Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-05-13T14:05:31Z No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-27T20:46:46Z (GMT) No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-06-27T20:47:12Z (GMT) No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) / Made available in DSpace on 2016-06-27T20:47:12Z (GMT). No. of bitstreams: 1 cassiahelenavassaoaraujo.pdf: 5584182 bytes, checksum: 3d482ab44aadd2d627fbb30b2b540e63 (MD5) Previous issue date: 2013-10-07 / A presente dissertação consiste na análise do processo de quadrinização de “Memórias de um sargento de milícias”, obra de Manuel Antônio de Almeida, objetivando evidenciar como o folhetim foi traduzido em imagens por Indigo e Bira Dantas. Para tal intuito, foi necessário, primeiramente, estabelecer a intrínseca relação entre imagem e escrita; conceituar história em quadrinhos; e, em seguida, traçar um histórico deste tipo de narrativa no mundo e no Brasil, a fim de mostrar como a sua linguagem, tão própria, foi sendo construída e desenvolvida, até o surgimento das primeiras obras baseadas em textos literários, inclusive a que constitui o objeto de estudo deste trabalho, produzida em 2007. Em um segundo momento, empreendeu-se uma reflexão sobre o folhetim, suas características, de que forma elas são perpetuadas nos quadrinhos e estabeleceu-se o tipo de tradução – a icônica – como a maneira que se dá a transcriação de uma obra literária em história em quadrinhos. Em um terceiro momento, a partir de teorias já engendradas especificamente sobre a obra de Manuel Antonio de Almeida, buscou-se traçar paralelos em relação aos quadrinhos. E, por fim, realizou-se uma observação pormenorizada da HQ a propósito do espaço, do tempo, dos personagens e do narrador quadrinizado. O referencial teórico dessa pesquisa envolve reflexões de Eisner (1999, 2008), McCLoud (1995, 2006, 2008), Ramos (2012), McLuhan (1964), Bakhtin (1996), Andrade (1972), Benjamin (2008), Candido (1970, 2012), DaMatta (2007), Nikolajeva; Scott (2011), Mendonça (2010), Plaza (2010), Serra (1997). / This dissertation consists of the analysis of the process of cartooning for "Memoirs of a militia sergeant," the work of Manuel Antonio de Almeida, aiming to show how the serial was translated into images by Indigo and Bira Dantas. For this purpose, first it was necessary to establish the intrinsic relationship between image and writing; conceptualize comic, and next, enable the historical scenarios of this kind of narrative in the world and in Brazil in order to show how their own language, was being built and developed, until the emergence of the first works based on literary texts, including what constitutes the object of this work, produced in 2007. In a second moment, it was developed a reflection on the serial, its characteristics, how they are perpetuated in the comics and it was established the transcreation of a literary work in comic strips throughout the iconic translation. In a third phase, from theories already engendered specifically on the work of Manuel Antonio de Almeida, it aims to compare parallels in relation to comics. And finally, was carried out a detailed analysis of the comics in relation to place, time, characters and the narrator in cartoons. The theoretical framework of this research involves reflections of Eisner (1999, 2008), McCloud (1995, 2006, 2008), Ramos (2012), McLuhan (1964), Bakhtin (1996), Andrade (1972), Benjamin (2008), Candido (1970, 2012), Da Matta (2007), Nikolajeva, Scott (2011), Mendoza (2010), Plaza (2010), Serra (1997).

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-09T19:26:01Z No. of bitstreams: 1 laiscoutinhoroxo.pdf: 28829900 bytes, checksum: bc1893916d9a0632251e12d8b7276d6b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-10T12:27:05Z (GMT) No. of bitstreams: 1 laiscoutinhoroxo.pdf: 28829900 bytes, checksum: bc1893916d9a0632251e12d8b7276d6b (MD5) / Made available in DSpace on 2018-04-10T12:27:05Z (GMT). No. of bitstreams: 1 laiscoutinhoroxo.pdf: 28829900 bytes, checksum: bc1893916d9a0632251e12d8b7276d6b (MD5) Previous issue date: 2018-02-08 / Pesquisa com o intuito de confrontar o uso das personagens em quadrinhos com as representações femininas abrangentes na sociedade atual, quebrando ou reforçando padrões, explorando a inserção do discurso visual das representações, sendo essas construções discursivas observadas como um conjunto integrado a um jogo enunciativo de elementos visuais de padrões sócio históricos. A partir de como o indivíduo (leitor) se relaciona com as imagens dispostas, como a personagem é apresentada visual e narrativamente e as mudanças refletidas no mercado nessas personagens devido ao movimento feminista dentro da cultura pop, conhecido como GirlPower, que teve sua origem nos anos 90 como um slogan da “girl band” britânica Spice Girls, posteriormente seus desdobramentos como fórmula vigente para a criação de novas personagens da cultura de massa, sua consolidação nas produções audiovisuais voltadas a vários tipos de idades diferentes, e finalmente como gatilho para uma retomada nos dias atuais, vinte anos após a primeira utilização do termo. O uso dos conceitos de male gaze1 e female gaze2 aplicados a narrativa e em enquadramentos são utilizados na análise de duas histórias em quadrinhos da personagem Capitã Marvel (Carol Danvers, antes conhecida como Miss Marvel), uma sendo sua primeira edição de 1977 e a outra uma edição de 2012 para observar quais mudanças houveram durante os anos entre as edições, com as alterações sociais, políticas e mercadológicas mundiais, e se elas se adequaram ao que o movimento GirlPower se propõe como representatividade. / Research in order to confront the use of comic characters with the broad feminine representations in the present society, breaking or reinforcing patterns, exploring the insertion of the visual discourse of the representations, being these discursive constructions observed as a set integrated to an enunciative game of elements visual models of socio-historical patterns. From how the individual (reader) relates to the arranged images, how the character is presented visually and narratively and the changes reflected in the market in these characters due to the feminist movement within the pop culture, known as GirlPower, which had its origin in the 90s as a slogan of the British girl band Spice Girls, later its unfolding as a current formula for the creation of new characters of mass culture, its consolidation in the audiovisual productions facing different types of different ages, and finally as a trigger for a resumption today, twenty years after the first use of the term. The use of the concepts of male gaze and female gaze applied to the narrative and in frames is used in the analysis of two comic strips of the character Marvel Captain (Carol Danvers, formerly known as Miss Marvel), one being its first edition of 1977 and the other a 2012 edition to look at what changes have occurred over the years between issues, with global social, political and market changes, and whether they fit what the GirlPower movement proposes as representativeness.

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2018-05-18T14:06:14Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Sandro Silva de Andrade_Dissertação.pdf: 6553759 bytes, checksum: b6b09b0cd5857d94e0d270e185cce2ff (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:55:14Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Sandro Silva de Andrade_Dissertação.pdf: 6553759 bytes, checksum: b6b09b0cd5857d94e0d270e185cce2ff (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:55:21Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Sandro Silva de Andrade_Dissertação.pdf: 6553759 bytes, checksum: b6b09b0cd5857d94e0d270e185cce2ff (MD5) / Made available in DSpace on 2018-05-18T20:55:28Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Sandro Silva de Andrade_Dissertação.pdf: 6553759 bytes, checksum: b6b09b0cd5857d94e0d270e185cce2ff (MD5) Previous issue date: 2017-04-26 / Corte e sutura trata de algo que achei que conhecesse muito bem: eu. Tive algumas surpresas quanto a isso. Em consonância com metodologias investigativas contemporâneas no que tange à subjetividade, como cartografia, escritas de si, e principalmente A/r/tografia, pude realizar, no presente estudo, uma jornada de autoconhecimento. Através de uma escrita autobiográfica imagética/poética/(re)inventiva, tenho como objetivo, investigar alguns problemas que levantei enquanto educador. Em cursos particulares que ministro, de história em quadrinhos, desenvolvi propostas utilizando minhas referências pessoais como pontos de partida para a criação de práticas docentes lúdicas com base em narrativas autobiográficas. Matéria primordial do trabalho que aqui se apresenta, aquelas experiências pedagógicas evidenciam a busca por uma identidade metodológica através de dinâmicas era evocada a subjetividade dos alunos muito mais do que apenas transmitir informações técnicas. Corte e Sutura é, portanto, uma pesquisa de caráter processual, em constantes transformações e que aqui não se encerra. Ao contrário, o final desta etapa oferece possibilidades variadas de futuras investigações. / Cut and suture deals with something I thought I understood very well: me. I had a few surprises in this regard. In accordance with contemporary investigative methodologies regarding subjectivity, such as cartography, written by itself, and principally A/r/tography, I was able to carry out, in the present study, a journey of self-knowledge. Through autobiographical imagery / poetic / (re) inventive writing, I aim to investigate some problems that I identified as an educator. In particular courses that minister, comic book, I developed proposals using my personal references as starting points for the creation of playful teaching practices based on autobiographical narratives. Primordial subject of the work presented here, those pedagogical experiences evidence the search for a methodological identity through dynamics was evoked the subjectivity of the students much more than just convey technical information. Cut and Suture is, therefore, a research of processual character, in constant transformation and that does not end here. To the contrary, the end of this stage offers varied possibilities for future investigations.

This project is an analytical history of the discourse of media panics that have affected comics-like forms in the mid- to late-1800s, comic books in the mid-1900s, and comics media in 1990s and the contemporary moment. The study of these media panics shapes a theory of nerd culture in general and comics culture specifically in order to better understand the delicate and foundational dialectic that sustains a consumer identity that is paradoxical in its indulgence in and animosity towards popular culture. With its historical formation in mind, this project explores the formation of geek chic as a consumer identity that, in many ways, troubles and even threatens the status quo of nerd culture.

The mahō shōjo or “magical girl”, genre of Japanese animation and manga has maintained a steady, prolific presence for nearly fifty years. Magical Girl series for the most part feature a female protagonist who is between the ages of nine and fourteen - not a little girl but not yet a woman. She is either born with or bestowed upon the ability to transform into a magical alter-ego and must save the world from a clear and present enemy. The magical girl must to work to balance her “normal life” – domestic obligations, educational obligations, and interpersonal relationships – with her duty to protect the world. I will argue that the "transformation" of an ordinary girl into a magical girl heroine is a mechanism of personal and spiritual growth within a liminal space that provides the heroine and the female fans who read these series with the tools needed to grow in a supportive community. I will build a framework using Joseph Campbell’s mythic narrative and Vladimir Propp’s folktale morphology to illustrate how the narrative pushes the heroine to grow and mature in a way that honors her individual self. Furthermore, I will illustrate how female fans disseminate these works as consumers, creators, and producers. Magical girl series, particularly ones marketed to school girl audiences, are published in manga magazines that encourage engagement between the readers and artists while initiating young readers into the world of manga. / Graduate

This diploma thesis with the title Theme of growing up in modern comics aims to examine the modern comics with qualitative analysis and thus to deepen the insufficient academic coverage of the given topic. The analyzed pieces of work are Locas by Jaime Hernandez, Ghost World by Daniel Clowes, Jimmy Corrigan, the Smartest Kid on Earth by Chris Ware, Oskar Ed: Můj největší sen by Branko Jelinek, Black Hole by Charles Burns, Epileptic by David B., Blankets by Craig Thompson and The Playboy by Chester Brown. The analysis itself is preceded by the part that deals with the wider context of growing up in the literature and cinematography. The chapters which deals with the specific pieces of work are divided thematically and they are always represented by the pair of authors: the theme of feminineness at Jaime Hernandez and Daniel Clowes, the dreamy landscapes and relationships with father at Chris Ware and Branko Jelinek and the sexuality and religion at Craig Thompson and Chester Brown. A chapter summarizing the response of media in the Czech background is also included. The principal aim of the thesis is to increase the coverage of theoretical material of the specific comic works and to put it into the wider artistic context.

Orientador: Fabio Akcelrud Durão / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T07:22:30Z (GMT). No. of bitstreams: 1 Curi_FabianoAndrade_D.pdf: 17480636 bytes, checksum: df3fbbe639917efacc3b30f816ed320e (MD5) Previous issue date: 2013 / Resumo: Este trabalho tem como finalidade observar as possibilidades de representação autobiográfica nas narrativas das histórias em quadrinhos, mais especificamente de lembranças traumáticas. Nos últimos anos, foram vários os novos títulos tendo como tema as experiências de vida de seus autores que se utilizaram de diversas estruturas e técnicas para refletirem sobre as lembranças de episódios que vivenciaram. A proliferação dessas obras levanta a questão sobre a criação de espaços autobiográficos nas histórias em quadrinhos. Espaços autobiográficos que alimentam a discussão entre os limites do real e do ficcional, do concreto e do abstrato e da relação entre autor e leitor. Diferentemente do texto literário ou da imagem fílmica, muito comuns nos relatos de si, as narrativas em quadrinhos trabalham com o equilíbrio entre texto e ilustrações compondo uma forma singular para lidar com essas histórias, ainda que tenham limitações semelhantes às outras, pois estas são características da memória e não da narrativa. Para levantar as virtudes e problemas dessas histórias, há na pesquisa uma leitura mais aprofundada das obras Cicatrizes, de David Small, Retalhos, de Craig Thompson, e Fun Home, de Alison Bechdel, que auxilia no entendimento da argumentação teórica sobre memória, autobiografia e trauma nas histórias em quadrinhos. / Abstract: This work aims to observe the possibilities of representation in autobiographical narratives of comics, specially the traumatic memories. In recent years, a great number of new titles having as theme the life experiences of the authors who used various structures and techniques to reflect on the memories of episodes they experienced. The proliferation of these works raises the question about creating autobiographical spaces in comics. Autobiographical spaces that nurture the discussion about the boundaries of the real and the fictional, the concrete and the abstract, and the relationship between author and reader. Unlike the literary text or film image, very common in other reports of the self, narratives comic work with the balance between text and illustrations composing a unique way to deal with these stories, even if they have similar limitations like the others, because these are characteristics memory and not the narrative. To raise the virtues and problems of these stories, there is in this research a close reading of the works Stiches, from David Small, Blankets, from Craig Thompson, and Fun Home, from Alison Bechdel , which helps in understanding the theoretical argument about memory, autobiography and trauma in the comics. / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

A presente tese visa compreender os significados históricos de uma faceta da produção de histórias em quadrinhos alternativas brasileiras do período pós-ditadura civil-militar no Brasil, de 1985 a 1995. A partir da constatação de que as temáticas da sexualidade e do uso de drogas ilícitas assumem importância ímpar no âmago dessa produção, inclusive inaugurando ou aprofundando discursos e representações sobre tais matérias na indústria cultural brasileira do período, buscamos analisá-las detidamente nesse recorte para compor um quadro abrangente de suas motivações e racionalidades. Foram observadas relações de tais matérias com problemáticas da segunda metade do século XX dos movimentos da Contracultura internacional, de divergências políticas no âmbito das esquerdas, das dinâmicas das subculturas urbanas, bem como de conexões com fórmulas emotivas na longa duração de tradições iconográficas. Verificamos que as iniciativas discursivas dos quadrinhos alternativos inserem-se em um movimento de reorientação das ações políticas no âmbito cultural que contribuíram para a incorporação de pautas políticas relacionadas a questões ligadas à autogestão do corpo, à pluralidade identitária e, mais pragmática e incisivamente, à liberdade de expressão durante a reconstrução social de um regime democrático. / This thesis aims to further understand the historical meanings of the alternative comics production in Brazil during a postdictatorial time interval that goes from 1985 to 1995. The starting point is that in the examined artistic output the themes of sexuality and illicit drug use acquire unique and central significance, which results in these matters being introduced or unforeseenly developed in terms of discourse and representation in the context of that period\'s brazilian culture industry. We then proceed to meticulously analyze this scope in order to arrive at a comprehensive depiction of its underlying motivations and rationalities. In doing so, we observe relations to the problematics of international Counterculture movements of the second half of the twentieth century, to internal disputes of groups to the left of the political spectrum, to the dynamics of urban subcultures, as well as to the Pathosformeln in long enduring iconographical traditions. We find that the discursive initiatives of brazilian alternative graphic novels participate in a movement towards reorientation of political action regarding culture which assisted in bringing about a greater incorporation of topics relating to self-governance of the body, plurality of identity, and, in a more pragmatic and incisive way, the role and importance of freedom of speech in the midst of social reconstruction of a democratic regimen.

At some point in our lives, we have all experienced physical and emotional pain. We all also try to find meaning in such suffering, first within ourselves, but also through sharing these experiences with those who are close to us. In literature, authors who write autobiographies blur the boundaries between the public and private spheres when they invite readers into their personal world. Georges May and Philippe Lejeune, leading critics of the genre, have concluded that autobiographers not only try to make sense of their own lives, but through their writing, they also seek forgiveness and human compassion. My doctoral thesis explores how an important contemporary literary genre, the French autobiographical comic book (also known as the graphic novel), approaches the topic of health and disease and links it closely with questions of identity formation. Within the theoretical framework proposed by Laurent Berlant, who founded a now thriving branch of contemporary cultural studies known as “Intimacy Studies,” the central aim of my thesis is to demonstrate how these French graphic novels have become an important literary and cultural site for examining the social and artistic significance of a form of writing in which private health concerns are made public. In speaking of intimacy, emotions such as love and other kinds of interpersonal bonds typically come to mind. However, my study of a corpus of ten French-language autobiographical comic books indicates that health concerns and representations of a variety of physical, emotional and mental afflictions are topics of focus in this genre. Authors share their life stories and discuss their relationships with others, but they also share very personal details about their physical and mental states. This sort of intimacy is, I argue, a product of the medium itself. Comics are a hybrid genre in which written texts and images coexist. Comic artists who take their own lives as the subject of their art draw pictures of themselves over and over again. In the autobiographical comics I study, when illness and other afflictions strike the body, this suffering is rendered graphically on the page. These artists are also preoccupied by their inner lives. Both their writing and visual art allow them to portray the inner turmoil they endure in their private life. Comic book scholars, whose studies have proliferated over the past several decades, have largely overlooked how important the portrayal of health is in the development of the genre. This is somewhat surprising given the extent to which the underground graphic novelists who emerged in the United States in the 1960s found ways to defy the Comic Code Authority by challenging cultural norms. These artists openly rejected the rules and conventions of mainstream comics, which typically focused on the exploits of super heroes or talking animals. Instead, they found artistic inspiration in their everyday lives and here is where politics and the art of expressing intimacy intersect. Underground comics were certainly infused with a spirit of rebellion, but the artists who participated in this movement sought first to reinvent the genre itself. Little by little, they delved into their inner lives and began to address some of the most taboo subjects of the day, including topics relating to the most personal aspects of their bodily existence. The daring these early underground comic writers showed in examining the unspoken aspects of personal life and relations went a long way toward establishing the genre as a recognized art form, opening the way for a subsequent generation of comic writers to tackle other serious topics such as war and genocide. Knowledge of the contributions that American underground artists had made to the comic book genre eventually reached Europe in the 1990s. At the time, French artists were also growing tired of their own superhero story lines and disenchanted with the mass-production model that defined the Franco-Belgian comics industry. In response to these conditions, a small group of comic book artists formed a company called L’Association (The Association) which became the first independent comic book publishing house of its kind. They paved the way for many other such enterprises and their formula for success is now being replicated in the mainstream publishing houses these independent-minded artists fled several decades ago. Part of that formula is the inspiration these artists drew from American cartoonists who began in the 1960s to share intimate aspects of their personal lives with their readership. What I have discovered thus far is the frequency with which French autobiographical comics take up and place the subject of ill health and life-threatening disease at the center of the stories they tell. Broaching the topic of ill health is not unique to the comics genre, but is rather a feature of modern autobiographical writing in general. As medical knowledge and scientific understanding have advanced in the modern era, the field of literature has worked to reclaim narratives from the medical world. But unlike other forms of literary expression, comic books offer more freedom of expression and possess a greater capacity to reflect the complexity of human identity and existence. This is especially the case with representations of human suffering. Images can configure what writing fails to grasp, allowing comic artists to express feelings and convey anguish that words can hardly express. The autobiographies I examine were produced by authors who have lived through, survived, or were in some way personally touched by a grave health crisis. Their use of the comic book genre allows them to make sense of the often life-shattering events they, or those who live in close proximity to them, have lived. I am particularly interested in the way in which these authors recount the crisis moment in their lives, how they understand the ways it affected them, and how they were able, or not, to recover from the experience. I show that our state of health, both physical or mental, has a profound effect on our identity, and how we perceive and tell stories about this dimension of our lives is crucial to forming a sense of self, particularly in a contemporary digitalized world that is now flooded with information and images once considered too private for public consumption. I demonstrate how the nine graphic autobiographies I have chosen to study are intimate expressions of vulnerable selfhood, showing how these public portraits of human weakness are a particularly postmodern way of reconstituting one’s identity in the social world. Modern and contemporary theories of human subjectivity teach us that the self is always fragmented. When we are sick, however, the task of finding a sense of stability in ourselves and in the world is even more daunting. Illness proves to be such a dominant theme in the comic book tradition, I argue, because it is a reminder of our own mortality. In the works I am studying, it is the experience of pain and the specter of death that often prompts the authors’ reflection on the self and on life. All of the works I am examining share a common feature. They exhibit a constant tension between the anxieties of revealing a deep personal vulnerability and the desire to make their suffering meaningful, which is a crucial aspect of these authors’ quest to recover and to reconstitute a sense of self in the aftermath of a debilitating illness. Informed by the insights of intimacy studies, psychoanalysis, comics studies and visual studies, I will show how the nine works I examine participate in the process of meaning-making and how the comics genre allows them to do so in particularly inventive and contemporary ways.

abstract: While the African American civil rights movement of the 1950s and 60s is one of the most famous and celebrated parts of American history, rhetoric scholars have illuminated the ways this subversive movement has been manipulated beyond recognition over time. These narrative constructions play a role in preserving what Maegan Parker Brooks calls the "conservative master narrative of civil rights history," a narrative that diminishes the work of activists while simultaneously promoting complacency to prevent any challenge to the white supremacist hegemony. This dissertation argues that the graphic memoir trilogy March by John Lewis, Andrew Aydin, and Nate Powell challenges this conservative master narrative through visual rhetoric, in particular through the comics techniques "braiding" and "weaving." Braiding occurs when authors create "webs of interrelation" (Miodrag 134) by repeating a technique throughout the text, which can sometimes involve a secondary narrative (Groensteen). Braids are associations in the network of panels of the comic that go beyond the parameters of strictly linear storytelling as panels echo those the reader has encountered before. The braids in March compare the past and present through a direct juxtaposition of January 20, 2009—the inauguration day of Barack Obama—with John Lewis' activism from 1959 to 1965. While this juxtaposition risks reinforcing a progress narrative that suggests racism is in the past, in fact, the braided inauguration scenes help the reader connect the moments of the past with their present, calling to mind the ways white supremacy endures in contemporary America. Weaving refers to the reader’s action of moving back and forth in the comics narrative to create meaning, and artists use techniques that facilitate this behavior, such as leaving out or minimizing significant cues and creating a sense of ambiguity that leads the reader to become curious about the events in the sequence. Weaving can disrupt an easy linear narrative of depicted events—such as Fannie Lou Hamer's testimony at the Democratic National Convention—as artists present several opportunities for the reader to interpret these stories in ways that challenge a conservative master narrative of the events in the trilogy. / Dissertation/Thesis / Doctoral Dissertation English 2019