163/23523085-00401003.

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Michael Cho’s graphic novel Shoplifter is a fine example of “Asianfail,” where the heroine fails to excel as Asian North Americans are “supposed to.” Narratives of failure are either rare or untold in Asian North American literature because Asians are often stereotyped as the successful model minority. Yet Shoplifter is more than simply a story about a twenty-something woman’s search for identity. With its rich details and striking colours, Cho’s visual language suggests that the graphic novel is also about contemporary urban life: its strange beauty and darkness, its complexities and hollowness. Shoplifter is a narrative about the development of a young Asian North American woman as well as a tribute to—and critique of—big city life.

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Green, Jennifer. "Multimodal complexity in sand story narratives." Narrative in ‘societies of intimates’ 26, no. 2 (December 31, 2016): 312–39. http://dx.doi.org/10.1075/ni.26.2.06gre.

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In sand stories, an Indigenous narrative practice from Central Australia, semi-conventionalized graphic symbols drawn on the ground are interwoven with speech, sign and gesture. This article examines some aspects of the complexity seen in this dynamic graphic tradition, illustrating the ways that these different semiotic resources work together to create complex multimodal utterances. The complexity of sand stories provides an almost unique platform from which to investigate the rich diversity of the expressive dimensions of narrative and demonstrates what needs to be taken into account if we are to make meaningful comparisons of storytelling practices in a range of cultures and contexts.

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Venkatesan, Sathyaraj, and Anu Mary Peter. "‘I Want to Live, I Want to Draw’: The Poetics of Drawing and Graphic Medicine." Journal of Creative Communications 13, no. 2 (March 22, 2018): 104–16. http://dx.doi.org/10.1177/0973258618761406.

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Accredited as the provenance of creative art and appreciated for its verisimilar mimetic virtues, drawing is a cathartic form of visual art. Specifically, the curative utility of drawing is anchored on its multifaceted health-enhancing qualities. Drawing is often practised either as a technique of narration, as in visual communication, or as a therapeutic exercise, as in clinical contexts. Interestingly, in the field of graphic medicine, which is a productive intersection of comics and medicine, drawing is practised both as a narrative technique as well as a mode of therapy. Analysing scenes of drawing in selected graphic medicine memoirs such as David Small’s Stitches: A Memoir (2009, New York: W.W. Norton & Co) and Katie Green’s Lighter than My Shadow (2013, London: Random House), this article investigates how these graphic medical narratives offer an insight into the healing potentials of drawing. This article uses the term ‘drawing’ in two distinct yet interrelated senses: one is the process of drawing which denotes the depiction of the artist himself/herself involved in the act of drawing, and the other is the end product of drawing such as the picture/image or painting. By elaborating the psychological benefits of drawing, the article also brings into relief how the act of drawing facilitates self-reclamation by assisting patients or traumatized individuals in resolving their chaos through creative expression.

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Pantaleo, Sylvia. "Exploring the intertextualities in a grade 7 student’s graphic narrative." L1 Educational Studies in Language and Literature 12, Open Issue, Open Issue (August 2012): 23–55. http://dx.doi.org/10.17239/l1esll-2012.04.01.

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Laven, Rolf. "Cross-Cultural Narrative through graphic stories In Polisario Refugee Camps." Revista Educação, Artes e Inclusão 16, no. 3 (July 1, 2020): 103–24. http://dx.doi.org/10.5965/198431781632020103.

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De Bruyn, Dieter, and Michel De Dobbeleer. "Introduction: Classics Interpreted: Graphic Narrative Adaptations of Slavic Literary Works." Slavic and East European Journal 57, no. 2 (2013): 150–53. http://dx.doi.org/10.30851/57.2.001.

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Nabizadeh, Golnar. "Visualising risk in Pat Grant’s Blue: xenophobia and graphic narrative." Textual Practice 31, no. 3 (March 7, 2017): 537–52. http://dx.doi.org/10.1080/0950236x.2017.1295633.

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Precup, Mihaela. "Graphic Women: Life Narrative and Contemporary Comics (review)." Biography 34, no. 3 (2011): 545–48. http://dx.doi.org/10.1353/bio.2011.0038.

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Salmi, Charlotta. "Reading footnotes: Joe Sacco and the graphic human rights narrative." Journal of Postcolonial Writing 52, no. 4 (July 3, 2016): 415–27. http://dx.doi.org/10.1080/17449855.2016.1221892.

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Gerald, Kelly. "Sign Language: Reading Flannery O'Connor's Graphic Narrative by Ruth Reiniche." Mississippi Quarterly 72, no. 3 (2019): 430–33. http://dx.doi.org/10.1353/mss.2019.0022.

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Power, Pat. "Animated Expressions: Expressive Style in 3D Computer Graphic Narrative Animation." Animation 4, no. 2 (July 2009): 107–29. http://dx.doi.org/10.1177/1746847709104643.

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McNicol, Sarah, and Cathy Leamy. "Co-creating a graphic illness narrative with people with dementia." Journal of Applied Arts & Health 11, no. 3 (November 1, 2020): 267–80. http://dx.doi.org/10.1386/jaah_00040_1.

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This article reports on a project that aimed to pilot a collaborative, patient-led approach to comics creation by developing an artistic process that allows people living with dementia to communicate their experiences and express their opinions. People living with dementia are rarely given the opportunity of speaking for themselves in the media; someone else usually speaks on their behalf, for example family or carers. In the novel approach to comics creation reported here, people with early- to mid-stage dementia worked collaboratively with artists to tell their stories as a way to offer alternative perspectives, and help overcome the stigma associated with dementia.

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Nurjannah, Nurjannah, Taufiq Hidayah, and Muhammad Nazar. "UTILIZING GRAPHIC ORGANIZER STRATEGY IN TEACHING WRITING ON NARRATIVE PARAGRAPH." ITQAN : Jurnal Ilmu-Ilmu Kependidikan 11, no. 2 (December 30, 2020): 189–204. http://dx.doi.org/10.47766/itqan.v11i2.1014.

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This research is entitled “Using graphic organizer strategy in teaching writing on narrative paragraph (experimental research). Writing is a very important subject that should be learned by English learners. The students should be able to express their ideas and opinion either in the form of a sentence or paragraph. However, the researcher found that many students at the Second Grade Students of SMP Negeri 1 Tanah Luas could not express their ideas and develop into the paragraph. Hence, the appropriate strategy of teaching and learning is very important to help students master writing skills. This research aims to know the effect of achievement between the students who are taught writing by using graphic organizers from those taught writing in the narrative by using traditional methods. This research was experimental research and used a quasi-experimental design. The samples chosen in this research were the whole students of class VIII2 and VIII4 of SMPN 1 Tanah Luas. Class VIII2 consisted of 25 students was chosen as experimental group and class VIII4 consisted of 24 students was chosen as control group. This research was conducted in three phrases; there were pre-test, treatments and post-test. The data collection technique used in this research was test. The tests were pre-test and post-test. The researcher gave pre-test before giving treatment and post-test after giving treatment. The treatment was conducted in three meetings. The data was analyzed by using t-test formula. The research result and the hypothesis authentication found by using t-test formula in significant level 5% or α = 0.05 were obtained that ttest > ttable. The ttest found in this research was 3.91. Meanwhile, ttable was gotten from the list of distribution value with degree of freedom = 47, because the data not in the table, the researcher used interpolation approach and obtained = 1.67. So > = 3.91 > 1.67. It meant that Ha was accepted and Ho was rejected. So, graphic organizer strategy significantly affects the students’ ability in mastering writing. Kata Kunci: graphic organizer strategy, teaching and learning, writing narrative paragraph

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Appleton, Catherine, and Kerry Mallan. "Filling the Silence: Giving Voice to Gender Violence in Una's Graphic Novel Becoming Unbecoming." International Research in Children's Literature 11, no. 1 (July 2018): 47–64. http://dx.doi.org/10.3366/ircl.2018.0253.

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Written in the style of a memoir, Una's graphic novel, Becoming Unbecoming, takes readers on a poignant journey with a young girl who experiences silence, shame and blame after being subjected to male sexual violence. The protagonist's story is played out against the backdrop of the rapes and murders committed by the notorious Yorkshire Ripper. This paper examines the text's multilayered narrative, which uses a range of graphic strategies and artistic styles to challenge its readers to make meaning, fill in the gaps and piece together their own version of events. The text's fragmented and disconnected sequences mimic the nature of traumatic memory, and the shifting linguistic–visual narration moves between fact, story, experience and emotion.

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Journal articles on the topic 'Graphic narrative'

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