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Journal articles on the topic 'Graphic novels'

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

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kim, Sayeong. "A Model and Case of English Literature Instruction Using Autobiographical Graphic Novels for Critical Multicultural Education." Korean Society for Teaching English Literature 26, no. 3 (December 31, 2022): 35–70. http://dx.doi.org/10.19068/jtel.2022.26.3.02.

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Critical multiculturalism has recently been accepted as a pedagogical framework, which emphasizes diversity and social justice as a way of realizing praxis on the issue of race, gender, sexual orientation, religion, disability, migration, refugee, and so on. This frame is in line with rising of autobiographical graphic novels consisting of two different modes, image and text, which sheds light on the marginalized population’s voices. Based on the close potential connection between critical multiculturalism and autobiographical graphic novels, this paper proposes an instruction model and case with autobiographical graphic novels representing a variety of themes for diversity and social justice in the multicultural era. In the first section of the main body, theoretical backgrounds and key concepts of critical multiculturalism will be introduced including intersectionality, identity, positionality. critical race theory, whiteness studies, (trans)languaging, and microaggression. In the second section, a theoretical framework of graphic novel instruction will be examined closely, where basic elements of graphic novels and the Expanded Four Resources Model (EFRM) will be examined. In the third section, the instructional practice of multicultural autobiographical graphic novels will be presented, using six graphic novels. In the conclusion, ethical and political implications and pedagogical strategies will be proposed, which instructors need to recognize for graphic novel instruction based on critical multiculturalism.
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12

Wyatt, Neal, and Anne Behler. "Getting Started with Graphic Novels." Reference & User Services Quarterly 46, no. 2 (December 1, 2006): 16–21. http://dx.doi.org/10.5860/rusq.46n2.16.

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13

Hoover, Steven. "The Case for Graphic Novels." Comminfolit 5, no. 2 (2012): 174. http://dx.doi.org/10.15760/comminfolit.2012.5.2.111.

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14

Mclaughlin, Jeff. "Deep thinking in graphic novels." Philosophers' Magazine, no. 60 (2013): 44–50. http://dx.doi.org/10.5840/tpm20136015.

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15

Baetens, Jan. "Graphic Novels: Literature without Text?" English Language Notes 46, no. 2 (September 1, 2008): 77–88. http://dx.doi.org/10.1215/00138282-46.2.77.

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16

Chaney, Michael A. "Autobiographical Graphic “Novels” of Childhood." a/b: Auto/Biography Studies 32, no. 2 (April 25, 2017): 297–301. http://dx.doi.org/10.1080/08989575.2017.1289031.

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17

Schwarz, Gretchen. "Expanding Literacies through Graphic Novels." English Journal 95, no. 6 (July 1, 2006): 58. http://dx.doi.org/10.2307/30046629.

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18

Basal, Ahmet, Talat Aytan, and Ibrahim Demir. "Teaching Vocabulary with Graphic Novels." English Language Teaching 9, no. 9 (August 4, 2016): 95. http://dx.doi.org/10.5539/elt.v9n9p95.

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<p>Mastery of idiomatic expressions by foreign language learners is often equated with the fluency of native speakers of that language. However, learning these idiomatic expressions is one of the significant problems experienced by learners. The present quasi-experimental study conducted over four weeks in the ELT department of a Turkish university aims to investigate the effectiveness of teaching idioms via graphic novels compared to teaching them via traditional activities. The most frequent and useful forty figurative idioms from the Michigan Academic English Spoken Corpus (MICASE) were used in a script and the script was converted to a graphic novel with the use of a computer software. The results revealed that participants in the experimental group who had learned idioms through the graphic novel performed significantly better on the post-test, indicating the efficiency of the graphic novel in vocabulary teaching. The study also offers recommendations for the use of graphic novels in the teaching of vocabulary.</p>
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19

Hansen, Kathryn Strong. "In Defense of Graphic Novels." English Journal 102, no. 2 (November 1, 2012): 57–63. http://dx.doi.org/10.58680/ej201221805.

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20

Schwarz, Gretchen. "Expanding Literacies through Graphic Novels." English Journal 95, no. 6 (July 1, 2006): 58–64. http://dx.doi.org/10.58680/ej20065009.

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Gretchen Schwarz offers a rationale, based on the need for current students to learn multiple literacies, for the use of graphic novels in the high school English class. She highlights several titles, suggests possible classroom strategies, and discusses some of the obstacles teachers may face in adding graphic novels to their curriculum.
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21

허선민 and 서영미. "Becoming Critical Readers of Graphic Novels: Bringing Graphic Novels Into Korean Elementary Literacy Lessons." English Teaching 70, no. 1 (March 2015): 123–49. http://dx.doi.org/10.15858/engtea.70.1.201503.123.

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22

Becnel, Kim, and Robin A. Moeller. "Graphic Novels in the School Library: Questions of Cataloging, Classification, and Arrangem." KNOWLEDGE ORGANIZATION 49, no. 5 (2022): 316–28. http://dx.doi.org/10.5771/0943-7444-2022-5-316.

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In recent years, many school librarians have been scrambling to build and expand their graphic novel collections to meet the large and growing demand for these materials. For the purposes of this study, the term graphic novels refers to volumes in which the content is provided through sequential art, including fiction, nonfiction, and biographical material. As the library field has not yet arrived at a set of best practices or guidelines for institutions working to classify and catalog graphic novels, this study seeks to record the ways in which school librarians are handling these materials as well as issues and questions at the forefront of their minds. A survey of school librarians in the United States revealed that almost all of them collect fiction and nonfiction graphic novels, while 67% collect manga. Most respondents indicated that they are partly or solely responsible for the cataloging and classification decisions made in their media centers. For classification purposes, most have elected to create separate graphic novel collections to house their fictional graphic novels. Some include nonfiction graphic novels in this section, while others create a nonfiction graphic novel collection nearby or shelve nonfiction graphic novels with other items that deal with similar subject matter. Many school librarians express uncertainty about how best to catalog and classify longer series, adapted classics, superhero stories, and the increasing number and variety of inventive titles that defy categorization. They also struggle with inconsistent vendor records and past practices and suffer from a lack of full confidence in their knowledge of how to best classify and catalog graphic novels so that they are both searchable in the library catalog and easily accessible on the shelves.
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23

Willingham, Tiara, Greer Wright, Christine A. Draper, and Michelle Reidel. "Preservice Teachers' Perceptions and Knowledge of Graphic Novels in the Content Areas." Georgia Journal of Literacy 37, no. 2 (October 30, 2014): 27–34. http://dx.doi.org/10.56887/galiteracy.60.

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This article describes a qualitative study conducted to introduce preservice teachers to graphic novels which are often considered 'unconventional' reading materials. The study addressed specific questions to gain better understanding of preservice teachers' perceptions and knowledge of graphic novels, as well as how graphic novels can be used as classroom resources in each content area. There were fifteen preservice teachers involved in the study. Findings reveal that overall preservice teachers in this study believed that graphic novels were a beneficial resource to engage students in content material, and using them as a resource can foster meaningful learning in all content areas.
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24

Schneider, Edward Francis. "A Survey of Graphic Novel Collection and Use in American Public Libraries." Evidence Based Library and Information Practice 9, no. 3 (September 6, 2014): 68. http://dx.doi.org/10.18438/b83s44.

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Abstract Objective – The objective of this study was to survey American public libraries about their collection and use of graphic novels and compare their use to similar data collected about video games. Methods – Public libraries were identified and contacted electronically for participation through an open US government database of public library systems. The libraries contacted were asked to participate voluntarily. Results – The results indicated that both graphic novels and video games have become a common part of library collections, and both media can have high levels of impact on circulation. Results indicated that while almost all libraries surveyed had some graphic novels in their collections, those serving larger populations were much more likely to use graphic novels in patron outreach. Similarly, video game collection was also more commonly found in libraries serving larger populations. Results also showed that young readers were the primary users of graphic novels. Conclusion – Responses provided a clear indicator that graphic novels are a near-ubiquitous part of public libraries today. The results on readership bolster the concept of graphic novels as a gateway to adult literacy. The results also highlight differences between larger and smaller libraries in terms of resource allocations towards new media. The patron demographics associated with comics show that library cooperation could be a potential marketing tool for comic book companies.
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25

Panferova, Olga Yu, and Elena L. Mzhelskaya. "Graphic Novels in the Repertoire of Modern Russian Publishers." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 156–72. http://dx.doi.org/10.17223/23062061/24/8.

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The article summarizes the practice of Russian publishers in the formation of the repertoire of graphic novels. In the modern world, visual perception of information is becoming an increasingly common way of obtaining and processing information. Graphic novels are forming an important part of contemporary culture in general and literature in particular, occupying a larger niche in the contemporary literary market. Publishers are trying to meet the needs of readers and include more and more series with graphic novels in their repertoire. The most successful projects in the publishing houses Bubble, Jellyfish Jam, Zodiac, 42!, Komil’fo, AST, specializing in graphic novels, are analyzed. The expansion of this book segment is continuous and quite fast. Summarizing the repertoire policy of Russian publishers, it can be asserted that graphic novels come to play an increasingly important role in modern society and in the modern book market, and they will be equal in importance to classical book editions in the future. Every year the number of graphic novels by Russian authors in the book market is growing. The repertoire of Russian publishers engaged in the production of graphic novels is quite diverse. Specialized publishers pay more attention to the projects produced, due to which there are fewer errors in the production of graphic novels in these publishers. The number of publications produced per year in specialized publishing houses is small, compared with large universal publishers. Projects of specialized publishers are more carefully selected, are often original or little-known in Russia. Each project of graphic novels by foreign authors is unique for a certain publishing house, and is not released in other publishing houses. The spread of circulations in specialized publishing houses is quite wide and often depends on the features of the project, the author’s fame, the features of the publication, as well as the niche of the publishing house. Large universal publishers mainly focus on graphic novels of widespread popularity, as a rule, within the Marvel, DC universes. All publishers considered in the study have a clear principle of development of their repertoire; in specialized publishers, the selection of projects is much more thoughtful, and each project is given more attention.
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26

Labad Arias, Marta. "Trabajos de verdad. Un acercamiento a la precariedad, la exclusión social y los futuros en baja resolución desde cuatro novelas gráficas contemporáneas." Arte y Políticas de Identidad 27 (December 30, 2022): 13–30. http://dx.doi.org/10.6018/reapi.552591.

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The following essay traces a journey through a series of recent graphic novels, published in Spain between 2011 and 2019, which portray how young people move through life and work, placing precariousness at centre, contingency and the lack of a clear future. The first part of the essay analyses the graphic novel Tu futuro empieza aquí (Rosa, Mikko, 2011), underlining depression, flexibility, social exclusion, and lack of expectations, as the major feature affecting this group. The second part of the essay explores the ambivalences of creative work through two graphic novels by Alberto Madrigal, Un trabajo de verdad (Madrigal, 2013) and Todo va bien (Madrigal, 2016). The last part of the essay analyses bits of the graphic novel Wage slaves (Bogdanska, 2019) and reflects on precariousness, contingency, unrest, inequality or (de)valuation of time. It also highlights the power of solidarity as a tool for avoiding social exclusion. El siguiente ensayo traza un recorrido por una serie de novelas gráficas recientes, publicadas en España entre 2011 y 2019, que retratan las diferentes formas que una serie de jóvenes tienen de moverse por la vida y el trabajo, poniendo el foco en la precariedad, la contingencia y la falta de expectativas. La primera parte del ensayo se articula en torno a la figura de un joven “nini”, a partir del análisis de la novela gráfica Tu futuro empieza aquí (Rosa y Mikko, 2011), subrayando la parálisis, la flexibilidad, la pixelación del futuro o la exclusión social que afectan a este colectivo. La segunda parte explora las ambivalencias del trabajo creativo a partir de las novelas gráficas Un trabajo de verdad (Madrigal, 2013) y Todo va bien (Madrigal, 2016). La tercera parte analiza fragmentos de la novela gráfica Esclavos del trabajo (Bogdanska, 2019) para traer al frente la precariedad, la contingencia, el malestar, la desigualdad o la (des)valorización de tiempos que sigue aconteciendo hoy, así como la potencia de la solidaridad como forma de evitar la exclusión social.
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27

Karmakar, Debasish. "Disability and COVID-19: Representation and Resilience in Graphic Novels." Integrated Journal for Research in Arts and Humanities 3, no. 4 (July 21, 2023): 55–58. http://dx.doi.org/10.55544/ijrah.3.4.7.

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The COVID-19 pandemic has presented unique challenges for individuals with disabilities, and graphic novels have emerged as a powerful medium for representing and exploring these experiences. Historically, disabled individuals have been underrepresented and depicted in stereotypical ways, but graphic novels have challenged these narratives by offering authentic portrayals that humanize disabled characters. In the context of COVID-19, graphic novels provide a platform to address the intersectionality of disability and the pandemic, highlighting issues such as limited healthcare access, social isolation, and the impact of public health policies. These novels also explore themes of resilience, adaptation, and the triumph of the human spirit, showcasing disabled characters overcoming obstacles and utilizing their strengths and capabilities. Moreover, graphic novels have the potential to raise awareness, challenge stereotypes, and foster empathy and understanding among readers. By amplifying the voices of disabled creators, these novels contribute to a more inclusive literary landscape, challenging traditional narratives that have marginalized disabled individuals. Overall, graphic novels offer a unique opportunity to represent the experiences of disabled individuals during the COVID-19 pandemic, promoting social change and advocating for a more compassionate and equitable society.
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28

Bosma, Kari, Audrey C. Rule, and Karla S. Krueger. "Social Studies Content Reading about the American Revolution Enhanced with Graphic Novels." Social Studies Research and Practice 8, no. 1 (March 1, 2013): 59–76. http://dx.doi.org/10.1108/ssrp-01-2013-b0004.

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Graphic novels can contribute to effective content area reading on social studies topics such as the American Revolution. This action research study’s purpose was to examine student recall of facts, enjoyment of reading, and interest in the topic when using graphic novels as compared to illustrated nonfiction prose in social studies content area reading. Twenty-two fifth grade students (13 females, 9 males) in a public school in a Midwestern state participated in the study. Half of the students read about the Boston Massacre and Patrick Henry through graphic novels and read about Paul Revere and the Boston Tea Party with illustrated nonfiction texts, with the other half doing the opposite. The mean number of correct ideas recalled by students two weeks after reading two books in the graphic novel condition was 8.6 compared to 7.1 for the nonfiction prose condition with a medium effect size. Students rated their reading enjoyment significantly higher in the graphic novel condition indicating that graphic novels should be employed more often into the school curriculum. Suggestions for integrating graphic novels into the curriculum are provided along with other ways to take action.
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Aldahash, Reema, and Sultan Altalhab. "The Effect of Graphic Novels on EFL Learners’ Reading Comprehension." International Journal of Applied Linguistics and English Literature 9, no. 5 (September 30, 2020): 19. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.5p.19.

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Saudi EFL learners struggle to read English and encounter obstacles that prevent improvement. Recently, graphic novels were introduced as alternative teaching and learning materials in academic settings. Nevertheless, research in this area remains limited. Therefore, this study examines the effect of reading a graphic novel on reading comprehension and investigates the perceptions of EFL teachers and students regarding the deployment of graphic novels in their classrooms. Sixty-six intermediate school students were divided into experimental and control groups. After the reading sessions, both groups completed reading comprehension tests. Results revealed that reading graphic novels positively affects reading comprehension as the experimental group achieved superior results to the control group. Both EFL teachers and students believe that graphic novels help in improving reading skills. The study concludes by discussing related implications.
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30

Clark, J. Spencer. "Teaching Historical Agency: Explicitly Connecting Past and Present with Graphic Novels." Social Studies Research and Practice 9, no. 3 (November 1, 2014): 66–80. http://dx.doi.org/10.1108/ssrp-03-2014-b0005.

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The use of six non-fiction graphic novels to teach historical agency in a social studies methods course was examined in a critical action research study. Pre-service social studies teachers were asked to read one graphic novel and to discuss it with classmates, first in literature circles, then as a whole class. Data revealed graphic novels engaged pre-service teachers in thinking about historical agency, and helped them make connections between historical agency and their own agency. There were three overlapping ways pre-service teachers connected to historical agency in all six graphic novels: upbringing and personal experience, unpredictability of historical situations, and injustice. The findings highlight the value of graphic novels for teaching about historical agency in social studies courses because of their focus on historical agents’ positionality.
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31

Carter, James Bucky. "Transforming English with Graphic Novels: Moving toward Our “Optimus Prime”." English Journal 97, no. 2 (November 1, 2007): 49–53. http://dx.doi.org/10.58680/ej20076246.

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James Bucky Carter argues for the transformative potential of graphic novels in the English classroom. He advises teachers to be actively aware of the newer and lesser-known graphic novels and suggests approaches for examining the complex social issues the novels address.
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32

Higginbotham, Jo Ann, Laura Anderson, and Shane Brown. "Perspectives from Local Media Specialists and ELA Instructors on Graphic Novels in the Middle Grades Curriculum." Study & Scrutiny: Research on Young Adult Literature 5, no. 2 (July 1, 2022): 120–37. http://dx.doi.org/10.15763/issn.2376-5275.2022.5.2.120-137.

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Given the notion that graphic novels have the potential for instruction, this study examines the questions: In what ways do local media specialists and English Language Arts (ELA) instructors use them in their classrooms or other educational settings? If instructors use graphic novels, how do their students respond to them? Have they experienced criticisms concerning the use of graphic novels as texts worthy of analysis and exploration in the classroom? Finally, what is the connection between research and the use of graphic novels in the classroom? In this qualitative study, the authors examined 14 responses from media specialists and ELA instructors working in schools in southeastern Tennessee. Additionally, they reviewed literature related to each of these questions.
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Huq, ATM Sajedul. "Using Graphic Novels to Teach English Majors in Bangladeshi Universities." Crossings: A Journal of English Studies 4 (August 1, 2014): 37–51. http://dx.doi.org/10.59817/cjes.v4i.337.

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The paper examines the existing misconceptions about graphic novels and explains how this medium of art can be used to teach graduate students majoring in English Literature. Graphic novels can be a great aid for students who ate pursuing degrees in English, yet struggling with language acquisition. The lack of vocabulary is one stumbling block which can be averted by the illustrations of a graphic novel that both exemplify the context and contextualize the narrative. The inclusion of graphic novels in syllabi across the globe, the paper argues, can be replicated in our local universities.
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34

Fenty, Nicole S., and Melissa Brydon. "Using Graphic Novels to Engage Students With Learning Disabilities During Fluency Instruction." Intervention in School and Clinic 55, no. 5 (December 11, 2019): 278–85. http://dx.doi.org/10.1177/1053451219881749.

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Strong oral reading fluency skills are an important indication of good reading. In addition, reading engagement is often correlated with reading success. Unfortunately, students with learning disabilities (LD) often struggle to read fluently and engage with text. Incorporating graphic novels as part of a comprehensive reading program may help support student engagement with text during reading fluency instruction. This article outlines how teachers can use graphic novels as part of a comprehensive reading program to help engage students with LD in reading during fluency instruction. A brief summary of the literature surrounding comprehensive fluency instruction and the use of graphic novels is provided. In addition, a scenario is provided to illustrate guidelines for fluency planning and instruction using graphic novels. Finally, conclusions are summarized.
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Staudacher, Diana. "„Mit Worten malen und mit Bildern schreiben …“." PADUA 16, no. 4 (September 2021): 241–47. http://dx.doi.org/10.1024/1861-6186/a000636.

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Zusammenfassung. „Bildergeschichten“ des Krankheitserlebens bringen weit mehr zum Ausdruck als traditionelles Edukationsmaterial: Erlebtes und Gedachtes, Gefühltes und Gefürchtetes, Erwünschtes und Erhofftes. Dank mündlicher Rede und einfacher Sprache sind Graphic Novels leicht zu verstehen. Wer die Geschichten liest, wird „in sie hineingezogen“ und verbindet sie mit eigenen Erfahrungen. Welches Potenzial bieten Graphic Novels für die Patientenedukation? Welche Zielgruppe sprechen sie primär an? Und wo liegen die Grenzen, die es beim Einsatz von Graphic Novels zu beachten gilt?
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Brooks, Melanie C., Kelly Deits Cutler, Fida Sanjakdar, and Daniel D. Liou. "Teaching Jihad: Developing Religious Literacy through Graphic Novels." Religions 11, no. 11 (November 20, 2020): 622. http://dx.doi.org/10.3390/rel11110622.

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This study examined the representations of jihad in graphic novels to ascertain how its depictions may inform the development of religious literacy in secondary classrooms. Hegemonic constructions of jihad in the West are commonly reduced to false binaries that shape non-Muslims’ extant beliefs and perceptions of Islam and Muslims. This raises concerns about the ways in which societal expectations shape knowledge formation in schools. Accordingly, this critical content analysis explored the depiction of jihad in three graphic novel memoirs, an increasingly popular medium of instruction in secondary classrooms. Our analysis identified three forms of jihad conveyed through the graphic novels, specifically: jihad for education, jihad for gender justice, and jihad for identity. These representations provide robust counternarratives and suggest the value of teaching religious concepts through graphic novels as a way to develop deeper understandings and counter misinformation. The article concludes with six recommendations for educators to consider when teaching religious content through contemporary graphic novels.
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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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Skoble. "Illustrated Rand: Three Recent Graphic Novels." Journal of Ayn Rand Studies 20, no. 1 (2020): 146. http://dx.doi.org/10.5325/jaynrandstud.20.1.0146.

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Khrustaleva, Mariya A., and Aleksandra S. Klimova. "SPECIAL FEATURES OF GRAPHIC NOVELS TRANSLATION." Вестник Пермского университета. Российская и зарубежная филология 12, no. 4 (2020): 68–78. http://dx.doi.org/10.17072/2073-6681-2020-4-68-78.

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The article deals with one of the issues in the study of creolized text – the special features of graphic novels translation. These are explored based on the translation from Spanish into Russian made by the authors of the paper for the literary work Wrinkles (Spanish: Arrugas) written by Paco Roca. The authors consider cognitive discourse analysis to be the main approach to the translation of the abovementioned graphic novel. It gives an opportunity not only to justify the researchers’ translation decisions but also to convey the author’s idea and his personal perception of the world in a more complete and accurate way. The frame method, which is regarded as an adequate mode of the concept structural organization, makes it possible to build the sphere of concepts of the source text. The concepts of MEMORIA (memory) and VEJEZ (old age) are considered the key concepts of the graphic novel because, as it was found at the stage of pre-translation analysis, they create its artistic space. The frame analysis of the fundamental concepts of the source text and the identification of semantic correlations between the language representants make it possible to translate the researched literary work. Based on the research results, the authors draw a conclusion about the special features of graphic novels translation and the effectiveness of applying the cognitive discourse analysis to the translation of such works. The study concludes with an outline of the prospects for further research on graphic novels, a new literary genre that represents an unusual combination of fine art, literature and cinematography.
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Curto, Gemma. "Floods in contemporary biocentric graphic novels." Green Letters 24, no. 1 (January 2, 2020): 6–22. http://dx.doi.org/10.1080/14688417.2020.1752508.

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Rheault, Sylvain. "A surge of Indigenous graphic novels." Journal of Graphic Novels and Comics 11, no. 5-6 (January 10, 2020): 501–21. http://dx.doi.org/10.1080/21504857.2019.1707248.

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Hargadon, Erin E. "Using Graphic Novels to Motivate Readers." Reading Teacher 72, no. 4 (May 31, 2018): 529–30. http://dx.doi.org/10.1002/trtr.1732.

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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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Carlson, Lynette M., Bry Edwards, and Mikiko Aoyagi Nakajima. "Using Graphic Novels to Teach Diversity, Equity, Inclusion, and Social Justice: An Educational Technique." Athletic Training Education Journal 17, no. 4 (October 1, 2022): 262–69. http://dx.doi.org/10.4085/1947-380x-22-009.

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Context The Commission on Accreditation of Athletic Training Education Professional and Residency and Fellowship Standards indicate athletic training students, residents, and fellows must be trained in diversity, equity, inclusion, and social justice (DEI&SJ). Diversity, equity, inclusion, and social justice is a broad, complicated subject. Stereotyping and bias training are 2 topics within DEI&SJ that are important for providing culturally competent health care. Objective To detail a strategy for implementing concepts of DEI&SJ into athletic training education programs. Background As part of the health care team, athletic trainers are at the forefront of access to the medical system. Athletic trainers need to be prepared to service a growing diverse population. Description This learning activity enables athletic training educators to creatively engage students in discussion using graphic novels. This article describes the preparation and delivery methods for using graphic novels to teach stereotyping and bias concepts. Clinical Advantage(s) Integrating graphic novels into a classroom activity allows students the opportunity for open communication with classmates. Interpreting graphic novels may increase patient-centered care by increasing empathy in athletic training students. Conclusion(s) The inclusion of graphic novels into athletic training education using interpretation and open discussion techniques can expose students to complicated topics related to DEI&SJ.
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Schultze, Brigitte. "Textual and pictorial components in the focus: paratext in translated graphic novels." Zeitschrift für Slawistik 63, no. 4 (November 5, 2018): 561–90. http://dx.doi.org/10.1515/slaw-2018-0039.

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Summary In spite of manifold textual-pictorial make-up and remarkably varied meaning making function, paratext is one of the neglected research topics around graphic novels (graphic narrative in general). Even more so, this goes for translated graphic novels. Distinguishing between carrier media of paratext (front and back covers, blurbs) and forms of information (introduction, imprint, appendix), this study starts from describing most characteristic components of graphic novels’ paratext. Different from many articles on graphic narrative, this contribution is not only based on English, French and German, but also on Slavic (Czech, Polish, Serbian) source and target texts. All source texts are internationally respected, prize-winning examples of the genre. Comparative analysis profits from this enlargement of research material: it yields new insight into meaning making contained in or connected with paratext – including target recipients’ privileged position.
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Yolen, Jane. "How Hard Can It Be?" Voices from the Middle 17, no. 4 (May 1, 2010): 15–18. http://dx.doi.org/10.58680/vm201010786.

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Jane Yolen, the award-winning author of over 300 books, shares her writing process and invites us to understand the differences between writing for picture books, writing narratives, and collaborating on a graphic novel, as she experienced while writing her first graphic novel Foiled. The relationship between the illustrations and the text is central in creating graphic novels and essential to producing a quality book. Not only is the author asked to be “part art director, part movie director, part set designer and costume designer, part storyboarder,” the production of graphic novels necessitates collaboration between author, artist, and editor. The sophistication with which graphic novels are written and, as a result, read has helped Jane Yolen embrace this art form, and she encourages us to do the same. “How Hard Can It Be?” Copyright ©2009 by Jane Yolen. All rights reserved.
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Louka, Margarita. "Examining cultural displacement within two graphic novels: A comparative analysis." JAWS: Journal of Arts Writing by Students 7, no. 1 (December 1, 2022): 131–40. http://dx.doi.org/10.1386/jaws_00035_1.

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This article analyses how two graphic novels convey the feeling of cultural displacement through their intentions, research methods and visual language. The two graphic novels discussed are Shaun Tan’s The Arrival and a student work by Margarita Louka, Foreign. This article will be accompanied by a discussion in the wider discourses surrounding migration, so that the graphic novels can be correctly contextualized. Even though the visual styles in The Arrival and Foreign are different, both use similar strategies such as defamiliarization, variation of atmosphere and a sympathetic main character to convey the feeling of cultural displacement.
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Rohila, Bhanupriya. "Graphic Novels and Traditional Art Forms: The Indian Context." Indialogs 10 (April 12, 2023): 11–26. http://dx.doi.org/10.5565/rev/indialogs.218.

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The visual language of graphic novels is increasingly becoming a powerful tool of expression. Originally known as the comic books, the contemporary graphic novels are being acknowledged as a potential medium for handling serious issues. Recently, a great changeover in the thematic concerns and the art style of Indian Graphic Novels has been witnessed. This hybrid medium of text and image is addressing to the sensitive issues and questions of the contemporary modern society and also establishing a cultural identity through its artistic (visual) expression. The conventional style of comic sketching and caricaturing on paper is being replaced by the traditional art forms from different cultures and regions of India. This shift has brought about a change in the perspectives or the ways of ‘seeing’ both the Indian Graphic Novels and the Indian visual art forms. The paper purports to establish a connection between these two with a proposition that the graphic novels are a potential mode of preserving the traditional art forms of India and helping them gain recognition globally so that the Indian Graphic Novel can also create a distinguished identity in verbal-visual literature like that of Japanese Manga. The paper is an endeavour to examine how the traditional art forms are being contextualized in the contemporary times and how they are effectively registering the resistance against the stereotype and the negligence especially of women and Dalits in the Indian society itself.
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Ходоренко, А. "ON SOME ASPECTS OF GRAPHIC NOVELS OR «VISUAL NARRATIVES». FROM TEXT TRANSLATION TO INTERSEMIOTIC TRANSMUTATION." Journal “Ukrainian sense”, no. 2 (December 1, 2023): 47–53. http://dx.doi.org/10.15421/462215.

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Background. Graphic novels as well as graphic novel translation process is reaching more interest of scientists from both proper linguistic and multidisciplinary point of view. Graphic novels provide the possibility to work with the abundant investigation corpus and also it provokes great interest for investigating its translation characteristics. It should be mentioned that the term translation here is used from a semiotic and intersemiotic perspectives as well as its cognitive and multimodal implementation. The purpose of the study is to demonstrate the methods for the translator to apply to be able to translate, to offer its proper transcreation. Methods. Procedures of the research are qualitative methods that involve observation over the corpus the investigation which is corpus of English versions of historical graphic novels, among which Persepolis by M. Satrapi, and its translations, selection of the examples of illustrative material, analysis of translation transformations used, application of the methods of intersemiotic and multimodal theories as well as some tools of cognitive linguistic theory thesis. Results. The present article deals with some aspects of graphic novels, its translation process and the result, from both proper linguistic and multidisciplinary point of view. The corpus of the investigation is the graphic novel Persepolis written by M. Satrapi, graphic novel English version and its published translations. It is described why graphic novels are analysed from point of view of semiotics, while its translation is considered to be realised in the intersemiotic framework. The term translation is used from a semiotic and intersemiotic perspectives as well as its cognitive and multimodal implementation is suggested in the article. It is disputed about the difference between terms translation and transcreation. Some special characteristics of inner and outer form of graphic novels have been given. It is further discussed the methods for the translator to apply to be able to translate, to offer its proper transcreation. It also challenges the scientific though to clarify the term translation in the case of translating graphic novel, and it asks many questions about the multimodal aspects of the trilogy – the author, the translator, the reader. Modulation is proved to be considered the main and universal method of translation. Illustrative examples are given. Discussion. One universal way of translating graphic novels is modulation, the translation shift, allowing to change the form with the sense unchanged. All the modalities should be taken into account while realizing translation of the one. From cognitive point of view graphic novel is the embodiment of cognitive metaphor and concepts blended inside one and the same narrative. As a perspective of the study it is suggested to further analyse the constraints of trilogy – the novel, its transmutation, the reader and the place with the role of every participant of a graphic novel creation defined and described.
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Christie, Erica. "One Story, Many Perspectives: Reading and Writing Graphic Novels in the Elementary Social Studies Classroom." International Journal of Literacy, Culture, and Language Education 1 (February 15, 2019): 107–24. http://dx.doi.org/10.14434/ijlcle.v1i0.26829.

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Though elementary students often read picture books in school, the growth of critical literacy has inspired teachers to select texts that engage students with literacy and social studies in more meaningful ways. Although many of these texts are traditional picture books, alternative formats like the graphic novel are also being used to invite student questioning and share multiple perspectives. This study examines the ways elementary students understand and retell a complex social studies story using multiple textual formats. Thirdgrade students were exposed to a picture book and graphic novel version of the true story of Alia Muhammad Baker, a courageous Iraqi librarian. After reflecting on the texts, students renarrated the story; many chose to write graphic novels. Students expressed high levels of interest in graphic novels, exhibited new perspectives on the Iraq War and active citizenship, and utilized key features of graphic novels to tell complex and multilayered social stories.
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