ŠNAJDROVÁ, Marie. Learning book like a comics /Thesis/ Prague 2014 - Charles University, Faculty of education, department of art education, 81 pages. The thesis deals with comics as a peculiar art which is suitable for education too. It defines concepts as art, illustration, comics or learning book. The thesis inquires into function and using of illustrations in learning books. It shows some examples of contemporary comics' production, focuses on theoretical angle of this medium and offers confrontation with other media. And finally it goes to using comics for creating a learning book, and it shows some aspects why is comics adequate device. The thesis analyses creating of comics learning book and brings forward manual for full use of it. Key words: comics, learning book, art, symbol, education

This master's thesis aims to answer the question of how "Japanese superheroes" in manga differ from their western superhero counterparts in terms of storytelling, design, or motifs. The hypothesis works with the assumption that although Japanese manga follows the superhero genre's basic rules, many differences can be traced between these two comics worlds. These differences stem from the cultural environment in which analyzed comics originated. The theoretical part is divided into several chapters, which deal mainly with the basic definitions and history of researched areas. It begins with the definition of comics as a medium and focused on its technical characteristics and modern predecessors. The next chapter focuses on the essential aspects of the superhero genre, its conventions, and its typology. This thesis wouldn't be complete without defining the term "manga", the history of Japanese comics, and its specific genres and subgenres. Finally, it is also necessary to explain terms such as culture, cultural values , and cultural environment. The work then uses narrative, semiotic, and comparative analysis to examine the properties of six comic titles - three from American and three from Japanese production. Subjects of the research are narrative structures, appearance, and motives of superheroes...

Previous studies have shown that not only is there something called visual language through which we understand graphical expressions, but also that each culture has its own visual language. Furthermore, there are variances within these visual languages, denoted by genre, which can be interpreted to be dialects. In a similar fashion to a study by Neil Cohn and Sean Ehly in 2016, which uncovered the dialectical differences, this study has utilized 67 graphical schemas, known as visual morphemes, and a corpus of 20 volumes of Japanese comics, to investigate age-grading in the Japanese visual language. The corpus, consisting of 10 volumes aimed towards adults and 10 volumes aimed towards children, was searched for graphical schemas, and their relative frequencies were analyzed with independent samples t-tests. The results show great similarities between the populations, supporting the findings of previous studies indicating that there is a shared visual language between genres. However, there were also great differences in how the visual morphemes were used, with many morphemes being used in statistically different proportions between the populations. Further age-grading was also found in the absolute frequency and the meanings of the morphemes which were used, with children’s visual language appearing to be much more expressive. These results imply that there is significant age-grading in the Japanese visual language and that it can be characterized in several ways, including absolute frequency, content, and proportional use.

Comics have been around for centuries and have had different culturalmeanings depending on era, genre and country. Toward the end of the 20thcentury and the start of the 21st century, we experienced the rise of theinternet as well as the normalization of home computers and with that,comics also started inhabiting the digital space. The digital space opens upfor opportunities of multimedia and new ways of interacting with comics, butmost comics maintain the formats of their printed counterparts.The goal of this thesis is to contribute knowledge to both interaction designpractice as well as digital comics. This is done by conducting research throughdesign and interaction-driven design and through them, launch anexploration into how different interactions affect the experience of reading.User tests as well as a workshop was conducted in order to help articulate theexperience. The conclusions reached were that a more active way ofinteracting (i.e. scrolling for instance) appeared to be preferable to othermore static ways of interacting. The usage of the digital space appeared to insome cases enhance the experience of reading but it was closely connected tothe nature of the interactions.

Nous présentons une solution pour la création d'un corpus numérisé en utilisant une approche crowdsourcing pour annoter des bandes dessinées (BD). Les encodages XML qui en résultent aident également les chercheurs, les éditeurs, les bibliothécaires et les conservateurs de collections BDs. Pour atteindre notre objectif de recueil de données, nous développons un moteur de crowdsourcing en ligne pour annoter les BDs. Les tâches sont conçues pour reproduire l'expérience de lecture des pages des BDs, en demandant aux participants d'identifier et d'annoter les éléments structurels (cases, splash-pages) et de contenu (personnages, lieux, événements, onomatopées, objets, lignes de mouvement) des BDs. Notre approche fournit aux chercheurs en humanités numériques (digital humanities) la possibilité de bâtir un corpus structuré et annoté, aujourd’hui manquant. Cela permet d’accélérer la recherche liée à la BD et à la théorie de l'art séquentiel. Les bibliothécaires et les conservateurs de collections des BDs disposeront d'un contenu structuré qui pourrait permettre la création d'artefacts spécifiques, tels que des dictionnaires de BDs, des indices de recherche ou des dictionnaires d'onomatopée. Du point de vue de l'édition, les standards actuels pour les BDs numériques se chargent exclusivement de la couche de présentation (c'est-à-dire, rendre tout simplement une publication sur l'écran d'un dispositif numérique). Mais la nature artistique de la BD et le grand potentiel des BDs numériques nous permettent d'aller au-delà de la simple présentation du contenu. À cet égard, nous contribuons avec des améliorations aux standards sémantiques (CBML) et de présentation (EPUB). / We address the difficulty of creating a digitised corpus by using a crowdsourced approach for annotating comic books. The resulting XML-based encodings assist researchers, publishers and collection curators equally. To achieve our data collection goal, we develop an online crowdsourcing engine for annotating comics. The tasks are designed to mirror the page reading experience, with participants asked to identify and annotate structural (panel layout, splash pages, meta-panels) and content (characters, places, events, onomatopoeia) elements of comic books. Our approach provides Digital Humanities (DH) scholars with a (currently missing) structured, annotated corpus; this enables and accelerates research related to comics and sequential art theory. Curators and collectors of physical or online comics collections are provided with a structured content which could enable the creation of artefacts such as comic books dictionaries, search indices and dictionaries of onomatopoeia. From a publishing perspective, current standards for digital comics are taking care exclusively of the presentation layer (i.e. rendering a publication on the screen of a device). But the artistic nature of comics and the great potential digital comics have already showcased allow us to go beyond simple content presentation. To this respect we present our contributions with enhancements to current semantic (CBML) and presentation (EPUB) open standards that will allow publishers and digital comics authors to create an improved reading experience.

The subject of this thesis is an implementation of program that enables automatic generation of a comics page from input comics text. It also discusses various techniques of image processing and implementation of graphical filters that can transform a photograph into a drawing or another artistic picture.

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Master thesis examines comics that reflect the break-up of Yugoslavia. The theoretical part describes the main discourses that aim to explain the dissolution of Yugoslavia as well as the essential theoretical background of comics studies. The analytical part examines the ways in which comics mediate the break-up of Yugoslavia and, in particular the trauma associated with it. Authors of the comics most often work with a discourse that argues ethnic hatred, but they view it critically and point out its falsity. The analysis further revealed that comics provide a vast space for empathizing with victims of war trauma. Getting to know the survivors of traumatic events closely, as well as the concept of false memories that develop during reading of comics, facilitates empathetic reading. All the authors refuse to glorify war, focusing instead on the fatal effects that war has on the lives of ordinary people.