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Dissertations / Theses on the topic 'Graphic novel'
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Lykou, Paraskevi. "Autobiographies : psychoanalysis and the graphic novel." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/6941/.
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This thesis explores the conjunction of the graphic novel with life-writing using psychoanalytic concepts, primarily Freudian and post-Freudian psychoanalysis, to show how the graphic medium is used to produce a narrative which reconstructs the function of the unconscious through language. The visual language is rich in meaning, with high representational potential which results in a vivid representation of the unconscious, a more or less raw depiction of the function of the psychoanalytic principles. In this project I research how life-writing utilises the unique representational features of the medium to uncover dimensions of the internal-self, the unconscious and the psyche. I use the tools and principles of psychoanalysis as this has been formed from Freud on and through the modern era, to propose that the visual language of the graphic medium renders the unconscious more accessible presenting the unconscious functionality in a uniquely transparent way, so that to some extent we can see parts of the process of the construction of self identity. The key texts comprise a sample of internationally published, contemporary autobiographical and biographical accounts presented in the form of the graphic novel. The major criterion for including each of the novels in my thesis is that they all are, in one way or another, stories of growing up stigmatised by a significant trauma, caused by the immediate familial and/or social environment. Thus they all are examples of individuals incorporating the trauma in order to overcome it, and all are narrations of constructing a personal identity through and because of this procedure. The presentation of the characters’ childhood is a (re)construction of their family history and an emergence of their own sense of the self, as this sense has been defined in the late modernity.
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Edholm, Rosalie. "Portrait: A Graphic Novel and Artist's Book." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/24.
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At this exact moment, graphic novels are enjoying a heyday of popularity, profusion and attention. As the graphic novel medium matures and detaches itself from the “non-serious” reputation of comics, it is becoming clear that graphic novels are a powerful and effective art form, using the both verbal and the visual to relay their narratives. Portrait, the short graphic novel that is my senior art project, is intended to emphasize the artist’s book character of the graphic novel, and serve as an example of how a graphic novel’s artist’s book characteristics allow communication of the artist’s message effectively.
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Kwong, Wai-chun, and 鄺慧珍. "Motivating secondary school readers using graphic novel." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50178507.
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English language enjoys a high status in Hong Kong. Many parents enroll their children to language classes at a very young age aiming to get them into well-regarded schools for a better prospect. One way that can help learners improve English proficiency is through reading. However, when local students are streamed into different secondary schools, the motivation to read is lowered. This thesis aims at highlighting the different learning contexts of our students that contribute to reading. A new genre, graphic novel, is used to investigate the effectiveness to motivate secondary school students to read. Factors are also identified which may facilitate the revival of the interest of students of different backgrounds and abilities in reading.
The study consists of 8 Form 3 (grade 9) students and 2 secondary English teachers. 5 students are studying in a secondary school with English as medium of instruction (EMI) and the other 3 students are studying in a secondary school with Chinese as medium of instruction (CMI). The 2 teachers are working in these two secondary schools respectively. This research was conducted using an action research approach. Questionnaires, interviews and students’ journals were used to achieve the aim of the study.
The results reveal that graphic novel can positively motivate secondary school students to read. Teachers can also make use of the features of the genre to make the lessons more interesting. However, more research needs to be done about the introduction of the genre in classrooms and the value of the genre in improving the language proficiency.published_or_final_version
Education
Master
Master of Education
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Roper, Margaret Mary. "Shakespeare and contemporary adaptation : the graphic novel." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3962/.
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This thesis examines the process of adaptation of Shakespeare’s plays into the graphic novel medium. It traces the history of these adaptations from the first comic books produced in the mid-twentieth century to graphic novels produced in the twenty-first century. The editions used for examination have been selected as they are indicative of key developments in the history of adaptation of Shakespeare’s plays into the medium. This thesis explores how the plays are presented and the influences on the styles of presentation. It traces the history of the form and how the adaptations have been received in various periods. It also examines how the combination of illustrations and text and the conventions of the medium produce unique narrative capacities, how these have developed over time and how they used to present the plays. Sales data of Shakespeare graphic novels is presented and analysed to reveal the target audience is the education sector which in turn drives the publisher’s promotion of the authenticity and fidelity of their editions. How authenticity is claimed and invoked in the adaptation into graphic novels is also examined.
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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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Takakjian, Cara Elizabeth. "The Italian Graphic Novel: Reading Ourselves, Reading History." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11002.
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This study seeks to unravel the intricate connection between a selection of graphic novels, the moments in which they were created, and the process of weaving an Italian cultural history. It analyzes graphic novels and comics from three periods in Italian contemporary history – 1968, 1977 and 2001 – and asks how the hybrid image-text language of graphic novels might provide a unique insight into the relationship between the individual and history in contemporary Italy. More specifically, it looks at how the comic medium not only reflects or represents historical events, but effectively re-writes and re-traces them, allowing us to re-think History. Ultimately, this work reveals how the graphic novel medium has been used as an instrument in the process of weaving an Italian cultural history since 1968. Comics not only reflect the time in which they are created, either explicitly or implicitly, but also work as cultural agents in the formation and re-telling of history. Whether they attempt to speak to and for a generation seeking change and a new reality of freedom, are a means of aggressive socio- political criticism in a moment of apathy and disillusion, or a space to reflect on and work through personal and historical trauma, graphic novels are shaped by, and help to shape, our vision of ourselves and our society.Romance Languages and Literatures
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Hilton, Laura Jayne. "The Gothic double in the contemporary graphic novel." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/928/.
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This thesis examines the role of the Gothic double as articulated within the contemporary graphic novel. Discussing representations, interpretations and subversions of the Gothic double, the analysis will apply a synthesised theoretical framework of the psychoanalytical double and literary double to five key works from three canonical creators: Neil Gaiman, Frank Miller and Alan Moore. The discussion will be divided into three sections in order to focus on three recurring motifs in the image-text hybrid of the contemporary graphic novel. Firstly, a discussion of superheroes, SF and the Gothic double aims to explore how works such as The League of Extraordinary Gentlemen and Batman: The Dark Knight Returns combine innovative approaches to the superhero with direct reference to SF and the motif of the Gothic double. Section two offers a reading of how Neil Gaiman’s A Game of You subtly explores complex issues of gender and sexuality in relation to the Gothic double. Section three discusses the urban Gothic, exploring the dualistic presentation of the city in both From Hell and Sin City alongside an interpretation of how each text approaches the issue of prostitution. Throughout, the discussion will approach these graphic novels as literary works and will focus on the analysis of narrative elements including structure, characterisation and, of course, genre.
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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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Medeiros, Fyama da Silva. "A narrativa emoldurada: Heart of Darkness em graphic novel." Universidade Federal de Pelotas, 2018. http://guaiaca.ufpel.edu.br:8080/handle/prefix/4068.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Esta dissertação analisa a adaptação do romance Heart of Darkness, de Joseph Conrad (2007), para o formato de graphic novel, publicada por Catherine Anyango e David Zane Mairowitz (CONRAD, 2010). A análise consiste no estudo da transição do foco narrativo, da personagem e do espaço do modo “contar” na narrativa literária para o modo “mostrar” e “contar” das graphic novels. Este trabalho de pesquisa aborda a adaptação como uma obra independente, uma recriação, conforme sugere Hutcheon (2013). A fim de explorar as similaridades entre a narrativa literária e a narrativa em graphic novel e verificar as transformações ocorridas no processo de adaptação, foram levados em consideração os estudos de Groensteen (2013; 2015) e outros autores da teoria literária e da teoria das graphic novels. A análise mostra que o trabalho de Anyango e Mairowitz recria, por meio do uso de recursos visuais e verbais, os aspectos centrais da narrativa de Heart of Darkness, destacando a história do período colonial do Congo através do acréscimo de fragmentos do relato autobiográfico presente em The Congo Diary e de elementos cartográficos, como os mapas do Rio Congo e da Colônia Belga no Congo.
This thesis analyzes the work published by Catherine Anyango and David Zane Mairowitz in 2010, which adapts Joseph Conrad’s novel Heart of Darkness (2007) into a graphic novel. The analysis of the transition of the narrative focus, characters and space from the literary narrative’s “telling mode” to graphic novel’s “telling” and “showing” modes. This research project addresses adaptation as an independent work, a recreation, as suggested by Hutcheon (2013). In order to explore the similarities between the literary narrative and the graphic novel and to verify the transformations taking place in the adaptation process, Groensteen’s (2013/ 2015) and other authors’ contributions to both literary and graphic novel theories were taken into account. The analysis shows that the work by Anyango and Mairowitz recreates through the use of both verbal and non-verbal resources the core aspects of Conrad’s novel, emphasizing the history of Congo’s colonial period by adding fragments of the autobiographical account found in The Congo Diary as well as cartographic elements such as maps of the Congo River and Belgian Congo.
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Grice, Karly Marie. "A (Graphic) Novel Idea for Social Justice: Comics, Critical Theory, and A Contextual Graphic Narratology." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503329869170118.
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Monnin, Katie M. "Perceptions of New Literacies with the Graphic Novel Bone." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1214366895.
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Round, Julia Valerie. "From comic book to graphic novel : writing, reading, semiotics." Thesis, University of Bristol, 2006. http://hdl.handle.net/1983/749e82e7-e402-4129-9827-89588e2a8c10.
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Kane, Brian M. "ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1368726512.
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Silva, Caroline Peixoto e. "Machado de Assis em graphic novel: adaptação ou tradução?" Universidade Federal de Minas Gerais, 2014. http://hdl.handle.net/1843/BUBD-9UGJRE.
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This research has as main theme the transposition of literary language to comic book language on the short stories "A Cartomante" and "O Alienista" in the graphic novel format. The fundamental issue for the development of the study concerns the treatment of these transpositions, with the aim of analyzing the processes that arises from them. Based on many studies, as the ones of McCloud, Ramos and Eisner, this study tried to understand the hybrid nature of the graphic novels, as well as the importance of the interaction between verbal and visual texts in the narratives. Based on these ideias, it was possible, on one hand, to reflect on the definition of literature and literary classics based on studies of Calvino, Compagnon and Eco. On the other hand, widened the discussion, ranging from proposals from researchers, as Amorim and Feijó that seek to define what could be considered an adaptation, even the formulations, as Barbosas, that consider the publications as a form of translation, based on the concept of translatability developed by Walter Benjamin, and also, Haroldo de Campos, that defends the concept of recreation understood as the product generated by the process of translation. Faced with such a diversity of points of views and theoretical options as well as the wealth of artistic productions that operate this transpositions, we attempted to verify in the works analyzed, which ones serve us to better interpret the artistic productions, in the constructed dialogues between literature and visual arts, literature and graphic design, literature and education. Thus, in many cases it is possible to highlight the work that is closest to an adaptation, while another is characterized by a translation, on Benjamin's perspective. Due to the great diversity of the analyzed material and the strong presence of a pedagogical intention in many graphic novels, the research focus on readers and teachers development, in order to construct a reading competence that will help professionals deal with this material already available in the school environment.Esta pesquisa tem como tema principal a transposição da linguagem literária para a linguagem quadrinística dos contos A Cartomante e O Alienista, ambos de Machado de Assis, no formato graphic novel. A questão fundamental para o desenvolvimento do estudo concerne ao tratamento dado a essas transposições, com o objetivo de analisar os processos que delas decorrem. Com base em vários estudos, como os de McCloud, Ramos e Eisner, buscou-se compreender a natureza híbrida das graphic novels, assim como a importância da interação entre os textos verbais e visuais nessas narrativas. A partir disso, foi possível, por um lado, refletir sobre as definições de literatura e de clássicos literários, com base em estudos como os de Calvino, Compagnon e Eco e, por outro lado, ampliou-se a discussão, abrangendo desde proposições de pesquisadores, como Amorim e Feijó, que procuram definir o que pode ser considerado adaptação, até as formulações, como as de Barbosa, que consideram tais publicações como uma forma de tradução, baseadas no conceito de traduzibilidade proposto por Walter Benjamin e, ainda, Haroldo de Campos, que defende o conceito de recriação, compreendido como o produto gerado pelo processo da tradução. Diante de tal diversidade de pontos de vista e de opções teóricas, bem como da riqueza das produções artísticas que operam tais transposições, buscou-se verificar, nas obras analisadas, quais as que nos servem para melhor interpretar essas produções, nos diálogos que constroem entre literatura e artes visuais, literatura e design gráfico, literatura e educação. Assim, em muitos casos, torna-se possível destacar obras que mais se aproximam de uma adaptação, enquanto outras se caracterizam por resultarem em traduções, à luz do que propõe Benjamin. Em razão da grande diversidade do material analisado e da forte presença de uma intenção pedagógica em muitas das graphic novels analisadas, esta pesquisa interroga o campo da formação de leitores e de professores, no sentido da construção de uma competência leitora que irá auxiliar os profissionais a lidar com esse material já disponível no ambiente escolar.
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De, La Lama Luis. "Creating a Mythopoeic Graphic Novel To Expand Self-Understanding." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5622.
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This is a study about how I produced a graphic novel to introduce a model of the self that is informed by complexity theory to an audience of comic book and graphic novel enthusiasts. Because this model of the self has the potential to preserve, extend, and/or reinforce character strengths that are operationalized as virtuous behavior, and that also function as inner resources in times of adversity, my study explores storytelling by sequential art as a communication method that some counselors and educators might use to counsel and educate large segments of popular culture. Also, more generally, I explore the possibility that productions combining entertainment and preventive information might have commercial value on their own and also improve wellbeing and increase embodied social capital without the need of traditional institutional funding.
Under the theoretical frameworks of Complexity Theory and Poetic Logic, I combined Active Imagination, Narrative, Writing, Poetic, and Arts-based methods of inquiry, to research the literary and artistic forms by which I could create a compelling mythopoeic story to indirectly educate about the potential of the self. The results of this investigation show that the production of an instrument aiming at these goals can be completed, however, future studies are needed to assess the effectiveness of this production as a prevention tool and as a commercially viable product in the entertainment marketplace. While the results of this investigation are not generalizable, they may inspire other counselors and educators to communicate with larger audiences their expert knowledge of human nature as a form of preventive public counseling.
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Vaandrager, Cornelis. "Diss and the graphic novel : an international and South Afrcian exploration." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/27390.
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The first part of this submission is a graphic novel entitled “Diss”. The novel is set in South African in the near future, and is based on Dante’s “Inferno”. The work also draws on various ancient mythologies and works of fiction. Essentially, this graphic novel is a reflection on contemporary South African society, as the reader travels with the main character, Dirk, through the rooms of a club in the South African capital, Pretoria. The club contains the nine circles of hell, and leads Dirk to discover aspects of himself that he has suppressed, such as his mother’s brutal murder. He meets his three guardians from ancient Egyptian mythology, who are also the keepers of the hallway. He further has to confront the three aspects of the Queen of hell, based on the three archetypal aspects of woman, who tempt him into letting go of a memory. At the climax, he is confronted with the queen herself, who, craving the taste of Dirk’s pain, tries to remove the memory from him by force. Throughout “Diss” Dirk’s best friend Gugu travels with his, and acts as his moral guide in the club. The second section is entitled “The graphic novel: an international and South African exploration.” The research essay explores the definitions and background of the graphic novel, and looks at how the genre can uniquely explore aspects of time and space, myth and intertext and hybridity and cultural production. To illustrate these aspects the essay explores definitive works in the genre, namely “Maus” by Art Spiegelman, “The Sandman” series by Neil Gaiman, and “Persepolis” by Marjane Satrapi. The essay further looks at the history of African comics, and, more specifically, the graphic novel publication industry in South Africa. Lastly, the essay explores the possibilities of the graphic novel within the multimodal classroom, particularly in how the genre can be used in promoting literacy.Dissertation (MA)--University of Pretoria, 2011.
Afrikaans
unrestricted
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Changkija, Nungsangnaro (Narola). "From Oral Tale to Graphic Novel: Re-animating the Tiger-Soul." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/366646.
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Take a short walk with me. I want to tell you a story about looking for stories. In the beginning, I didn’t know that that was what I was doing. Like the Fool in the Major Arcana, I believe I cheerfully sauntered off the cliff onto thin air. I don’t know now if I’m walking on air or if I’ve crash-landed. But there was a journey in between all that. And that’s the story I’d like to share with you.
It begins in a place called Nagaland, an Indian state populated by a tribal collective known as the Nagas. They are a group of many tribes whom the government of India considers part of the Scheduled Tribes of India. The tales of their respective origins are found in tribal myth or lost to time, but their present history makes regional, national and international headlines time and again. As a fourth-world indigenous cultural group, the Nagas have been ruled, for over fifty years, by economic under-development, political corruption, military oppression and the insurgency for an independent, mythical Nagalim. This is the Naga story, the only story that is newsworthy enough to capture a journalist’s attention. But peel that layer, and the next, and we discover other stories, forgotten, discarded or disregarded. Others are on the same path of discovery and dissemination – writing journal articles and research papers, or linking the Naga tale with those told by refugees from Myanmar and other marginal South-east Asian ethnic groups, attracting tourists through heritage sites and cultural festivals and bringing out the intermittent small ficto-critical novel.
This thesis, consisting of an exegesis and a graphic novel script, revolves around a number of interrelated concerns:
• the historical, political and cultural life of an Indian minority ethnic group known as the Nagas,
• the question of revitalizing the folktales of the Naga oral tradition by adapting them in a graphic novel format,
• along with its associated concepts of word-image dynamics and visual representation,
• and a discussion of certain Naga folkloric elements which function as motifs in the graphic novel script.
As the journey unfolds, we will encounter stories and images about the Nagas;and these in turn will help us imagine the world (imperfectly created as it may be) within the graphic novel script. My own effort to tell a Naga story leaps even further ‘left-field’ – an alternative, near-futuristic interpretation of an obsolete Ao-Naga myth laid out in a script for a proposed graphic novel. Exposing a personal interest in graphic storytelling and folktales, the script can be read as a hybrid text in terms of its layout and its narrative breaks and jumps.
Originally written with an illustrator in mind, the script has evolved into a text-only dramatic piece that can be amended for future illustrative purposes. The intention was to develop a full-colour, hybrid graphic novel – pages of illustrated panels interspersed with prose passages, photographs and collages. Precedents like Alan Moore’s Watchmen and Terry Moore’s Strangers in Paradise (which alternate panels with mock newspaper article extracts, diary entries or song lyrics), and David Mack’s Kabuki series (which juxtaposes photo-realistic collages and manga influences within a complex visual narrative) were to serve as guide and inspiration for the design of the graphic novel. The narrative flows both linearly and non-linearly, evoking the rise and fall of memory in flashback sequences, in first-person prose monologues, in the retelling of selected folktales, and to an extent, in the characters’ thought captions which are similar to dramatic soliloquies or asides. I consider the script a multifaceted structure that can be read as a dramatic piece by itself, or as a work-in-progress script for an illustrated graphic novel. But as the cultural settings may be unknown to the initial readers, the exegesis you now hold in your hands serves as an explanation, a road map to navigating your way around, and recognising the local areas and their inhabitants.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
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Thorell, Julia. "UTOPIA." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6910.
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Mitt examensarbete består av en skriftlig del och en gestaltande del. Den skriftliga delen är en DROP, med beskrivande text och bild kring arbetsprocessen av mitt examensarbete. Den gestaltande delen består av mitt examensarbete, den grafiska novellen UTOPIA.
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Juin, Maria. "Wunderland von Tom Tirabosco : eine Graphic Novel im schwedischen Deutschunterricht." Thesis, Högskolan Dalarna, Tyska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28246.
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Diese Arbeit untersucht, wie man mit einer Graphic Novel im schwedischen Deutschunterricht arbeiten kann. Heute beschäftigen sich Kinder und Jugendliche in ihrer Freizeit mit einer Vielzahl von verschiedenen Medien aus Wort und Bild. Dieses Interesse und Können der Schüler kann man im Klassenzimmer nutzen. Die Arbeit beschreibt, wie Wort und Bild in Graphic Novels zusammenwirken und geht näher auf das Werk Wunderland von Tom Tirabosco ein. Außerdem wird Literatur über Lernprozesse im Fremdsprachenunterricht untersucht, um anschließend Unterrichtsentwürfe zu entwickeln.
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Guy, Frederick T. III. "Influencing Reading Engagement of Recidivistic Youth by Using the Graphic Novel." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1438854868.
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Dycus, Dallas. "Chris Ware's Jimmy Corrigan: Honing the Hybridity of the Graphic Novel." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/47.
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The genre of comics has had a tumultuous career throughout the twentieth century: it has careened from wildly popular to being perceived as the source of society’s ills. Despite having been relegated to the lowest rung of the artistic ladder for the better part of the twentieth century, comics has been gaining in quality and respectability over the last couple of decades. My introductory chapter provides a broad, basic introduction to the genre of comics––its historical development, its different forms, and a survey of comics criticism over the last thirty years. In chapter two I clarify the nature of comics by comparing it to literature, film, and pictorial art, thereby highlighting its hybrid nature. It has elements in common with all of these, and yet it is a distinct genre. My primary focus is on Chris Ware, whom I introduce in chapter three, a brilliant creator who has garnered widespread recognition and respect. His magnum opus is Jimmy Corrigan: The Smartest Kid on Earth, the story of four generations of Corrigan men, most of whom have been negligent in raising their children. Jimmy Corrigan, as a result, is an introverted, insecure thirty–something–year–old man. Among comics creators Ware is unusual in that his story does not address socio–political issues, like most of his peers, which I discuss in chapter four. Jimmy Corrigan is an isolated tale with a very specific focus. Ware’s narrative is somewhat like those of William Faulkner, whose stories have a narrow focus, revolving around the lives of the inhabitants of Yoknapatawpha county, rather than encompassing the vast landscape of national socio–political concerns. Also, in chapter five I explore the intriguing combination of realist and Gothic elements––normally at opposite ends of the generic continuum––that Ware merges in Jimmy Corrigan. This feature is especially interesting because it is another way that his work explores aspects of hybridity. Finally, in my conclusion I examine the current state of comics in American culture and its future prospects for development and success, as well as the potential for future comics criticism.
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Schumaker, Justin S. "Discovering the postmodern graphic novel in the works of Alan Moore." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1326.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English
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Gauche, Catherine. "Reading the distance : decoding the autobio(graphic) novel, Portrait in pieces." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1980.
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Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009.The aim of this thesis is to decode my autobiographic graphic novel, Portrait in Pieces (a narrative of a mother / daughter relationship), utilising a genealogical mode of analysis. This takes place, firstly, through a discussion of the themes of photography, memory and repetition which occur in the graphic novel; secondly, through a consideration of the role of language and difference within a specific mother / daughter relationship; and thirdly, through the study of autobiography and the self as performative entities. In this thesis I interrogate the autobiographic genre in a manner that questions internalised notions of femininity and (patriarchal) cultural constructs, which precede and influence the performance of our ‘life scripts’. I posit Portrait in Pieces as a transitional object between my mother and myself, and language as a medium which can both Otherise and close the distance between us. Translation is the medium by which one reads this distance, turning miscommunication into communication, and misunderstanding into understanding. The illustrations and text constituting the graphic novel have been produced through creative play, representing the ‘post talking’ required for the process of healing, empathising, and taking ownership of one’s ‘life script’.
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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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Walter, Emily M. "Intercepting Injection: A Graphic Novel About Female Fracktivism in Athens County." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587638668444578.
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Gruber, Phellip William de Paula. "“VOCÊ NÃO PRECISA MAIS DE MIM.” O SER, O PAI E A MORTE EM DAYTRIPPER." Universidade Estadual de Ponta Grossa, 2017. http://tede2.uepg.br/jspui/handle/prefix/2412.
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O presente trabalho visa analisar a obra Daytripper (2011), de Fábio Moon e Gabriel Bá, com as cores de Dave Stewart, atendo-se aos elementos que fazem parte da temática do ser, dentro da perspectiva existencialista, da relação entre pai e filho e da morte. Para tanto, buscou-se empreender um estudo acerca da configuração da linguagem da arte sequencial, viabilizando diálogos que vão desde a sua macroestrutura, com a teoria de Thierry Groensteen (2015), até aspectos mais pontuais dos elementos internos ao quadro, utilizando-se de algumas vertentes analíticas da semiótica. Na investigação dos aspectos temáticos sobre o ser, pai e filho e a morte, concentramo-nos principalmente nos conceitos apresentados em Ser e Tempo (2012), do filósofo alemão Martin Heidegger, relacionando os argumentos com algumas obras literárias que suscitam as temáticas em questão. Reunimos, neste trabalho, os aspectos da linguagem da graphic novel que dialogam diretamente com a argumentação proporcionada por ela, unindo, na análise, forma e conteúdo.
The present work aims to analyze the work Daytripper (2011), by Fabio Moon and Gabriel Bá, and colors of Dave Stewart, attending to the elements that are part of the theme of being, the relationship between father and son and the death. In order to do so, a study was carried out on the configuration of the language of sequential art, enabling dialogues ranging from its macrostructure, with Thierry Groensteen's (2015) theory, to more specific aspects of the internal elements to the picture, using some analytical aspects of semiotics. In the investigation of the thematic aspects about being, father and son and death, we focus mainly on the concepts presented in Being and Time (2012), by the German philosopher Martin Heidegger, relating his arguments with some literary works that raise the themes in question. In this work, we combine the aspects of the language of the graphic novel that dialogue directly with the argumentation provided by it, uniting, in analysis, form and content.
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Bezerra, Rômulo. "Entre a convenção e o deslocamento: uma análise do realismo em Watchmen." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-25082016-130453/.
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Esta dissertação tem como objetivo realizar uma aproximação entre dois campos distintos: a Literatura e as Histórias em Quadrinhos. Especificamente, pretende-se aqui analisar como Watchmen constroi e organiza sua narrativa partindo de um pressuposto realista. Nesse sentido, esta dissertação realiza uma aproximação entre dois gêneros: o romance literário e o romance gráfico (graphic novel). A ascensão de ambos os gêneros já aponta paralelos entre os campos. Após essa exposição, é feita a análise propriamente dita, que compreende duas partes. A primeira se constitui do levantamento das estruturas visuais de Watchmen (balões, formato dos quadrinhos, estilo do desenho) que se organizam em um jogo entre convenção mimética e deslocamento. A segunda parte da análise tem como recorte os capítulos II e XI do romance gráfico e se debruça sobre o tratamento dispensado ao super-heroi; o que significa, no contexto de Watchmen, construir um super-heroi realista.This thesis aims to approximate two distinctive fields: Literature and Comics. It intends to analyse how Watchmen constructs and organizes its narrative from a realistic assumption. In order to do so, this thesis approximate two genres: the literary novel and the graphic novel. The rise of both genres indicates similarities between the two fields. After that, the two-part analysis is presented. The first part consists of listing and interpreting Watchmens visual structure (speech bubbles, panel format, drawing style) and how they reveal a play between mimetic convention and displacement from it. The second part focuses on Watchmens chapters II and XI and analyses how the super-heroi character is constructed; what does it mean to make a realistic super-hero in Watchmens context.
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Twiss, Rob. "Le Petit Prince as a Graphic Novel: Images and Dual Address in Intersemiotic Translation." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34228.
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One of the most interesting aspects of Le Petit Prince by Antoine de Saint-Exupéry (1999[1946]) is its dual address. The illustrated narrative is at once a charming story for children and an allegory inviting adults to consider philosophical questions. In the graphic-novel adaptation of the book by Joann Sfar (2008), this allegory is obscured:; the abstract, philosophical ideas recede to the background while the material details of the story become more prominent. But this recession of the allegory does not mean that the adaptation turns its back on adult readers completely. The graphic novel creates a web of intertextual references, which, among other things, amplify the suggestion in the source text that the protagonist is Antoine de Saint-Exupéry himself. It thus displaces the adult interest from allegory to autobiography and the mechanism of adult address from allegory to intertextuality, restricting its adult audience. For those adult readers who remain addressed by the graphic novel, however, the text identifies itself explicitly as a translation, which has consequences for we should think about the “voice” of the translator.
Un des aspects les plus intéressants du livre Le Petit Prince d’Antoine de Saint-Exupéry (1999 [1946]) tient au fait que le récit illustré est une histoire charmante pour les enfants en même temps qu’il invite les adultes à réfléchir à des questions philosophiques. Dans l’adaptation du récit en bande dessinée par Joann Sfar (2008), les éléments abstraits du livre s’estompent derrière les détails concrets de l’histoire. Cet effacement de l’allégorie ne signifie pourtant pas que la bande dessinée tourne le dos aux adultes : elle crée un réseau intertextuel qui renforce l’impression donnée par le texte source que le véritable protagoniste est Antoine de Saint-Exupéry. Ainsi, l’intérêt pour les questions philosophiques se reporte sur l’autobiographie et, passant de l’allégorie à l’intertextualité, la bande dessinée sollicite alors moins les adultes. Cependant, pour les adultes auquelles la bande dessinée s’addresse toujours, le texte s’identifie explicitement comme une traduction, ce qui implique une réévaluation du concept de la “voix” du traducteur.
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Mitchell, Holly. "I Didn't Grieve Wrong: Using the Graphic Novel For Personal Healing and Public Awareness." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1217.
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This paper discusses how the author created a comic as a way to explore their personal suffering and the suffering of those around them throughout schooling. It defines the inspirations, both personal and technical for how the comic was produced and how it will expand to a graphic novel after college.
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Mutard, Bruce Roberts. "Bully Me: A graphic novel; The Return: A graphic novel; Comakademix: A comics anthology; Leadbetter: A comic; Laundry: A minicomic -and- The Erotics of Comics: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2489.
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Beholding a comic is ideally, a pleasure. The work informs, entertains and stimulates the mind in some way. There is no gainsaying which works will affect which beholders howsoever it does, yet the expectation of pleasure from a work of comics makes beholders seek it. Making the comic is also a pleasure, even if the process can be long-winded, winding and difficult. The maker wants to give others the same pleasure they drew from beholding comics, but in their way, making their vision of Batman, Lieutenant Blueberry or, their own story worlds. What this research seeks to explain are many of the considerations and constraints that makers have when producing a work of comics, which can often shape the finished artefact in ways that are not obvious by looking at it. In specific, it seeks to answer a narrower question: can exploring the way tacit knowledge accumulates and is applied, offer a ‘thick’ understanding of comics?
Michael Polanyi argues that tacit knowledge is knowing more than you can say, which in comics is the knowledge makers possess about tools, surfaces, materials, storytelling, pacing, mise en panel and logistics among others. This knowledge is rarely codified. In the comic as commodity, it is hidden from view so that beholders may immerse themselves in the work. Unknown is the iterative process that went into making a work: the moment of inspiration; grappling with the ideas via voluminous preparatory works; handling of materials and tools; working out the logistic dimension and constraints that will determine the type of encounter with the work beholders will have. I propose a Cycle of Erotics as a means to codify this knowledge and give critical commentators another lens for their use in analysing comics; a way of looking through and not just at comics.
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Jackson, Mary. "Forgotten Things: A Historian's Tale." Otterbein University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbnhonors1620458342340454.
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Silva, Camila Santin Calçada. "Novas leituras, histórias de outrora: transposição de obras clássicas para o gênero graphic novel." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8678.
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Con base en la importancia de la literatura para la construcción del ser humano pleno y la importancia de los cómics para la formación del lector, en el presente estudio se abordó el análisis de obras denominadas clásicas transpuestas para el género graphic novel, término acuñado por el cuadrinista y la importancia de los cómics para la formación del lector, los estudiosos de las artes gráficas, Will Eisner. Así se seleccionaron cinco obras del Programa Nacional Biblioteca Escolar PNBE entre los años 2006 a 2014, período en que obras en este género fueron incluidas en los edictos de compra gubernamental. En la constitución del presente corpus, elegimos el análisis de las transposiciones de O Guarani (2010) por Luiz Gê e Ivan Jaf, Frankenstein (2012) transpuesta por Taísa Borges, Leonardinho - memorias del primer malandro brasileño (2011) de Walter Pax y Vicente Castro, Don Quijote (2005) de Caco Galhardo. Nos interesó comprender el recorrido y la consolidación de las transposiciones y su importancia en la constitución del alumno-lector. En concreto, cuáles los procesos y caminos fueron tomados por los cuadrinistas al transponer obras literarias al género cuadrinizado. La presente investigación se basó en el análisis de pensadores de las áreas de las Artes Gráficas, así como pensadores ligados a los Estudios Literarios tales como Eisner (1989); McCloud (2005); Barbieri (2017); Vergueiro (2007), Ramos (2014); Hutcheon (2013); Andraus (2006); Paiva (2012); Cosson (2014); (Cagnin (1975), Santaella (2012), Bahía (2012); entre otros .
Tendo como base a importância da literatura para a construção do ser humano pleno e a importância dos quadrinhos para a formação do leitor, a presente pesquisa debruçou-se sobre a análise de obras ditas clássicas transpostas para o gênero graphic novel, termo cunhado pelo quadrinista e estudioso das artes gráficas, Will Eisner. Assim foram selecionadas cinco obras do Programa Nacional Biblioteca Escolar PNBE entre os anos de 2006 a 2014, período em que obras neste gênero foram inclusas nos editais de compra governamental. Na constituição do presente corpus, elegemos a análise das transposições de O Guarani (2010) por Luiz Gê e Ivan Jaf, Frankenstein (2012) transposta por Taísa Borges, Leonardinho – memórias do primeiro malandro brasileiro (2011) de Walter Pax e Vicente Castro, Dom Quixote (2005) por Caco Galhardo. Interessou-nos compreender o percurso e consolidação das transposições e sua importância na constituição do aluno-leitor. Em específico, quais os processos e caminhos foram tomados pelos quadrinistas ao transporem obras literárias para o gênero quadrinizado. A presente pesquisa se pautou na análise de pensadores das áreas das Artes Gráficas, bem como pensadores ligados aos Estudos Literários tais como Eisner (1989); McCloud (2005); Barbieri (2017); Vergueiro (2007), Ramos (2014); Hutcheon (2013); Andraus (2006); Paiva (2012); Cosson (2014); Cagnin (1975), Santaella (2012); Bahia (2012); entre outros.
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Pascon, Silvia. "Tradurre la graphic novel. Proposta di traduzione di Survilo di Ol'ga Lavrent'eva." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Il presente elaborato ha lo scopo di proporre la traduzione dal russo all’italiano di Survilo, una graphic novel della fumettista Ol’ga Lavrent’eva pubblicata nel 2019 in Russia dalla casa editrice Boomkniga. Il lavoro si articola in quattro capitoli. Nel primo si cercherà, innanzitutto, di dare una definizione ai concetti di "fumetto" e "graphic novel". Verranno, poi, delineate le origini e lo sviluppo di questi media, concentrandosi, in particolare, sulla storia del fumetto e della graphic novel in Russia e in Italia. Il secondo capitolo sarà dedicato all’analisi dei punti cardine degli studi sulla traduzione del fumetto, con particolare attenzione all'aspetto multimodale di tale medium e all’influenza dell'interazione tra la modalità verbale e quella visiva sul lavoro del traduttore. Il terzo capitolo ha lo scopo contestualizzare Survilo. In primo luogo, verrà esposta una breve biografia dell'autrice con riferimento alle altre sue opere. Successivamente, ci si concentrerà sulla graphic novel oggetto di questo elaborato delineandone la trama e analizzandone lo stile grafico e linguistico e il processo di scrittura. Verrà poi fornito un contesto storico riguardante tre momenti chiave del fumetto: la repressione politica avvenuta sotto Stalin, l'assedio di Leningrado e la riabilitazione delle vittime del Grande Terrore sotto Chruščëv, Gorbačëv ed El'cin. Il quarto e ultimo capitolo presenterà un commento alla traduzione proposta, che mira ad analizzare i problemi di traduzione più rilevanti. Ci si concentrerà principalmente sulle questioni relative alla traduzione del fumetto, sugli elementi culturospecifici e sui documenti presentati in Survilo, con particolare attenzione a strategie e soluzioni adottate per tradurli in italiano. L'appendice contiene la traduzione integrale della graphic novel Survilo.
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Kilburn, Nathan. "Picturing Nietzsche's 'Thus Spoke Zarathustra' : representing philosophical ideas in graphic novel format." Thesis, University of Bolton, 2016. http://ubir.bolton.ac.uk/1307/.
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This commentary appraises the approach and methodology used in a visual interpretation of Nietzsche’s Thus Spoke Zarathustra in the form of graphic narrative art. While not alone in the field of graphic novel adaptations, this research project presents, for the first time in English, an illustrative interpretation of all four parts of Thus Spoke Zarathustra, one that tackles Nietzsche’s challenging concepts in a more philosophically informed light through the praxis of the visual aphorism, which is posited as a visual counterpart to Nietzsche’s chosen form of rhetoric. The interpretation and depiction of Nietzsche’s concepts are considered alongside other attempts by graphic artists to represent literary and philosophical ideas in a visual format. Attention is also paid to Nietzsche’s distorted public reputation and, in particular, the way that his concept of the Übermensch has become synonymous with the DC character, Superman. Given how entrenched such an association is, this graphic reworking has sought to draw profitably on the links in order to make more contemporary sense of Nietzsche’s avatar, Zarathustra. Not only does this thesis contribute to knowledge in being the first comprehensive reworking of all four parts of Nietzsche’s text in graphic format, but also in developing the concept of the ‘visual aphorism’ as a powerful technique for representing complex philosophical and conceptual ideas.
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Busi, Rizzi Giorgio <1983>. "Always at Home in the Past. Exploring Nostalgia in the Graphic Novel." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8549/1/tesi%20busi%20rizzi.pdf.
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My project deals with the aesthetics of nostalgia in a corpus of graphic novels.
It starts by investigating the critical framework regarding nostalgia, which I analyze from a historical, psychological, philosophical and sociological perspective, giving particular attention to the implications it has for present times. It goes on to apply media-driven approaches about nostalgia to comic studies, trying to build a typology of the ways nostalgia may be seen as a two-phased, interactive articulation of comic production (of which I highlight motifs, style and structure) and reception (which I regrouped under the labels of readers, fans and collectors). Finally, I proceed to some close readings of key primary texts (graphic novels) to test my hypothesis in practice and draw my conclusions.
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Appleton, Catherine. "The wounds of separation: A graphic memoir about forced migration." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127156/1/Catherine_Appleton_Thesis.pdf.
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This study examines the unique representational qualities of the graphic novel, specifically the graphic memoir, in retelling a historic narrative. Using an integrated practice-led and life writing methodology, this thesis comprises an exegesis and a creative work - the graphic memoir, The Wounds of Separation. The researcher argued that the graphic narrative format is a suitable medium to retell this historic event to young adults because of its particular ability to represent memory, trauma and identity in an engaging verbal-visual narrative.
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Ehret, Sara R. "Using the Graphic Novel to Assist in Developing Various First-Year Composition Writing Skills." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1342449458.
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Bernardi, Bianca <1992>. "Šubēk Lubēk di Dīna Muḥammad: come il graphic novel racconta l’Egitto post-2011." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15166.
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L’oggetto di questa tesi è l’analisi di un graphic novel egiziano, Šubēk Lubēk di Dīna Muḥammad, che racconta la lunga lotta di una donna per riuscire a realizzare il più grande desiderio del suo defunto marito. La tesi dell’elaborato è che, pur collocando gli eventi in un mondo di fantasia, l’autrice presenti una lettura satirica e al tempo stesso tragica della realtà egiziana dopo il fallimento della rivoluzione del 2011. Trattandosi di un’opera narrativa prodotta nel medium del fumetto, il primo capitolo sarà dedicato a definire questo medium con le sue caratteristiche fondamentali e le sue potenzialità narrative, collocandolo nell’ambito più ampio della narratologia e dando conto della ricca produzione accademica che si è sviluppata negli ultimi anni sull’argomento. Nel secondo capitolo si analizzerà il fumetto da un punto di vista storico e sociale, facendo particolare attenzione allo sviluppo e alla situazione contemporanea del fumetto arabo ed egiziano e, in particolare, a quello del graphic novel, per collocare l’autrice nel suo contesto. Infine, il terzo capitolo riporterà l’attenzione su Šubēk Lubēk, utilizzando gli strumenti narratologici delineati nel primo capitolo per analizzare l’opera in oggetto e mostrare l’uso fatto dall’autrice degli strumenti narrativi a sua disposizione per creare un’opera che crea un universo di fantasia per descrivere la realtà.
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Caretta, Jessica <1992>. "Shakespeare’s The Merchant of Venice: from the play to three graphic novel adaptations." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21591.
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This Thesis examines three graphic novel adaptations of Shakespeare’s The Merchant of Venice to demonstrate their value as literary products and their possible use in class as effective pedagogical tools. Graphic novels encourage a more active and dynamic relationship between the author, the work, and the reader, proving to be a productive medium to visually adapt the Bard’s plays. The first Chapter serves a theoretical background, providing a definition of adaptation and of graphic novel, an overview of the latter’s main features, and of its respectable cultural and literary status. The developing role of the illustration is then traced in a brief outline of the evolution from Shakespeare’s illustrated plays to children books and, finally, to comic-books and graphic novels. The following Chapter analyses The Merchant of Venice in the adapted versions of Manga Shakespeare, Campfire Classics, and Gareth Hinds from a broader perspective, considering textual adaptation choices, word-image relationship, and general elements such as colour scheme, layout, character design, and setting. The third Chapter compares and contrasts the rendition of specific scenes in the three different adaptations and studies in detail cuts, additions, and other adaptational strategies underlining their effect on the overall reading experience. The final Chapter observes how the use of graphic novels in class can support learning and enhance students’ interest, thanks to the medium’s ability to make the experience more familiar and appealing, often mediating the text’s greatest complexities thanks to graphic representation. Graphic novel literary adaptations are not aimed at making a text easier nor are they stepping stones to the ‘real’ text; rather, they are works with a value in their own, bringing new life to Shakespeare’s plays by bridging the gap through classic literature and the modern-day tendency to privilege visual over textual storytelling.
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Carlsson, Sandra, and Anna-Sara Dungert. "Tre bibliotekariers uppfattningar om serier." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-15142.
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This bachelor´s thesis wants to look closer at librarians´ experiences of comics, manga and graphic novels. In order to bring these experiences forward qualitative interviews and the method of phenomenography was used. The material was then examend againstna theory of previous research, revealing that the problems librarians in Sweden face with these media are largely the same as the problems faced by librarians in other parts of the world. It also became clear that the participating librarians held a positive attitude to the presence of comics, manga and graphic novles in their libraries.
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Connell, Daniel James. "Hypermasculinity and the hero in comic book fiction : this is it." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6573.
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This thesis examines occurrences of hypermasculinity in examples from the genre of comic book fiction, utilizing textual evidence to suggest the current collection has re-iterated the more negative hypermasculine components of their source material: comic books. In doing so, the thesis compares the present novels with the creative element of the PhD submission – This Is It – a novel which serves as a critique of the prevalence of hypermasculinity in heroic figures within comic book fiction. By analyzing the sociological reasons behind hypermasculinity, and its subsequent effects, this thesis aims to make apparent the danger inherent with the continued association of hypermasculinity and hero figures in a new medium such as comic book fiction. It will also argue that the development of such a form divergent from comic books allows scope for a deconstruction of the hypermasculine comic book hero.
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Wood, Mara. "The effect of graphic novel supplements on reading comprehension and motivation in secondary students." Thesis, University of Central Arkansas, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10010748.
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Graphic novels use visual literacy and multimodal learning two methods of teaching. Graphic novels also have a history of being motivating to students. This study aims to quantify the degree of influence graphic novels have on secondary student comprehension and motivation. Students were recruited from two classrooms taught by one twelfth-grade teacher. Students who received a graphic novel supplement performed significantly higher on comprehension as measured by grades than students who did not receive a graphic novel supplement for that material. Before and after each unit, students completed a motivational survey. There were no significant differences between pre- and post-test motivation data. Results indicate that more research on the effect of graphic novels on comprehension is needed.
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Mantovano, Beatrice <1994>. "Dalla comic art al graphic novel: indagine del rapporto tra fumetto e arte contemporanea." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16820.
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Il presente elaborato si propone di analizzare il rapporto tra il mondo del fumetto e del graphic novel con quello dell’arte contemporanea. Ricostruendo primariamente le origini della comic art, viene poi indagata la sua diffusione a livello mondiale e presentata l’analisi di come tale genere venga accolto o respinto dai circoli culturali, in particolare dal mondo dell’arte contemporanea.
Il lavoro è suddiviso in tre capitoli fondamentali: nel primo si ripercorrono i tempi, i luoghi e le modalità della nascita del fumetto e del successivo graphic novel, fornendo un’adeguata spiegazione delle differenze formali, contenutistiche e terminologiche di quest’ultimi, spesso confusi o equiparati. Si illustrano poi i pareri contrastanti di critici e studiosi riguardo al ruolo che la comic art ha assunto, sin dalla Pop Art con Roy Lichtenstein, negli ambienti culturali, tra chi l’ha considerata e la considera a pieno titolo Arte e chi invece la riduce a un fenomeno a sé.
Nel secondo capitolo viene analizzata la diffusione del fumetto nel mondo dell’arte contemporanea, concentrandosi sulle mostre organizzate dalle istituzioni universalmente riconosciute come il MoMA di New York e la Tate Modern di Londra, ma riportando anche alcuni esempi nazionali. Si presenta poi l’analisi di due casi: quello del Musée Belge de la Bande Dessiné di Bruxelles, e del Whitney Museum of American Art di New York, l’uno il più famoso museo del fumetto in Europa, l’altro uno dei più importanti musei e istituzioni statunitensi di arte contemporanea, che ha ospitato negli ultimi anni delle mostre di grande successo sulla comic art e sui suoi protagonisti.
Il terzo capitolo invece, attraverso alcune interviste fatte a professionisti ed esperti del settore, indagherà il difficile rapporto fumettisti-artisti. Viene quindi espressa non solo l’opinione che il mondo dell’arte ha sul fumetto, ma anche il pensiero delle varie personalità che collaborano alla realizzazione dei comic book e dei graphic novel riguardo la loro posizione in ambito culturale: se si considerano e ci tengono ad essere trattati come artisti a tutti gli effetti, oppure se preferiscono mantenere un ruolo di ‘outsider’, liberi dalle convenzioni e regole dell’arte canonica.
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Andersson, Oscar. "ÖVERALLT PÅ JORDEN SAMTIDIGT." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6941.
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Christensen, William. "Dweller." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/250.
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William Christensen DWELLER What does it mean to become someone else? What does that mean for the identity of the person before they became this character? These questions have become a focal point for my work. I have been employing the self-portrait as a means of transforming myself into a different character. For this body of work I have written a short story, which is the basis for my artwork. This story is about the main character's grasp on reality slipping away from him and his shift from sanity to insanity. The different papers and styles come together as one amalgam of a scene in the process of transforming before the viewers' eyes. These drawings contain two different sets of drawings within each piece of artwork. The drawing, with ink on the white stonehenge .Paper, is a scene taken from the story and the graphite drawing on the brown stonehenge paper is a self-portrait. The graphite drawings on the brown paper consists of a series of pictures taken of me turning my head and changing my facial expressions in order to .imitate my perception of a person who is losing their mind. I then proceed to crumble up the drawings, and glue them on top of one another. From the inked drawing that lies on top, I begin to tear away the paper in order to let the under drawing show through. With the crinkled and the roughness of the papers it accomplishes the venture of showing the frailty and fickleness of the character. The blending of the two papers into each other gives the work a dreamlike sense that is hopefully open to interpretation from the viewer. One could come to the conclusion that this is a non-threatening dream, or a nightmare.
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Smida, Megan Alice Moore Alan. "(Re)telling Ripper in Alan Moore's From hell : history and narrative in the graphic novel." Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.
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Thesis (M.A. in English) -- University of Dayton.Title from PDF t.p. (viewed 06/23/10). Advisor: James Boehnlein. Includes bibliographical references (p. 44-46). Available online via the OhioLINK ETD Center.
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Smida, Megan Alice. "(Re)Telling Ripper In Alan Moore's From Hell: History And Narrative In The Graphic Novel." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.
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Tihveräinen, H. (Heidi). "“God, look at these stupid cunts!”:indications of focalization in the graphic novel Ghost World." Master's thesis, University of Oulu, 2013. http://urn.fi/URN:NBN:fi:oulu-201306061557.
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The purpose of this study was to find indications of focalization, or point of view, in a graphic novel. My method was to explore the medium-specific narrative elements of comics, i.e. the color scheme, drawing style and text and image interaction, and show how they helped to create focalization. I also discussed what kinds of aspects of focalization can be expressed in a graphic narrative. My material for this study consisted of Daniel Clowes’ graphic novel Ghost World. My theoretical background included studies from the fields of comics research and narratology. The works of Scott McCloud, Will Eisner and Thierry Groensteen formed the basis for my discussion of the storytelling elements of comics. In order to explore the concept of focalization and its manifestation in graphic narratives, I relied on perspectives and tools formulated primarily from the works of Mieke Bal, Kai Mikkonen, Silke Horstkotte and Nancy Pedri. By analyzing the indications of focalization in the graphic novel, I found that the color scheme and drawing style conveyed focalization related to theme and characters. I also discovered the narrative connection between a graphic novel’s cover design and illustrations and its actual narrative content. The analysis of text and image interaction resulted in finding examples of multiple and shared points of view in the graphic novel as well as identifying sudden shifts in focalization, which emphasize the impression of a subjective perspective. The indications of focalization highlighted the central narrative aspect of graphic narratives, i.e. the openness to interpretation. I also found that a broad and flexible use of the concept of focalization is well suited for the study of graphic narratives. Future research on this topic might benefit from looking at other types of graphic narratives, where the structure of the narrative is more experimental. The ideas related to multiple and shared perspectives can perhaps be utilized in studying how multiple points of view are manifested in other multimodal texts on the Internet, where multiple users participate in creating wikis (collaborative websites), and other joint effortsTämän tutkimuksen tavoitteena oli etsiä fokalisaation, eli näkökulman, merkkejä sarjakuvanovellista. Tutkin sarjakuvalle tyypillisiä kerronnallisia elementtejä, värimaailmaa, piirrostyyliä sekä sanan ja kuvan vuorovaikutusta osoittaakseni, miten niiden avulla luotiin fokalisaatiota. Käsittelin tutkimuksessani myös sitä, miten fokalisaatioon liittyviä erilaisia elementtejä voidaan ilmaista sarjakuvakerronnassa. Tutkimukseni aineisto koostui Daniel Clowesin sarjakuvanovellista Ghost World, ja teoriapohjani muodostui sarjakuvan ja kerronnan tutkimukseen liittyvistä teoksista. Sarjakuvakerronnan elementtien tarkastelussa nojauduin muun muassa Scott McCloudin, Will Eisnerin ja Thierry Groensteenin teksteihin. Fokalisaation käsitettä ja sen ilmenemistä sarjakuvakerronnassa tutkin Mieke Balin, Kai Mikkosen, Silke Horstkotten ja Nancy Pedrin ajatuksiin pohjautuvilla näkökulmilla ja työkaluilla. Tarkastelemalla fokalisaation merkkejä sarjakuvanovellissa huomasin värimaailman ja piirrostyylin ilmaisevan novellin teemaan ja hahmoihin liittyvää fokalisaatiota. Analyysini toi myös esille yhteyden kannen kuvituksen ja novellin kertomuksen välillä. Näkökulman merkkien tutkiminen sanan ja kuvan vuorovaikutuksessa nosti esiin esimerkkejä samanaikaisista ja jaetuista näkökulmista sekä äkkinäisistä fokalisaation muutoksista, jotka vahvistivat näkökulman vaikutelmaa. Fokalisaation merkit korostivat sarjakuvakerronnan keskeistä ominaisuutta eli tulkinnan avoimuutta. Huomasin myös, että laaja ja joustava fokalisaation käsite sopii hyvin sarjakuvakerronnan tutkimukseen. Jatkotutkimus fokalisaation ja sarjakuvakerronnan parissa hyötyisi erilaisten, kokeellisempien sarjakuvien tutkimuksesta. Samanaikaisiin ja jaettuihin näkökulmiin liittyvät ajatukset voisivat myös olla avuksi tutkittaessa näkökulmien päällekkäisyyttä muissa useita esitysmuotoja hyödyntävissä kokonaisuuksissa Internetissä, missä useat käyttäjät osallistuvat wikien (yhteisöllisten verkkosivustojen) ja muiden yhteisprojektien rakentamiseen
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Agostini, Leonardo. "Acquisire la competenza traduttiva attraverso la traduzione collettiva del graphic novel spagnolo "Face" di Rosario Villajos." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Il presente elaborato nasce dall’esperienza di traduzione collettiva dallo spagnolo in italiano del graphic novel spagnolo "Face" di Rosario Villajos, un progetto di traduzione che si inserisce nell’insegnamento di Traduzione dallo spagnolo in italiano II della laurea triennale in Mediazione linguistica e interculturale presso l’Università di Bologna, Dipartimento di Interpretazione e Traduzione (DIT). Il focus della tesi è l’acquisizione della competenza traduttiva attraverso progetti realistici di traduzione realizzati in modalità collettiva o collaborativa, dove l’alunno ricopre un ruolo attivo nella sua formazione, riconosce il proprio ruolo in una complessa rete di professionisti e si avvicina al mestiere della traduzione. Il primo capitolo affronta la didattica della traduzione secondo la sua natura collaborativa o collettiva, partendo da teorie ed approcci quali la funzionalista, la costruttivista, l’approccio learner-centered, situated learning e actor-network mirate allo sviluppo della competenza traduttiva. Il secondo capitolo presenta il progetto traduttivo di Face e descrive l’opera nei suoi particolari, le difficoltà che comporta tradurre il fumetto e come il progetto è stato organizzato, compreso un breve racconto delle sue diverse fasi. Il terzo capitolo offre alcune considerazioni personali sullo sviluppo della competenza traduttiva attraverso la traduzione collettiva di Face e un commento sui problemi di traduzione incontrati e sulle relative soluzioni adottate nel testo meta. La tesi si conclude con delle riflessioni sulle abilità acquisite grazie al progetto.
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Camargo, Debora Cristina Ferreira de. "Fun Home: os efeitos de referencialidade na autobiografia de Alison Bechdel." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-11092013-105009/.
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O estudo da literatura e de objetos artísticos, por um viés da teoria Semiótica greimasiana, prevê que todo sentido é gerado a partir de articulações semióticas que arquitetam um discurso presente em todo e qualquer texto. Desse modo, o presente trabalho propõe uma análise semiótica da autobiografia em quadrinhos de Alison Bechdel, Fun Home:Uma tragicomédia em família. Por meio da metodologia da Semiótica francesa, a presente análise descreve os artifícios discursivos de persuasão do gênero autobiográfico utilizados pela quadrinista norte-americana para convencer o leitor de que está diante de uma história real. Tais artifícios apontam para uma aproximação da realidade por meio de efeitos de sentido predominantemente referenciais. No entanto, Bechdel (2007b) complexifica tal aproximação, ficcionalizando seus personagens por meio da literatura, não só pela própria natureza do enunciado, mas também como artifício discursivo no interior do texto. Além do gênero autobiográfico, analisa-se a estrutura dos quadrinhos e os efeitos de sentido produzidos pelo sincretismo inerente ao gênero, isto é, a relação entre texto verbal e texto visual. Também é analisada a temática lésbica que permeia todo o enunciado e a rede discursiva polêmica que problematiza. Na obra de Bechdel encontram-se, portanto, as relações entre o gênero autobiográfico, a sua textualização por meio do sistema dos quadrinhos e a pertinência entre eles para a literatura que abrange a temática lésbica.The study of literature and art objects from the standpoint of the Greimasian Semiotic Theory indicates that all meaning is generated from semiotic articulations that construct a discourse in any given text. Thus, this study proposes a semiotic analysis of Alison Bechdels graphic autobiography Fun Home: A Family Tragicomic. Through the methodology of French semiotics, this analysis describes the discursive devices of persuasion of the autobiographical genre used by the North American cartoonist to convince the reader that they are faced with a real story. Such devices point to an approximation of reality through predominantly referential meaning effects. However, Bechdel (2007b) complicates such an approximation, fictionalizing her characters through literature, not only due to the nature of the utterance, but also as a discursive device within the text. Besides the autobiographical genre, we analyze the structure of comics and the meaning effects produced by the syncretism inherent in the genre, that is, the relationship between verbal text and visual text. Also analyzed are the lesbian issues that permeate the whole utterance and the controversial discursive network that it examine. The proposal is to open a dialogue between language studies, sexuality studies and gender studies. In Bechdel\'s work there is, therefore, the relationship between the autobiographical genre, its textualization through the system of comics and their relevance for a literature encompassing lesbian issues.