Relevant bibliographies by topics / Graphic novels

Contents

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

Academic literature on the topic 'Graphic novels'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Graphic novels"

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Casserly, Mary F. "Graphic Novels Now." Library Collections, Acquisitions, & Technical Services 30, no. 1-2 (March 2006): 128–29. http://dx.doi.org/10.1080/14649055.2006.10766113.

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Drucker, Johanna. "What is Graphic about Graphic Novels?" English Language Notes 46, no. 2 (September 1, 2008): 39–55. http://dx.doi.org/10.1215/00138282-46.2.39.

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

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Hasan, Syeda Nadia. "Comics and Graphic Novels:." Crossings: A Journal of English Studies 8 (August 1, 2017): 68–77. http://dx.doi.org/10.59817/cjes.v8i.124.

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Adapting either comic stories or graphic novels for the big screen with their spate of sequels has proved lucrative for the film industry. A myriad of images have sprung out of this current surge in comic or graphic characters and stories associated with popular demands for an alternative source of entertainment – one that has hitherto been undermined by the mainstream genres. This attraction towards comics and graphic novels has skyrocketed as a recent phenomenon, thanks to Hollywood’s commercialism. Paradoxically, too, the strength of burgeoning fandom is what boosts this industry to generate more profit while the industry itself remains morally equivocal in the way it responds to the committed viewers. But what panders to the endless promotion of entertainment has already been damaging to the core principles of this medium. In capitalist economy movies created based on comics or graphic novels become cultural products. Before reaching the consumers these are intercepted by the intermediary groups, namely the studio conglomerates. Thus the artists’/creators’ rights are violated and talents frequently go unacknowledged. What matters in the process of being so is the devaluation of comics or graphic novels as works of art or aesthetic creations. The premise of this paper is to investigate the nature of graphic novels and how they retain the transcendence of art as the primary function. The secondary role of the graphic novels is not to be ignored, given that numerous examples are available to validate their insightful probing of ideas. The paper will also seek to determine the factors that transform art into mere commodities.
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Low, David E., and Katrina Bartow Jacobs. "Language Arts Lessons." Language Arts 95, no. 5 (May 1, 2018): 322–31. http://dx.doi.org/10.58680/la201829587.

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Boatright, Michael D. "Graphic Journeys: Graphic Novels' Representations of Immigrant Experiences." Journal of Adolescent & Adult Literacy 53, no. 6 (March 2010): 468–76. http://dx.doi.org/10.1598/jaal.53.6.3.

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Kunin, Alexander I. "Popularization of Graphic Novels in Russia and the Role of the Russian State Library for Young Adults in Formation of Loyal Library Environment." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 6 (February 8, 2021): 610–19. http://dx.doi.org/10.25281/0869-608x-2020-69-6-610-619.

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The article presents the attempt to generalize the experience of working with graphic novels (comics, manga, etc.) available in the domestic book sector. The author considers the main stages of development in the historical perspective of forms and methods of popularization and distribution of graphic novels in Russia. At the first stage, formation of the segment of graphic novels in Russia was associated with the development of the festival movement. At the second stage — with the publishing boom and distribution of publications. Later — with work with a reader of graphic novels in libraries. Development of the festival movement was carried out due to the interest, first, in Japanese cartoons (anime) and Japnese graphic novels (manga), and secondly, in American comics and European graphic novels.The author presents the festival movement in the context of the main directions: anime festivals and comics festivals (with special emphasis on the work of the ‘KomMissia’ [ComMission] festival). The article gives general characteristics of these types of festivals and reveals the degree of their involvement in the processes of forming the readership and professional environment at a certain evolutionary stage.Bookstores and public libraries are the traditional operators of book dissemination and popularization of knowledge. The author explains why the integration of graphic novels into these spaces was delayed. The article notes the importance of reader communities in social networks in creating alternative channels for selling the products of publishers of graphic novels. In 2010, the Russian State Library for Young Adults (RSLYA) established the Centre for comics and visual culture, collecting graphic novels and providing methodological assistance to libraries that use graphic novels in their work. At present, it is the Centre for graphic novels and images that provides comprehensive support to libraries. The author highlights the role of the RSLYA as a methodological centre for library services to young people in the formation of loyalty to the new phenomenon among Russian library professionals. Based on the studied processes, the article gives characteristics of graphic novels as a new segment of the Russian book market with its inherent features of positioning in the reader’s environment.
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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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Dallacqua, Ashley K. "Exploring Literary Devices in Graphic Novels." Language Arts 89, no. 6 (July 1, 2012): 365–78. http://dx.doi.org/10.58680/la201220325.

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This article explores the possibilities of graphic novels with young readers. During the 2009–2010 school year, while working with four fifth-grade students, the author examined the question In what ways do readers engage while reading a graphic novel? The fifth graders took part in book discussions and one-on-one interviews after reading two pre-selected graphic novels. Through data analysis, Dallacqua noticed a prominence of data focused around literary devices. The devices are not only present, but recognizable to students with no prompting. The author uses the voices of students to discuss the wide range of literary devices and their effect on students’ reading engagement with graphic novels. She also discusses the possibilities that graphic novels offer in introducing literary devices and scaffolding student learning into traditional, print-based literature. Ultimately, she concludes that graphic novels are a powerful medium that offers language arts teachers unlimited possibilities.
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Dissertations / Theses on the topic "Graphic novels"

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Phelps, Valarie L. "Pedagogy of Graphic Novels." TopSCHOLAR®, 2011. http://digitalcommons.wku.edu/theses/1065.

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Graphic texts, or graphic novels, have spent many years on shelves with comic books about superheroes and adventurers. They officially gained notoriety in 1992 with Art Spiegelman’s Maus, and at this time, critics and scholars began to take notice. However, graphic novels have not been fully adapted by academia. Graphic novels have the ability to offer new levels of instruction and learning in upper-level classrooms.The following is a study in the multitude of uses of graphic text in academia. Chapter 1 looks at the history of graphic text to understand the present and future of graphic novels. Chapter 2 focuses on literacy issues to develop a basis for the use of graphic novels in the classroom. Chapter 3 offers a method of using graphic novels to broaden a students’ understanding of plays. Chapter 4 moves on to a study of graphic novels as works of literature. Through this look of historical data and an analysis and discussion of the modern form of graphic novels, we will come to the conclusion that graphic novels can be useful assets in the classroom when they are taken from the shelf of comic books and used to their full potential.
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Hernandez, Fisher Carlos. "The design process of The Legend of Wild Man Fischer /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2353.

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Prévost-Levac, Caroline. "Defining graphic novels : the contentious case of wordless novels." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/29545.

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Malgré la longue et riche histoire des bandes dessinées, leur définition continue de stimuler le débat parmi les experts. Ces derniers ne parviennent toujours pas à s’entendre sur la composition d’une bande dessinée, certains choisissant de mettre l’emphase sur l’usage de phylactères ou de lignes de mouvement, tandis que d’autres insistent plutôt sur la présence d’éléments à la fois graphiques et narratifs. Une définition impeccable est peut-être improbable, mais un problème mérite toutefois d’être adressé: il s’agit bien sûr de la constante exclusion des romans graphiques sans texte. Cette catégorie d’œuvres est parfois mentionnée, mais se révèle plus souvent ignorée par les experts. En effet les définitions courantes persistent à représenter les bandes dessinées comme un indéniable mélange de texte et d’images. Ce mémoire cherche donc à démontrer la nécessité de définitions plus inclusives, afin d’incorporer les romans graphiques sans texte. D’abord, en explorant l’histoire du médium et le rôle du texte dans la création et la lecture des romans graphiques, nous réfuterons les idées préconçues qui ont apporté à l’élément textuel de la bande dessinée une allure de nécessité. Puis, à travers l’analyse des romans graphiques sans texte The Arrival de Shaun Tan et The System de Peter Kuper, nous rendrons évidente la nature facultative du texte dans le processus de création d’une histoire de bande dessinée. Finalement, avec le support d’exemples provenant des romans graphiques The System de Peter Kuper et Asterios Polyp de David Mazzucchelli, nous analyserons le rôle de l’image dans le développement de la complexité narrative d’une histoire de bande dessinée, afin de prouver qu’une image n’est pas intrinsèquement plus simpliste qu’un extrait de texte. Les romans graphiques sans texte méritent tout autant l’attention académique reçue par les bandes dessinées avec texte, et devraient ainsi être reconnus dans les définitions courantes du médium.
In spite of comics’ long and rich history, their definition remains today a significant source of contention in the field. Scholars cannot seem to agree on what constitutes comics, with some of them stressing the importance of conventions such as speech balloons or motion lines, and others focusingon the pictorial and narrative elements of the form. A perfect definition may be impossible, but one issue that needs tobe addressed is the current exclusion of wordless graphic novels. While occasionally acknowledged, these works remain mainly ignored, as most working definitions present comics as a combination of text and image. This thesis intends to show that there is a need for more inclusive definitions of the medium, in order to incorporate wordless graphic novels. By first exploring the wordless ancestry of the medium and the role of text in creating and reading graphic novels, this thesis refutes the foundationally baseless assumptions about the form that have made text so widely accepted as a defining element. Then, through an analysis of Shaun Tan’s The Arrival and Peter Kuper’s The System, both of which are wordless graphic novels, this thesis demonstrates the superfluous nature of text when it comes to narrative in this medium. Finally, through readings of Peter Kuper’s The System and David Mazzucchelli’s Asterios Polyp, the thesis considers the contribution of the image to the complexity of graphic novels with and without text, in order to prove that images are not more simplistic in nature than text. The case is thereby made that wordless novels are as worthy of academic attention as graphic novels with text, and deserve acknowledgement in definitions of the medium.
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Johannessen, Lindsey. "Incorporating graphic novels into social studies based instruction an effective means of determining quality graphic novels." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/442.

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It is becoming increasing important that teachers educate students about social studies in such a way so that students are interested and motivated by what they read. So often the curriculum is bombarded with physically heavy, incomprehensible, and traditional textbooks. Based upon the need for extensions to the social studies textbooks, my goal to establish a guideline for selecting quality graphic novels fitted for elementary social studies instruction. Therefore, my study will attempt to answer the question: What is an effective means of determining quality graphic novels? Following my adaptation and creation of rubrics established for determining the needs and qualities of graphic novels, I was able to establish and analyze several social studies content related graphic novels appropriate for the elementary social studies curriculum. This investigation into social studies graphic novels provided 18 graphic novels for possible use in the elementary social studies curriculum, 5 of which were deemed quality via the established rubrics. Furthermore, the investigation proved that the books deemed quality provided more than what was established as necessary within the rubrics. The additional information found within those texts was referred to as a postlude. One strong conclusion from this study is the large void of graphic novels that teachers might link with the social studies curriculum so as to enhance elementary social studies instruction.
B.S.
Bachelors
Education
Elementary Education
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Adams, Jeff. "Documentary graphic novels and social realism." Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2003. http://d-nb.info/990541126/04.

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Figueiredo, Camila Augusta Pires de. "Hollywood goes graphiC: the intermedial transposition of graphic novels to films." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-84ZQTQ.

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Comic books have always been consigned the children's shelves at libraries and bookstores. Recently, however, a massive publishing of comic books designed for the adult audience called graphic novels has caught the attention of academics, critics and the film industry. Despite the existence of a vast theoretical bibliography of screen adaptations based on novels, those theories can not be satisfactorily applied to the analysis of films based on comics and graphic novels, since they do not conceive, among other aspects, the translation of the drawing image in comics to the photography of film. In this sense, this thesis focuses on an area that has remained quite untheorized: the specific case of the translation of comics and particularly of graphic novels into films. In light of this, I approach Alan Moore's Watchmen and Frank Miller's Sin City and their respective film versions. In order to support this debate, I will draw upon Irina Rajewsky's categories of intermedial relations as well as Pascal Lefvre's considerations about film adaptations of comics.
Histórias em quadrinhos sempre estiveram relegadas às estantes infanto-juvenis das livrarias e bibliotecas. Recentemente, no entanto, um grande número de publicações de quadrinhos destinadas a um público adulto os romances gráficos tem atraído a atenção de acadêmicos, críticos e da indústria cinematográfica. Apesar da vasta bibliografia teórica existente sobre adaptações de romances, tais teorias não conseguem, satisfatoriamente, explicar as versões fílmicas de quadrinhos e romances gráficos, uma vez que não concebem, entre outros aspectos, a tradução da imagem desenhada dos quadrinhos para a fotografia do filme. Neste sentido, este trabalho pretende analisar uma área que permanece relativamente sem teorização o caso específico da tradução de quadrinhos e em especial dos romances gráficos para o cinema. À luz dessas questões, analisaremos os romances gráficos Watchmen, de Alan Moore e Sin City, da autoria de Frank Miller e suas respectivas versões fílmicas. Neste debate, utilizaremos as relações intermidiáticas de Irina Rajewsky bem como as considerações de Pascal Lefèvre sobre adaptações fílmicas de quadrinhos.
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Snowball, Clare. "Graphic novels: enticing teenagers into the library." Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/791.

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This thesis investigates the inclusion of graphic novels in library collections and whether the format encourages teenagers to use libraries and read in their free time. Graphic novels are bound paperback or hardcover works in comic-book form and cover the full range of fiction genres, manga (Japanese comics), and also nonfiction. Teenagers are believed to read less in their free time than their younger counterparts. The importance of recreational reading necessitates methods to encourage teenagers to enjoy reading and undertake the pastime. Graphic novels have been discussed as a popular format among teenagers. As with reading, library use among teenagers declines as they age from childhood. The combination of graphic novel collections in school and public libraries may be a solution to both these dilemmas.Teenagers’ views were explored through focus groups to determine their attitudes toward reading, libraries and their use of libraries; their opinions on reading for school, including reading for English classes and gathering information for school assignments; and their liking for different reading materials, including graphic novels. Opinions on school reading can impact feelings on reading in general and thus influence views and amount of recreational reading.A survey of public libraries determined the incidence of graphic novel collections throughout Australia and how collections are managed, with the intention of comparing libraries from different states and territories and metropolitan or rural areas. Interviews with selected librarians who collected graphic novels provided insight into their attitudes to the place of graphic novels in public and high school libraries and a more detailed picture of how the format is managed. This included use of graphic novel by the libraries’ teenage users or students and problems encountered, such as complaints about specific titles.Graphic novel collections are widespread among surveyed Australian libraries, although a metropolitan location led to a greater likelihood of collection of graphic novels, and librarians were passionate about the format and its popularity among teenagers. The teenagers investigated were not as universally positive about graphic novels or libraries. The necessity of inclusion of all formats of reading matter in library collections will enable teenagers to discover for themselves what provides enjoyable reading experiences, so these become the norm, and lead to a greater enthusiasm for reading and more undertaken in their free time.
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Dallacqua, Ashley Kaye. "Engaged in Graphic Novels with Fifth Graders." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1290088200.

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Alishusky, Haley. "Illustrated Myth: Exploring Culture through Graphic Novels." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1526639815771596.

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Tonegato, Nicholas G. "Are Graphic Novels Just for Boys? A Study on the Interests of 5th Grade Students in Reading Graphic Novels." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1335289180.

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Books on the topic "Graphic novels"

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1960-, Walker George A., Masereel Frans 1889-1972, Ward Lynd 1905-1985, Patri Giacomo b. 1898, and Hyde Laurence 1914-, eds. Graphic witness: Four wordless graphic novels. Buffalo, N.Y: Firefly Books, 2007.

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Petersen, Martin. North Korean Graphic Novels. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Media, culture and social change in Asia ; 57: Routledge, 2018. http://dx.doi.org/10.4324/9781315162430.

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Abel, Julia, and Christian Klein, eds. Comics und Graphic Novels. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05443-2.

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Sabin, Roger. Comics, comix & graphic novels. London: Phaidon Press, 1996.

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Steven, Ross, Rockwell Scott, Pratchett Terry, and Pratchett Terry, eds. The Discworld graphic novels. New York: Harper, 2008.

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Sabin, Roger. Comics, comix & graphic novels. London: Phaidon, 1996.

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Sabin, Roger. Comics, comix & graphic novels. London: Phaidon, 1996.

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Tooks, Lance. Narcissa: Grapnic Novel (Doubleday Graphic Novels). Doubleday, 2002.

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Graphic Novels. Hodder Education Group, 2008.

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Graphic Novels. Essential Library, 2016.

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Book chapters on the topic "Graphic novels"

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Eder, Barbara. "Graphic Novels." In Comics und Graphic Novels, 156–68. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05443-2_8.

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Burger, Alissa. "Graphic Novels." In Teaching Stephen King, 153–69. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137483911_11.

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Queipo, Isabel Maurer, and Lukas Etter. "Graphic novels." In The Routledge Handbook to the Culture and Media of the Americas, 99–109. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351064705-9.

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Barnas, Frank, and Marie Barnas. "Graphic Novels." In Scripting Media, 36–45. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003274766-5.

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Koch, Christina Maria, Daniel Stein, and Lukas Etter. "Comics, Graphic Novels, Graphic Memoirs." In Behinderung, 326–33. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05738-9_59.

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Botzakis, Stergios. "Teaching Graphic Novels." In How Young Adult Literature Gets Taught, 77–86. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003295778-8.

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Prickett, Robert, and Casey A. Cothran. "Graphic crime novels." In The Routledge Companion to Crime Fiction, 65–75. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429453342-9.

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Klauk, Tobias, and Stephan Naguschewski. "Gaiman, Neil: Graphic Novels." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8585-1.

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Earle, Harriet E. H. "Comics and Graphic Novels." In The Routledge Companion to Twenty-First Century Literary Fiction, 113–21. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions to literature series: Routledge, 2019. http://dx.doi.org/10.4324/9781315880235-11.

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Schröer, Marie. "Graphic Memoirs — autobiografische Comics." In Comics und Graphic Novels, 263–75. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05443-2_15.

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Conference papers on the topic "Graphic novels"

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Parschalk, Norbert, and Claudia Rauchegger-Fischer. "Graphic Novels und Comic im Geschichtsunterricht." In Tagung der Fachdidaktik 2013. innsbruck university press, 2014. http://dx.doi.org/10.15203/2936-43-1-08.

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kohlmeier, paul. "Graphic Novels and Adult Literacy (Poster 23)." In AERA 2022. USA: AERA, 2022. http://dx.doi.org/10.3102/ip.22.1886038.

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Rahmah, Fahra, and Sony Sukmawan. "Utilization of Graphic Novels as BIPA Learning Resources." In Proceedings of the 2nd International Conference on Advances in Humanities, Education and Language, ICEL 2022, 07–08 November 2022, Malang, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.7-11-2022.2329342.

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Tarchanyn, Mariana. "AUTOBIOGRAPHY IN GRAPHIC NOVELS AS THE EXAMPLE OF INTERCULTURAL PERSPECTIVE." In KORSZERŰ MŰSZEREK ÉS ALGORITMUSA TAPASZTALATI ÉS ELMÉLETI TUDOMÁNYOS KUTATÁSI. European Scientific Platform, 2020. http://dx.doi.org/10.36074/18.09.2020.v3.22.

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Babaian, C. S. "Comic books, graphic novels, and a novel approach to teaching anatomy and surgery." In 2014 IEEE Integrated STEM Education Conference (ISEC). IEEE, 2014. http://dx.doi.org/10.1109/isecon.2014.6891007.

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Tammaro, Rosanna, Anna D’Alessio, Anna Iannuzzo, and Alessia Notti. "TEACHING ENGLISH WITH A CHILLY FORMAT: THE GRAPHIC NOVEL!" In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end111.

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"Recently, the term graphic novel is commonly used in the educational area, and it’s often associated with another term, which is ‘comic book ‘. In a typical perception, the graphic novel provides an interesting way to communicate language concepts with a number of characteristics that may help students learning in a more effective manner rather than traditional textbooks. Given that it has been introduced in school lessons, it has certainly represented an opportunity for teachers. However…what exactly is a graphic novel? It is a didactic tool. A graphic novel, as its name suggests, is a novel that tells a complete story via illustrations. A graphic novel will offer the type of resolution that one expects from a novel, even if it is part of a series. Effectively, this makes a graphic novel longer and more substantive than a comic book, which is a serialized excerpt from a larger narrative story. Humankind has long told stories via images, beginning, perhaps, with the cave paintings of ancient civilizations. It was in the twentieth century, that we witnessed the rise in the use of comic books, which experienced a golden age during the Great Depression and World War II with the ascendance of Marvel and DC Comics. The Cold War era saw comic books and novels emerge into what is now known as a graphic novel. The term “graphic novel” traces back to an essay written by Richard Kyle in the comic book fanzine Capa-Alpha (although to this day there is not one fixed definition of “graphic novel”). The term is thought to have become mainstream with the publication of Will Eisner's A Contract with God in 1978. The authors provide an overview of the graphic novel format and its use in school lessons. The work is aimed at describing the most important steps of this format, with its implications for teachers and students. and the theoretical base that highlights how and why it can be a useful tool to present content relevant for the current generation of students. The authors provide examples of how the graphic novel medium could be applied to English concepts and conclude with the future prospects of this studying/teaching tool."
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Nugraha, Reza, M. Yoesoef, and Afnan Arummi. "Gender Equality and Children’s Rights: The Adults’ Ideology in Two Egyptian Children's Graphic Novels." In Proceedings of the First International Seminar on Languare, Literature, Culture and Education, ISLLCE, 15-16 November 2019, Kendari, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.15-11-2019.2296253.

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McHolme, Lindsay. "“It’s Good, These Graphic Novels for Us”: Picture Books and Adult Multilingual Language Learners." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2112547.

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Su, Chen. "Voice Is Everything: A Critical Content Analysis of Translingual Negotiation in Intercultural Graphic Novels." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2104341.

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Bukač, Zlatko. "The Marvel of the American Dream in The X-Men Graphic Novels and Comic Books." In Quarter of a Century after the Fall of the Berlin Wall. Perspectives and Directions in Croatian and Regional American Studies. Filozofski fakultet u Zagrebu, FF Press, 2016. http://dx.doi.org/10.17234/wpas.2016.8.

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Reports on the topic "Graphic novels"

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Brooks, Adam, Mary Tabit, John Cacciola, Kimberly Kirby, Lawrence Schoen, Alvin Kingcade, and David Gastfriend. Using Graphic Novels when Choosing Treatment for Alcohol Use Disorder. Patient-Centered Outcomes Research Institute (PCORI), July 2020. http://dx.doi.org/10.25302/07.2020.cdr.131007308.

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Poggio, Tomaso, and Roberto Brunelli. A Novel Approach to Graphics. Fort Belvoir, VA: Defense Technical Information Center, February 1992. http://dx.doi.org/10.21236/ada259337.

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Kozmina, Jelena, and Alytis Gruodis. Tool QUATTRO-20 for Examining of the Recurrent Sequencies Generated by Discrete Analogue of the Verhulst Equation. Publishing House - Vilnius Business College, June 2023. http://dx.doi.org/10.57005/ab.2023.1.3.

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QUATTRO-20 as advanced tool for estimation of the recurrent sequences was created and tested. Discrete analogue of Verhulst equation x(t+1)=F(x(t)), F(x)=rx(1-x), t=0, 1, 2, ..., was selected as the model of recurrent sequence. Related mathematical material is presented in user-friendly form: convergence conditions, Lyapunov index, behaviour of the sequencies generated by second, third, fourth compositions of function F(x). QUATTRO-20 contains several visualization methods such as xy plot, Bifurcation diagram, distribution of Lyapunov index, CobWeb plot, graphical solution. Novel graphical technique of realization of the sequence convergence was presented.
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Burchell, T. D. Slurry Molding Technologies for Novel Carbon and Graphite Materials. Office of Scientific and Technical Information (OSTI), June 2004. http://dx.doi.org/10.2172/885612.

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Nic Daeid, Niamh, Heather Doran, Lucina Hackman, and Pauline Mack. The Curse of the Burial Dagger Teacher Materials. University of Dundee, September 2021. http://dx.doi.org/10.20933/100001220.

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The Curse of the Burial Dagger is an interactive graphic novel murder mystery, created by the Leverhulme Research Centre for Forensic Science and digital story studio Fast Familiar. Players use maths, logic and critical reasoning skills to assist Susie uncover different types of forensic evidence and weigh up contrasting hypotheses. Can they uncover the events leading up to Lord Hamilton’s death and deduce how he died…before the curse strikes again? These documents are the Teacher/Group lead pack which contain additional resources including: • The Teacher/Group Lead Pack – Teacher walk through – Factsheet – What is Forensic Science? – Factsheet – What is a hypothesis? – Marzipan Calculation – Factsheet and activity – Fingerprint Analysis – Activity – Chromatography investigation • Printable completion certificate • Printable Note paper and fact-sheet
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Удріс, Ірина Миколаївна, and Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.
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Shen, Ciping. Preparations and characterizations of novel graphite-like materials and some high oxidation state fluorine chemistry. Office of Scientific and Technical Information (OSTI), November 1992. http://dx.doi.org/10.2172/10174522.

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Wright, Adam, Marija Milacic, Karen Rothfels, Joel Weiser, Quang Trinh, Bijay Jassal, Robin Haw, and Lincoln Stein. Evaluating the Predictive Accuracy of Reactome's Curated Biological Pathways. Reactome, November 2022. http://dx.doi.org/10.3180/poster/20221109wright.

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Reactome is a database of human biological pathways manually curated from the primary literature and peer-reviewed by experts. To evaluate the utility of Reactome pathways for predicting functional consequences of genetic perturbations, we compared predictions of perturbation effects based on Reactome pathways against published empirical observations. Ten cancer-relevant Reactome pathways, representing diverse biological processes such as signal transduction, cell division, DNA repair, and transcriptional regulation, were selected for testing. For each pathway, root input nodes and key pathway outputs were defined. We then used pathway-diagram-derived logic graphs to predict, either by inspection by biocurators or using a novel algorithm MP-BioPath, the effects of bidirectional perturbations (upregulation/activation or downregulation/inhibition) of single root inputs on the status of key outputs. These predictions were then compared to published empirical tests.
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Grossman, Max, Howard Porter Pritchard Jr., Zoran Budimlic, and Vivek Sarkar. Graph 500 on OpenSHMEM: Using a Practical Survey of Past Work to Motivate Novel Algorithmic Developments. Office of Scientific and Technical Information (OSTI), December 2016. http://dx.doi.org/10.2172/1338682.

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Juden, Matthew, Tichaona Mapuwei, Till Tietz, Rachel Sarguta, Lily Medina, Audrey Prost, Macartan Humphreys, et al. Process Outcome Integration with Theory (POInT): academic report. Centre for Excellence and Development Impact and Learning (CEDIL), March 2023. http://dx.doi.org/10.51744/crpp5.

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This paper describes the development and testing of a novel approach to evaluating development interventions – the POInT approach. The authors used Bayesian causal modelling to integrate process and outcome data to generate insights about all aspects of the theory of change, including outcomes, mechanisms, mediators and moderators. They partnered with two teams who had evaluated or were evaluating complex development interventions: The UPAVAN team had evaluated a nutrition-sensitive agriculture intervention in Odisha, India, and the DIG team was in the process of evaluating a disability-inclusive poverty graduation intervention in Uganda. The partner teams’ theory of change were adapted into a formal causal model, depicted as a directed acyclic graph (DAG). The DAG was specified in the statistical software R, using the CausalQueries package, having extended the package to handle large models. Using a novel prior elicitation strategy to elicit beliefs over many more parameters than has previously been possible, the partner teams’ beliefs about the nature and strength of causal links in the causal model (priors) were elicited and combined into a single set of shared prior beliefs. The model was updated on data alone as well as on data plus priors to generate posterior models under different assumptions. Finally, the prior and posterior models were queried to learn about estimates of interest, and the relative role of prior beliefs and data in the combined analysis.
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