Journal articles: 'Graphic novel'

1

Martin, Elaine. "Graphic Novels or Novel Graphics?: The Evolution of an Iconoclastic Genre." Comparatist 35, no. 1 (2011): 170–81. http://dx.doi.org/10.1353/com.2011.0015.

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Fong, Harmon. "Medthics Graphic Novel." Journal of Medical Humanities 33, no. 4 (September 8, 2012): 273–85. http://dx.doi.org/10.1007/s10912-012-9188-2.

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Mylchenko, Larуsa, and Larуsa Tatarinova. "Features of perception of the visual book. Comics. Manga. Graphic novel." Вісник Книжкової палати, no. 12 (December 17, 2020): 10–15. http://dx.doi.org/10.36273/2076-9555.2020.12(293).10-15.

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The article examines aspects of the development of the visual book, in particular the graphic novel, as the newest synthetic art form, which combines the visual and the verbal. The exploration is devoted to the analysis of the evolution of the graphic novel: from a simple comic book form to a meaningful novel, from a series of drawings to a recognized literary genre. The popularity of the graphic novel continues to grow. Its place in the artistic coordinate system and its significance for the culture of the beginning of the XXI century are studied. The newest kind of synthetic art shows good dynamics of development and aspires to take the place among literary works. Modern graphic novel addresses serious issues, constantly improving the form and content. The article analyzes the artistic features of the graphic novel and its national differences. Despite the peculiarities of graphic novels in the United States, Western Europe, Japan, and Ukraine, there has been a clear convergence of publication formats in recent decades, although each of the works, such as manga, BD, or Ukrainian painting, depicts its national hero. The recognition of graphic novels as a separate art form was facilitated by the nominations and awards of prestigious literary prizes. Despite considerable criticism, art critics have acknowledged that "graphics are becoming a new power tool for storytelling". Graphic novels are becoming increasingly important in the field of publishing. A separate place for a visual work of literature has appeared on the shelves of bookstores. Traditional bookstores and libraries offer a wider selection of graphic novels. Sales of graphic novels are growing.

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Kim, Sunghwa. "Kafka und Graphic Novel." Franz Kafka 41 (June 30, 2019): 43–62. http://dx.doi.org/10.31647/fk.2019.06.41.43.

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Friendly, Michael. "Visions and Re-Visions of Charles Joseph Minard." Journal of Educational and Behavioral Statistics 27, no. 1 (March 2002): 31–51. http://dx.doi.org/10.3102/10769986027001031.

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Charles Joseph Minard is most widely known for a single work—his poignant flow-map depiction of the fate of Napoleon’s Grand Army in the disastrous Russian campaign of 1812. In fact, Minard was a true pioneer in thematic cartography and in statistical graphics; he developed many novel graphic forms to depict data, always with the goal to let the data “speak to the eyes.” This article reviews Minard’s contributions to statistical graphics, the time course of his work, and some background behind the famous March on Moscow graphic. This article also looks at some modern revisions of this graph from an information visualization perspective and examines some lessons this graphic provides as a test case for the power and expressiveness of computer systems or languages for graphic information display and visualization.

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Browne, Ray B. "The Rough Guide to Graphic Novels: Includes Exclusive Graphic Novel by Danny Fingeroth." Journal of American Culture 32, no. 2 (June 2009): 185. http://dx.doi.org/10.1111/j.1542-734x.2009.00707_30.x.

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L., Luffina, and J. Amalaveenus. "Repression of Obsessive-Compulsive Disorder Through Graphic Narrative in Ian William’s The Bad Doctor (2014)." World Journal of English Language 15, no. 4 (February 7, 2025): 20. https://doi.org/10.5430/wjel.v15n4p20.

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Comics is a sequential art that appeals to a diversified audience, a medium of reflection on culture, society, and history. Graphic literature is a discourse of dynamic interaction of graphics in literature, including literary comics, graphic novels, sequential art, juxtaposed images, and other dimensions of visual and printed images. A Graphic novel is the collaborative medium of the interaction of word and image, visual and verbal imagery to create numerous meanings and multiple interpretations. The term Graphic medicine was coined by Ian Williams who is a doctor, comic artist, and writer; He defined Graphic Medicine as the intersection of the medium of comics and the discourse of healthcare. Graphic medicine analyzes and interprets the medium of comics which serves as an innovative platform for disturbing, risky, and taboo ideas of illness. Ian Williams’s graphic novel The Bad Doctor (2014) is a verbal and visual illustration of Obsessive Compulsive Disorder (OCD). The protagonist Ian a general practitioner tries to cope with his OCD, his obsessions are comically and satirically represented through the artistic medium of graphic narrative and iconography of illness. Graphic Narrative of psychological illness like OCD by the sufferer of the illness gives a whole new perspective on the experience of psychological illness. Graphic narrative and iconographic representation of illness break down the traditional stereotypes of illness and give voice to the muted patient whose stories are unheard.

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Abdul Gani Jamora Nasution, Wahyu Azhari, Khairina Janani, and Shafa Azzahra Nurzal. "NARASI KESEMBILAN WALI DALAM MENYEBARKAN AGAMA ISLAM DI INDONESIA DALAM BUKU MI." Jurnal Riset Rumpun Agama dan Filsafat 1, no. 2 (October 31, 2022): 156–67. http://dx.doi.org/10.55606/jurrafi.v1i2.709.

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Graphic novel is one of many communication mediums with a combination of visual and verbal that mutually reinforces one another. This work remains a novel but uses the style of storytelling like a comic, using many illustrations. Graphic novels tell their stories from the beginning to the end, therefore graphic novels tend to be longer than comics. The content or quality of the story is different; graphic novel features a story with a more detailed content so that reading it requires serious concentration to think and understand what the creator is trying to convey.The graphic novel of Wali Songo's da'wah story, created by Gerdi Wirata Kusuma in 2015, presents nine Wali Songo stories, which are then selected into two stories to be studied, namely Sunan Kudus and Sunan Kalijaga. The graphic novel discusses the brief history of Wali Songo's life, including Wali Songo's propagation method in spreading the teachings of Islam.This research uses qualitative content analysis method, with Scott McCloud's comic theory, namely using comic element in the forms of image selection, selection of flow, and choices of words, moments, and frames. This identification is divided into two aspects; visual and verbal. Visual in the form of sequences of images, point of view, and graphics. Verbal in the form of narrative text that resides in column panels or word bubbles.The result of this research indicates that visual and verbal use are interrelated, such as the use of shots related to narration, the use of narration to mention information that can not be conveyed visually or visual expressions that can not be described verbally. This visual and verbal combination that mutually reinforces one another shows that this graphic novel is able to show the story of the history of Wali Songo's method in spreading teachings of Islam through assimilation of education and cultural arts with symbolic visual observations. The graphic novel of Wali Songo's da'wah story tries to show its history visually and verbally that is easy to understand and is able to become a part of medium of education.

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Prakasan, Raveena, and M. G. Priya. "Reading through the “Coloured Canvas”: Unveiling Cultural Graphics in Indian Mythological Graphic Novels." IAFOR Journal of Arts & Humanities 11, no. 1 (August 16, 2024): 65–75. http://dx.doi.org/10.22492/ijah.11.1.05.

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This study has one central objective, which is to examine the main problems of interpretation raised by Indian graphic novels that recount mythological stories. Through the work of selected authors with dissimilar styles of writing, this inquiry will focus on the many ways in which the genre engages with history, analysing the concept of nation they propose and its attendant cultural identity patterns. To reach a pertinent interpretation of these narratives’ mythological content requires the analytical tools of visual culture. With them, an explanation of how meaning and identity are understood and proposed by the authors will be feasible. This study, then, will aim to place these graphic novels within the social circumstances of their production, dissemination, and consumption, all the while using Pramod K Nayar’s book The Indian Graphic Novel: Nation, History and Critique as an essential resource. This work provides novel insights into the genre of graphic novels in India, especially in its chapter titled “Cultural Graphics.” Cultural graphics probe into the many ways visual elements and artistic innovations transmit features of a specific culture or cultural identity. In this light, this paper studies the selected narratives as examples of cultural graphics, analysing their iconography and symbols with special attention to their traditional art style and storytelling techniques. The paper will also identify Nayar’s core ideas of cultural instance, tableau vivant, and parergon as seen in the selected works.

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Prakasan, Raveena, and M. G. Priya. "Reading through the “Coloured Canvas”: Unveiling Cultural Graphics in Indian Mythological Graphic Novels." IAFOR Journal of Arts & Humanities 11, no. 1 (August 16, 2024): 66–75. http://dx.doi.org/10.22492/ijah.11.2.05.

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This study has one central objective, which is to examine the main problems of interpretation raised by Indian graphic novels that recount mythological stories. Through the work of selected authors with dissimilar styles of writing, this inquiry will focus on the many ways in which the genre engages with history, analysing the concept of nation they propose and its attendant cultural identity patterns. To reach a pertinent interpretation of these narratives’ mythological content requires the analytical tools of visual culture. With them, an explanation of how meaning and identity are understood and proposed by the authors will be feasible. This study, then, will aim to place these graphic novels within the social circumstances of their production, dissemination, and consumption, all the while using Pramod K Nayar’s book The Indian Graphic Novel: Nation, History and Critique as an essential resource. This work provides novel insights into the genre of graphic novels in India, especially in its chapter titled “Cultural Graphics.” Cultural graphics probe into the many ways visual elements and artistic innovations transmit features of a specific culture or cultural identity. In this light, this paper studies the selected narratives as examples of cultural graphics, analysing their iconography and symbols with special attention to their traditional art style and storytelling techniques. The paper will also identify Nayar’s core ideas of cultural instance, tableau vivant, and parergon as seen in the selected works.

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Jacobs, Rita D. "Will McPhailIn.: A Graphic Novel." World Literature Today 95, no. 3 (2021): 114–15. http://dx.doi.org/10.1353/wlt.2021.0052.

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De Jesus Sales, Antonia. "Do filme à graphic novel." Letras & Letras 37, no. 1 (June 30, 2021): 132–48. http://dx.doi.org/10.14393/ll63-v37n1-2021-08.

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Este artigo objetiva investigar um produto quadrinístico pelo viés da Intermidialidade. Nosso intento, assim, é observar aspectos de intermidialidade na obra Yellow Submarine, que, cinquenta anos depois de produção em filme, foi adaptado para graphic novel. Um cotejamento das duas obras, focando na produção em quadrinhos, será relevante para compreender o processo tradutório exigido na adaptação das mídias envolvidas. Estudar a intermidialidade entre cinema e literatura é uma das grandes áreas da adaptação fílmica e relevante dentro da Tradução Audiovisual. Ao final, trazemos uma proposta didática de uso deste tipo de estudo no contexto de ensino.

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Tigges, Stefan. "Statistical Power: The Graphic Novel." Journal of the American College of Radiology 19, no. 3 (March 2022): 469–75. http://dx.doi.org/10.1016/j.jacr.2021.11.016.

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Duckett, Bob. "Glass Town [A Graphic Novel]." Brontë Studies 46, no. 1 (December 1, 2020): 93–95. http://dx.doi.org/10.1080/14748932.2021.1835074.

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Feix, Jeannine. "Die Graphic Novel im Fremdsprachenunterricht." Studia Universitatis Babeș-Bolyai Philologia 62, no. 3 (September 30, 2017): 35–42. http://dx.doi.org/10.24193/subbphilo.2017.3.03.

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Hribsek, Marija F., and Dejan V. Tosic. "A novel octave graphic equalizer." Journal of the Acoustical Society of America 103, no. 5 (May 1998): 2950. http://dx.doi.org/10.1121/1.422238.

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INGE, M. THOMAS. "Gatsby and the Graphic Novel." F. Scott Fitzgerald Review 9, no. 1 (September 2011): 189. http://dx.doi.org/10.1111/j.1755-6333.2011.01066.x.

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Atkinson, Paul. "The graphic novel as metafiction." Studies in Comics 1, no. 1 (April 1, 2010): 107–25. http://dx.doi.org/10.1386/stic.1.1.107/1.

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Adler, Silvia. "Silence in the graphic novel." Journal of Pragmatics 43, no. 9 (July 2011): 2278–85. http://dx.doi.org/10.1016/j.pragma.2010.11.012.

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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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Vergueiro, Waldomiro. "Nas trilhas da graphic novel." 9ª Arte (São Paulo) 9, no. 1 (December 21, 2020): 150–54. http://dx.doi.org/10.11606/issn.2316-9877.v9i1p150-154.

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Fraser, Benjamin. "Las ciudades que somos (‘The cities we are’): A review of three Latin American comics by women creators." Journal of Urban Cultural Studies 9, no. 2 (December 1, 2022): 285–94. http://dx.doi.org/10.1386/jucs_00059_1.

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This short-form article reviews three texts by women comics artists published with publishing house Sexto Piso. María Luque’s graphic novel, titled Casa transparente (‘Transparent house’) (2017), won the first Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize) and captures her travels to Bariloche, Rosario, Buenos Aires, Cusco and Mexico City. The volume Las ciudades que somos (‘The cities we are’) (2018), authored by Chicks on Comics, won the second Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize). It contains comics in Spanish by an international collective of seven creators from Argentina, Colombia, Holland, Latvia and Singapore (Bas, Caro Chinaski, Clara Lagos, Delius, Power Paola, Weng Pixin and Zane Zlemeša). The third text discussed is Power Paola’s graphic novel Virus tropical (2018), a Künstlerroman or autobiographical portrait of the artist covering her adolescence and family connections to both Ecuador and Colombia.

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Priatna, Angga. "Interpreting the Mark in the Graphic Novel "Palestine": A Reportage of the Palestinian-Israeli Conflict." MEDIASI Jurnal Kajian dan Terapan Media, Bahasa, Komunikasi 3, no. 1 (March 25, 2022): 104–24. http://dx.doi.org/10.46961/mediasi.v3i1.488.

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The graphic novel "Palestine" is one of the graphic novel documentaries about the conflict in Palestine. The purpose of this research is to understand the process of meaning 'marks' in the graphic novel. The method used is qualitatively descriptive. The results suggest that the graphic novel "Palestine" may never know whether the "mark" can change things, but Joe Sacco's graphic novel "Palestine" was recognized as the best novel at the American Book Award in 1996, although at the same time it was denounced by the Israeli media and public.Â

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Demir, Seniz, Sandra Carberry, and Kathleen F. McCoy. "Summarizing Information Graphics Textually." Computational Linguistics 38, no. 3 (September 2012): 527–74. http://dx.doi.org/10.1162/coli_a_00091.

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Information graphics (such as bar charts and line graphs) play a vital role in many multimodal documents. The majority of information graphics that appear in popular media are intended to convey a message and the graphic designer uses deliberate communicative signals, such as highlighting certain aspects of the graphic, in order to bring that message out. The graphic, whose communicative goal (intended message) is often not captured by the document's accompanying text, contributes to the overall purpose of the document and cannot be ignored. This article presents our approach to providing the high-level content of a non-scientific information graphic via a brief textual summary which includes the intended message and the salient features of the graphic. This work brings together insights obtained from empirical studies in order to determine what should be contained in the summaries of this form of non-linguistic input data, and how the information required for realizing the selected content can be extracted from the visual image and the textual components of the graphic. This work also presents a novel bottom–up generation approach to simultaneously construct the discourse and sentence structures of textual summaries by leveraging different discourse related considerations such as the syntactic complexity of realized sentences and clause embeddings. The effectiveness of our work was validated by different evaluation studies.

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Khodorenko, Anna V. "GRAPHIC NOVEL TRANSLATION: SEMIOTIC AND MULTIMODAL PERSPECTIVE." Alfred Nobel University Journal of Philology 1, no. 25 (May 30, 2023): 291–313. http://dx.doi.org/10.32342/2523-4463-2023-1-25-21.

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In this paper we have analysed a graphic novel “Maus. A survivor tale” by Art Spiegelman as well as some variants of its translations in the framework of theory of multimodal discourse analysis (ADM) (O`Halloran). The article focuses on analysing the corpus of investigation on its language and nonlanguage level. The aim of the research is to explain in terms of the multimodal discourse analysis theory of main principles of graphic novel translation while observing the way of source language graphic novel transmutation and reconstructing its architecture in the target novel. The methods having been applied in the present paper are those of linguistic observation and description, empiric comparison of translation variants and translation results analysis using ADM tools. Applying methods of ADM in the process of analysing graphic novel results from the necessity to respond to the main challenges of ADM theory for the studies in theory and practice of translation, as well as semiotics and general linguistics. The objectives of the article are to outline the iconic-textual structure of the graphic novel under the analysis, to characterise the visual level of the investigated graphic novel, to generalise arising problems to the translator. The concept of multimodality derived from semiotics is being studied in the article explaining the reason for applying the multimodal approach in the study of the graphic novel. Modalities represented in the graphic novel on non-language level are systematised through different types of multimodal phenomena and their relevance for target text meanings transcreation is described. Both visual and language modalities, which are important for the construction of the meaning, are focused attention to and the multimodal phenomena are piled and systematised in the article. The relationship between the visual and written modalities are discussed and the role and importance for the translation process are explained. Until now there are different investigations of the Maus, but there is no investigation from the multimodal perspective. The investigators focuse on the discursive and pragmatic part, as well as on the expressive value of the work, compare the characteristics of the translation; draw attention to the problems of the literary style of the work Maus; study the role of images in the creation of the work. However, there is still no study of graphic novels from the perspective of multimodal discourse analysis. By means of a series of operations of translation techniques the original text is reconstructed in the translation variant. It involves compressing or widening of the original text, removing inconsistencies between different modalities, reinterpreting “language shell” so that a semiotic content could be preserved and the author’s message transmitted without corruption, for that redrawing some characters or chapters, removing, or replacing some visual symbols with different ones. Illustrative material shows a certain logic scheme to follow the process of translation taking into consideration different multimodal phenomena, as well as the absence of some of its constituents. On the one hand, extralinguistic objects engraved in pictures of the graphic novel may present the reason for the translation technique of addition, and on the other hand the absence of some details in the pictures may justify the translation technique of omission. Evaluating functional types of multimodal phenomena also may lead one to adequate selection of synonyms or a phrase to choose in a process of translation having as a “guide” visual image supporting language level of a graphic novel. The term “graphic novel” is specified as well as the difference between terms “comic” and “graphic novel” is outlined. Graphic novel format is proved to assimilate to the literary novel with the content of memoirs, autobiography, history, documentary reports etc. Maus is the first graphic novel dealing with Holocaust theme aimed at the adult audience. According to the definition of the graphic novel, Maus is seen to share discursive mechanisms with visual narrative instruments, embedded in multimodal phenomena. The types of multimodal phenomena are selected in the present investigation and grouped with illustrative examples taken from the corpus. In the framework of ADM theory, the selection of translation techniques and operations are justified, and the reasons for certain translation variants are explained. As it is shown in the paper, graphic novel translation differs from literal one. The most important characteristics of graphic novel translation distinguishing this genre of literature have been outlined: 1) the graphic novel translation unit obligatory consists of both verbal and visual parts; 2) the intonation of the characters of the graphic novel is a part of a style and is taken into consideration in the course of translation; 3) visual part of the graphic novel is presented by multimodal phenomena that influence the strategies of translation. General recommendations for the translation of the historic graphic novel have been given, mainly: 1) for the purpose of collecting information from the visual part. It is recommended to read and discover the entire content of the novel before starting the translation, paying attention to the multimodal phenomena and their types mentioned in this article. Attention is paid to past events, other extralinguistic meaningful objects. An individual language style is translated with the same style and is maintained throughout the text; 2) on the language level, it is recommended to choose at least the sentence as the minimum translation unit of the graphic novel using substitution techniques within the unit as long as the final sentence reflects the same message. However, the largest translation unit can be chosen. Appropriate options are a speech bubble (speech bubbles) or the entire page. Bubbles (speech balloons) often contain colloquial speech, which differs much more between languages than literal text of a book. The ease of colloquial speech is nearly impossible to achieve without the freedom to change the order, composition, and number of sentences. Often, it is not the character-specific phrases that need to be translated, but rather the emotion of outrage or joy, recreating it using the character’s language (such as the speech of the immigrant, the main character, Vladek, or his wife); 3) the use of bold. It is understood that it is not necessary to use bold type in the same units that appear in the original. The most important thing is to convey the same meaning and intonation in the translation avoiding the “word for word” translation; 4) the language style of the author and the characters. The author and the characters of the graphic novel have their own language style, which is part of the meaning. Characters may have their own characteristic expressions and circumstances that explain the choice of phrase translations. After reading the text and visualising the novel, it becomes clearer what type of the target text of the protagonist should be created to remain truthful and sound natural; 5) “Litmus paper”. It is recommended to read the translation after a couple of days without looking at the original text thinking about whether or not the author would choose the same words, style, intonation; 6) Culture references create a certain atmosphere and are translated (6.1) literally as in the example of gefiltefish translation or (6.2) simplification is used the culture in case of translation of the same unit into Russian рыбафиш; 7) translation of anthroponyms and proper names. It is not recommended to translate the proper names of the historical graphic novel taking into account the documentary part of the novel. The same variants of anthroponyms are maintained throughout the text; 8) accuracy is the second priority after avoiding meaning corruption. One should try to preserve accuracy if it is possible, respecting the condition of preserving the meaning without corrupting it. To achieve the effect of equal perception of the novel by the reader both in the original language and in the translation language, two things are needed: understanding what is said in the original text and reconstructing it in the target text. The ADM theory, in this respect, is the tool to achieve the most adequacy and the most accuracy at the same time.

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Ferdiawan, I. Komang Tyan, Ni Made Ratminingsih, and Luh Diah Surya Adnyani. "Graphic Novel Development as a Reading Media for Increasing Literacy Skill of 8th Grade Junior High School Students." Art of Teaching English as a Foreign Language 2, no. 1 (November 2, 2021): 89–101. http://dx.doi.org/10.36663/tatefl.v2i1.123.

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This research believes that junior high school students in eighth grade need suitable and interesting reading material to develop their literacy skills which one way to achieve it is to design graphic novels of learning material on it. This research designed in the form of design and development (D&D) model proposed by Richey and Klein (2007). The development model used in this research was Richey and Klein’s (2007) ADDE model. The result was a graphic novel as an attractive literacy media that was developed for assisting eighth grade junior high school students’ literacy skills. Based on the content validity judgement, the graphic novel was highly relevant to the twelve criteria of a good graphic novel with minor revision. The quality judgment was utilized to determine whether or not the graphic novel was already qualified to serve as a good literacy source by using expert judgement. There were two expert judges and twelve users who took role in judging the quality of the graphic novel. Based on the quality judgement, the graphic novel was categorized as excellent media. Thus, the graphic novel was categorized as excellent media for assisting eighth grade students’ literacy skills.

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Ferdiawan, I. Komang Tyan, Ni Made Ratminingsih, and Luh Diah Surya Adnyani. "Graphic Novel Development as A Reading Media for Increasing Literacy Skill Of 8th Grade Junior High School Students." Art of Teaching English as a Foreign Language 2, no. 2 (November 30, 2021): 169–82. http://dx.doi.org/10.36663/tatefl.v2i2.123.

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This research believes that junior high school students in eighth grade need suitable and interesting reading material to develop their literacy skills which one way to achieve it is to design graphic novels of learning material on it. This research was designed in the form of design and development (D&D) model proposed by Richey and Klein (2007). The development model used in this research was Richey and Klein's (2007) ADDE model. The result was a graphic novel as an attractive literacy media that was developed for assisting eighth grade junior high school students’ literacy skills. Based on the content validity judgment, the graphic novel was highly relevant to the twelve criteria of a good graphic novel with minor revision. The quality judgment was utilized to determine whether or not the graphic novel was already qualified to serve as a good literacy source by using expert judgment. There were two expert judges and twelve users who took role in judging the quality of the graphic novel. Based on the quality judgment, the graphic novel was categorized as excellent media. Thus, the graphic novel was categorized as excellent media for assisting eighth grade students’ literacy skills

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Strömberg, Fredrik. "Schemata in the Graphic Novel Persepolis." European Comic Art 13, no. 2 (September 1, 2020): 91–119. http://dx.doi.org/10.3167/eca.2020.130205.

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It has repeatedly been suggested that the art in the graphic novel Persepolis by Iranian French artist Marjane Satrapi contains numerous connections to ancient Persian art forms, to the point of this becoming a ‘truism’, although the claim has not been subjected to in-depth analysis. The present formal analysis employs Gombrichian schema theory to identify visual elements in the graphic novel potentially connected to Persian visual cultures to discern if and how they might relate to their proposed influences and how they integrate with styles and visual conventions in comics. The results indicate that there are indeed connections, although integrated into the art form of comics through combination and accommodation, and that this reinforced the Persian theme of the graphic novel and potentially enriched the art form of comics.

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Dubovitskaya, M. A. "American graphic Novel: Multimodality and Identity." Nauchnyi dialog 11, no. 3 (April 28, 2022): 228–46. http://dx.doi.org/10.24224/2227-1295-2022-11-3-228-246.

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The graphic novel is considered as a multimodal text — a complex of verbal and visual components. The differences between comics and graphic novels are explained. The definition of the concept of “multimodality” is given, and the main approaches to the study of a multimodal text are described. Attention is paid to the issue of identity in a multicultural aspect. On the example of a specific autobiographical graphic novel, the discursive construction of identity by visual and linguistic means is analyzed. The expediency of using critical discourse analysis to understand verbal and non-verbal connections, visual images and communications, as well as text and context is substantiated. To study the linguistic modality of the graphic novel, the methods of linguo-stylistic, lexico-semantic and contextual analysis of the literary text were used, while the iconic components were considered using the methods of observation, interpretation and comparison with the text. The sociocultural dominants of food and appearance were revealed in the novel, which contributed to the convergence of stylistic and iconic means of expressing meaning. Examples of combining linguistic, metalinguistic and visual aspects of expressing aspects of identity in the space of the American graphic novel as a multimodal text are given. The novelty of the study is seen in the demonstration of identity markers in a multimodal text.

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Chaney, Michael A. "Animal Subjects of the Graphic Novel." College Literature 38, no. 3 (2011): 129–49. http://dx.doi.org/10.1353/lit.2011.0024.

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Frey, Hugo, and Benjamin Noys. "Editorial: History in the graphic novel." Rethinking History 6, no. 3 (November 2002): 255–60. http://dx.doi.org/10.1080/13642520210164481.

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Scherr, Rebecca. "Drawing Ground in the Graphic Novel." a/b: Auto/Biography Studies 35, no. 2 (May 3, 2020): 475–79. http://dx.doi.org/10.1080/08989575.2020.1738082.

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Abbott, Alison. "Alexander von Humboldt: the graphic novel." Nature 568, no. 7751 (March 26, 2019): 168–69. http://dx.doi.org/10.1038/d41586-019-00958-5.

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Yang, Gene. "Graphic Novels in the Classroom." Language Arts 85, no. 3 (January 1, 2008): 185–92. http://dx.doi.org/10.58680/la20086181.

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Prudius, I. G. "Bastien Loukia’s “Crime and Punishment” as an example of a graphic novel adaptation." Philology and Culture, no. 4 (December 28, 2024): 308–16. https://doi.org/10.26907/2782-4756-2024-78-4-308-316.

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This article analyses the graphic novel adaptation “Crime and Punishment” (2019) written by a French writer and artist Bastien Loukia. This analysis has been conducted for the first time in Russian literary studies. The aim of the work is to identify the main features of modern graphic adaptation based on the book by B. Loukia. The relevance of our work lies in the study of one of the most currently popular genres – the genre of the graphic novel. It is also relevant to consider Loukia’s work as the most common subgenre of the graphic novel - a graphic novel adaptation. The study uses comparative and structural methods. We analyze the system of characters and compare them with the characters of Dostoevsky. We have come to the conclusion that in Loukia’s book the crime, committed by Raskolnikov, is connected with the dominance of violence in his reality. For this reason, the central character commits murder. The analysis of the spatial and temporal organization of the work proves that the events of Dostoevsky’s novel are being projected to B. Loukia’s contemporary reality. The article concludes that by referring to a famous work, the authors of graphic novel adaptations, in their books, comprehend philosophical and socio-psychological problems of their own time. We identify the following features among the main characteristics of the graphic novel adaptations of the last decade: remaking of the plot, character system and the chronotope of the precedent text in order to represent themes and problems relevant to the author of the 20th century and complicating the graphic component. The analysis of the graphic component allows presenting several possible interpretations of the graphic novel and its problematics.

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Poyas, Yael, and Ilana Elkad-Lehman. "ENJOYING THE NOVEL BUT HAVING A HARD TIME." L1-Educational Studies in Language and Literature 24, no. 3 (November 22, 2024): 1–18. http://dx.doi.org/10.21248/l1esll.2024.24.3.578.

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This article discusses teachers’ experience of reading a graphic novel for adults. Graphic novels have been increasingly integrated in education systems recently, hence the importance of analyzing the experience of the teachers responsible for mediating those texts for their students. The participants were 48 teachers, most of them for language arts, studying for a graduate degree in Israeli colleges. The research question was: What characterizes the teachers’ acquaintance with graphic novels and their response to the genre? The data were collected from a questionnaire completed after reading opening pages of a graphic novel, which included both closed and open-ended questions. The quantitative data were analyzed using descriptive statistics, and the qualitative data using thematic analysis. The participants attested to shallow familiarity with the genre. While enjoying the encounter with it, many confessed to a difficulty reading due to cognitive overload caused by an excess of verbal, visual, graphic and spatial elements and the difficulty integrating them. The findings thus suggest a need for teachers to study the language of graphic novels and gain experience reading them before they feel comfortable teaching them in class.

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Santhiya, C. "Visuals Semiotics in the novel Coraline." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 218–21. http://dx.doi.org/10.22161/ijels.83.35.

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“Visuals Semiotics in the novel Coraline”, presents the definition of semiotics and visual semiotics. It also discusses the theory of heteroglosia used in graphic novel. This paper also includes components and terminology of graphic novel with examples of visual symbols from Coraline novel by P.Craig Russell.

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Glez-Morcillo, Carlos, Victor Martin, David Vallejo Fernandez, Jose Castro-Schez, and Javier Albusac. "Gaudii: An Automated Graphic Design Expert System." Proceedings of the AAAI Conference on Artificial Intelligence 24, no. 2 (October 7, 2021): 1775–80. http://dx.doi.org/10.1609/aaai.v24i2.18811.

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Graphic design is the process of creating graphics to meet specific commercial needs based on knowledge of layout principles and esthetic concepts. This is usually an iterative trial and error process which requires a lot of time even for expert designers. This expert knowledge can be modelled, represented and used by a computer to perform design activities. This paper describes a novel approach named Gaudii (standing for "Intelligent Automated Graphic Design Generator") which utilizes principles and techniques known from the fields of Evolutionary Computation and Fuzzy Logic to automatically obtain design elements. Experimental results that demonstrate the potential of the proposed approach are presented in the area of poster design.

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Kargon, Jeremy. "The Logic of Color: Theory and Graphics in Christine Ladd-Franklin's Explanation of Color Vision." Leonardo 47, no. 2 (April 2014): 151–57. http://dx.doi.org/10.1162/leon_a_00517.

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In the years after 1870, two theories of color vision vied for primacy: the “trichromatic” theory and a four-color theory, also known as an “opponent” theory of color vision. Among scientists who participated in this debate, mathematician Christine Ladd-Franklin (1847–1930) made special use of graphics as a rhetorical template for reasoning and explanation. Her later work included figures modeled upon novel graphic representations of logical relationships to describe chemical reactions fundamental to visual processes. These and other illustrations demonstrate, in retrospect, how innovation in graphic notation can underlie shifts in the practice and perception of science.

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Zheng, Lai-Jiu, Juan Zhang, Bing Du, Yu-Ping Zhao, and Fang Ye. "Supercritical CO2 for color graphic dyeing: Theoretical insight and experimental verification." Thermal Science 19, no. 4 (2015): 1287–91. http://dx.doi.org/10.2298/tsci1504287z.

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A novel theory for graphic dyeing is proposed using supercritical CO2 fluid. Different dyes with different diffusion and anti-dyeing effect are used in experiment. The paper concludes that dyes? mixing ratio has the greatest influence on the color graphics dyeing. The temperature can be used to adjust the dyeing process.

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Schultze, Brigitte, and Beata Weinhagen. "Autopsie einer Graphic Novel: Dostoevskijs Prestuplenie i nakazanie (1866) in der Adaption von Alain Korkos und David Zane Mairowitz (2008)." Zeitschrift für Slawistik 66, no. 3 (August 1, 2021): 363–445. http://dx.doi.org/10.1515/slaw-2021-0018.

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Summary This study offers a comprehensive comparative analysis between F. M. Dostoevskij’s classic Prestuplenie i nakazanie (PSS 6, 1973) and the black-and-white adaptation Crime and Punishment created by Alain Korkos and David Zane Mairowitz (2008). According to author and artist, the adaptation is meant for recipients acquainted with the novel and first readers of the graphic novel alike. With 417 pages of close-printed canonic text turned into a picture-dominated graphic novel of 118 pages, the adaptation – paying attention to the sequence of crucial fictional scenes – follows the storyline from the beginning of the canonic text to the Epilogue. About 95 % of the precisely and densely formulated verbal material contained in captions can easily be traced back to Dostoevskij’s classic. In this respect, the adaptation is „true to the source material“ (Kick 2012). However, as large portions of text concerning Sonja or Sonja and Raskol’nikov are – discernibly purposefully – eliminated, the adaptation turns out to be a revised version of the canonic novel. E.g., Sonja neither reads the Lazarus-chapter to Raskol’nikov nor follows him to Siberia. In contrast to Sonja, Raskol’nikov – with his emotional-mental instability, rebellion against the state of the world, self-authorization to commit crimes – is represented in accordance with the source text. The hermeneutic gain caused through verbal-pictorial reproduction of the classic text – i. e. through meaningful handling of panels and graphic design within the panels – is significantly enlarged through verbal-pictorial material not inspired by the classic text, e. g. a poster showing Edvard Munch’s graphics The Cry. In view of the 21st century’s preference for visual and multimedial presentation, the study encourages the coexistence and ‚co-reception‘ of the literary classic and the graphic novel as well as further forms of cultural processing.

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Wagner, Cassie. "Graphic Novel Collections in Academic ARL Libraries." College & Research Libraries 71, no. 1 (January 1, 2010): 42–48. http://dx.doi.org/10.5860/0710042.

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This study examines the extent to which ARL academic libraries collect graphic novels. Using a core list of 176 titles developed from winners of major comics industry awards and a library-focused “best of” list, the holdings of 111 ARL academic libraries were searched using the libraries’ online catalogs. Results suggest that most of the libraries studied do not aggressively collect graphic novels. Also examined were associations between date of publication, prior serialization, overall collection size, monograph budget, and ARL ranking and graphic novel holdings. To better serve scholarly research in this area of increasing interest, libraries will need to reexamine their collecting policies.

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Prudius, Irina Gennadievna, and Nadezhda Sergeevna Shalimova. "Characteristics of the initiation novel in the biographical graphic novel by Pierre Kristen and Sebastian Verdie "Orwell"." Philology. Issues of Theory and Practice 17, no. 3 (March 14, 2024): 762–67. http://dx.doi.org/10.30853/phil20240108.

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The aim of the research is to define the distinctiveness of the initiation graphic novel in contemporary literature. The article explores the representation of the initiation ritual in the artistic text while considering the genre synthetism features of the work, incorporating elements of dystopia and biographical graphic novel. The key points of the composition of the novel "Orwell" by P. Kristen and S. Verdie are highlighted, and the evolution of the protagonist's inner world, main characters, and symbols in the work are analyzed. The research novelty lies in the in-depth analysis of the genre synthesis of the graphic novel and initiation novel, an endeavor not previously undertaken in either domestic or foreign contemporary literary studies. The investigation contributes a certain theoretical insight: it proves the tendency towards the crossing of genre types in the texts of 21st-century authors, using the graphic novel as a prime example – an incredibly relevant genre today. Furthermore, the conducted analysis reveals the specifics of representing human maturation in contemporary literature and identifies the initiation ritual as an integral part of fictionalized biography. The research demonstrates that in the graphic novel "Orwell" by P. Kristen and S. Verdie, the narrative of initiation plays a crucial role, serving as the foundation of the work, with its tripartite structure and genre-defining characteristics.

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Chevant, Aurélie. "Graphic Heritage: Exploring Postcolonial Identities and Vietnamese Spaces in the Francophone Graphic Novel." Contemporary French and Francophone Studies 21, no. 1 (January 2017): 81–90. http://dx.doi.org/10.1080/17409292.2017.1304621.

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McClanahan, Barbara J. "Experiencing Historical Fiction Graphic Novels to Teach Social Studies." Study & Scrutiny: Research on Young Adult Literature 5, no. 2 (July 1, 2022): 95–119. http://dx.doi.org/10.15763/issn.2376-5275.2022.5.2.95-119.

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A small study was conducted to determine how preservice teachers in a social studies methods class responded to reading an historical fiction graphic novel in an in-class literature circle followed by an authentication project. Role/task sheets, reading journals, and one-on-one interviews provided data. Analysis showed that all participants were successful at some level in navigating the unique aspects of the graphic novel and all felt the graphic novel experience could be successfully translated to their classrooms. Results also suggested that participants with prior experience with graphic novels appeared to have a more positive experience with the project.

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Wagner, C. "Graphic Novel Collections in Academic ARL Libraries." College & Research Libraries 71, no. 1 (January 1, 2010): 42–48. http://dx.doi.org/10.5860/crl.71.1.42.

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Dong-eun, Lee, Jeong Yi-yong, and Kenneth Kang. "Graphic Novel Excerpt from In-Between Seasons." Azalea: Journal of Korean Literature & Culture 15, no. 1 (2022): 183–246. http://dx.doi.org/10.1353/aza.2022.0009.

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Kim, Sung-hwa. "Graphic Novel als visuelle Narrative und Literatur." Deutsche Sprach- und Literaturwissenschaft 30, no. 2 (June 30, 2022): 249–69. http://dx.doi.org/10.24830/kgd.30.2.11.

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Spisak, April. "Graceling: The Graphic Novel by Kristin Cashore." Bulletin of the Center for Children's Books 75, no. 3 (2021): 90. http://dx.doi.org/10.1353/bcc.2021.0578.

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Kim, Sung-hwa. "Graphic Novel Die Ursache und Bernhard-Adaption." Deutsche Sprach- und Literaturwissenschaft 95 (December 30, 2021): 73–94. http://dx.doi.org/10.24830/kgd.29.4.4.

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Journal articles on the topic 'Graphic novel'

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