Les textes littéraires dans l’enseignement du français, langue étrangère nous montrent l’emploi du lexique et de la morphosyntaxe dans un contexte linguistique, socioculturel et communicatif authentique. Ils motivent en outre les apprenants par un « plaisir de lecture ». Les textes illustrés ou les bandes dessinées renforceront ces objectifs et ils faciliteront encore mieux pour nos étudiants l’accès à la lecture grâce à la complémentarité du texte et de l’image. Astérix en sera le corpus principal, combinant le texte et l’image, la langue, la culture et des connaissances diverses. En comparant les interprétations variées des lecteurs chinois et des lecteurs français sur Astérix chez les Bretons, nous mettons en évidence l’interculturalité franco-chinoise, ce qui facilitera la compréhension de la langue et de la culture françaises. Le public visé est celui des étudiants de 3e année de licence des universités chinoises. Nous exploiterons ainsi la valeur pédagogique d’Astérix, tout en contribuant à la recherche sur l’emploi des textes illustrés et des bandes dessinées dans l’enseignement du FLE en Chine. / Literary texts in teaching French as a foreign language show us the use of an authentic lexicon and morphosyntax, in a linguistic, socio-cultural and communicative context. In addition, they motivate students through « reading pleasure ». Illustrated texts or comics reinforce these objectives, and they facilitate further access of reading by combining text and image. Astérix will be the main corpus, as it combines text and image, language, culture and diverse knowledge. By comparing the various interpretations of Chinese and French readers of Astérix in Great Britain, we bring to the fore Franco-Chinese interculturality, which will facilitate understanding of French language and culture. Chinese students in the third year of university curriculum are our targeted public. We will thus take advantage of the educational value of Astérix, while contributing to research on the use of illustrated texts and comics in teaching French as a foreign language in China.

Dans ce manuscrit de thèse, nous détaillons et illustrons les différents défis scientifiques liés à l'analyse automatique d'images de bandes dessinées, de manière à donner au lecteur tous les éléments concernant les dernières avancées scientifiques en la matière ainsi que les verrous scientifiques actuels. Nous proposons trois approches pour l'analyse d'image de bandes dessinées. La première approche est dite "séquentielle'' car le contenu de l'image est décrit progressivement et de manière intuitive. Dans cette approche, les extractions se succèdent, en commençant par les plus simples comme les cases, le texte et les bulles qui servent ensuite à guider l'extraction d'éléments plus complexes tels que la queue des bulles et les personnages au sein des cases. La seconde approche propose des extractions indépendantes les unes des autres de manière à éviter la propagation d'erreur due aux traitements successifs. D'autres éléments tels que la classification du type de bulle et la reconnaissance de texte y sont aussi abordés. La troisième approche introduit un système fondé sur une base de connaissance a priori du contenu des images de bandes dessinées. Ce système permet de construire une description sémantique de l'image, dirigée par les modèles de connaissances. Il combine les avantages des deux approches précédentes et permet une description sémantique de haut niveau pouvant inclure des informations telles que l'ordre de lecture, la sémantique des bulles, les relations entre les bulles et leurs locuteurs ainsi que les interactions entre les personnages. / In this thesis, we review, highlight and illustrate the challenges related to comic book image analysis in order to give to the reader a good overview about the last research progress in this field and the current issues. We propose three different approaches for comic book image analysis that are composed by several processing. The first approach is called "sequential'' because the image content is described in an intuitive way, from simple to complex elements using previously extracted elements to guide further processing. Simple elements such as panel text and balloon are extracted first, followed by the balloon tail and then the comic character position in the panel. The second approach addresses independent information extraction to recover the main drawback of the first approach : error propagation. This second method is called “independent” because it is composed by several specific extractors for each elements of the image without any dependence between them. Extra processing such as balloon type classification and text recognition are also covered. The third approach introduces a knowledge-driven and scalable system of comics image understanding. This system called “expert system” is composed by an inference engine and two models, one for comics domain and another one for image processing, stored in an ontology. This expert system combines the benefits of the two first approaches and enables high level semantic description such as the reading order of panels and text, the relations between the speech balloons and their speakers and the comic character identification.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is the partial prerequisite of a Visual Arts research which investigates narrative possibilities on movements between two artistic languages, sculpture and comics. The text initially approaches the paths which led to this research: the emphasis on clay s materiality and on the action of chance on modeling and the theme of grotesque came from there. This research s main points are the use of sculptures as reference to a two-dimensional creation and of comics narrative resources to the three-dimensional creation. Through these experiences, theoretical reflections about narratives in art, about Deleuze s repetition and also about micro-narratives and communicational noise are shown. Finally, the present research is founded on works instauration processes, their procedures and adopted rules, and also through some of their thematic unfoldings and their insertions into editorial, academic and artistic contexts. / Esta dissertação é o pré-requisito parcial de uma pesquisa em Artes Visuais que investiga possibilidades narrativas de movimentos entre duas linguagens artísticas, a escultura e a história em quadrinhos. Neste texto são abordados inicialmente os caminhos que levaram a esta pesquisa: a valorização da materialidade da argila e a ação do acaso no modelado e a temática do grotesco surgida a partir daí. Como ponto central da pesquisa figuram o uso da escultura como referência para a criação bidimensional e de recursos narrativos dos quadrinhos para a produção tridimensional. A partir destas experiências, são apresentadas reflexões teóricas sobre questões de narratividade em arte, sobre a repetição segundo Deleuze e também sobre os conceitos de micronarrativas e ruído comunicacional. Finalmente, a presente pesquisa está fundada nos processos de instauração de obras, seus procedimentos, as regras adotadas, e ainda os seus desdobramentos temáticos e algumas inserções nos contextos editorial, acadêmico e artístico.

The work reflects one of the most popular fictional character of the first half of the 1930s, Pepina Rejholcová. Pepina Rejholcová, whose author Frantisek Voborsky, an important personality of Czech comics, has appeared in the Czech press at the turn of the 1920s and 1930s - first as a side character of humorous drawings or illustrations for popular song lyrics. Soon after, she reappeared on the silver screen, on pages of children's books, or in children's rooms in the form of toys and sweets. The transformations of the originally illustrated archetype caused by the switch among the various media are the center of interest for this work. In this context, the aspects of intermediality and transmediality are examined, both in special and general terms. It is mainly the extent to which the originally cartoon character changes, and whether the content of the message, the narrative patterns and the concept of humor is changing as well. In broader context, the work is a contribution to the theme of media and institutional integration. The work is divided into five parts and a conclusion. The first part outlines the theoretical viewpoints, the second part is devoted to Pepina Rejholcova's character, the third part reflects media representations, the fourth discusses essential characteristics of typical...

This thesis presents young British readers? engagement with manga regarding literary, aesthetic, social, and cultural dimensions. The study explores young readers? points of views of their reading preference ? manga. I investigated how children interpreted manga, with respect to the artistic techniques, the embedded ideologies, and the cultural elements therein. I also looked into children?s participation in manga fandom and its social meanings. This allowed me to explore what attracted British readers to this exotic text. This study involved 16 participants from two schools, aged between 10 and 15, with genders represented equally. The participants were grouped by gender in each school. Each group of students received three group interviews based on three manga that they were required to read in advance. Individual interviews with each student followed the group interviews, and all the students were asked to keep reading reflections. The findings show that the attraction of participants to manga includes at least five dimensions. First, manga is a visually rich text, which not only had great power in rendering vicarious experiences to the students, but also allowed the struggling students to grasp the meanings of the text better. Second, both the verbal and the visual storytelling were characterised as fragmentary, which inspired the students? imagination to join the creation of the story. Third, manga provided a temporary shelter where the participants could forget a stressful and frustrating reality. In addition, they felt that they gained renewed hope, refreshed energy, and insights to face potential challenges and difficulties in their lives. Fourth, the elements of Japaneseness and otherness made manga reading a rich experience of an exotic culture. Fifth, manga afforded collective pleasures in fan communities where the students could express their passion and gained a sense of identity.

To develop and deliver an innovative and technologically superior product is not enough to succeed when it does not meet the user's daily needs. To develop such a product, you need an abstract and easy to use communication platform for target users, decision makers, and developers, that can also act as a model of the relevant part of the real world displaced by a possible innovation, auxiliary tool in creating a mind map and documentation, and a way of promoting the final product. An instance of such a platform is a sophisticated comic book, itself an instance of sequential art. Not only is it a feature rich and intuitive tool for collaboration of interested parties with different backgrounds, skills and roles, but since it essentially reflects the relevant part of the real world displaced by the innovation, it's pretty easy and quick for a new user to learn and master. Although not limited to such instances, it can be found as an especially useful tool for crowdsourced and open source based projects. This thesis will lay down the much needed theoretical basis for the Sequential Art Driven Development method and offer a practical application of such method, with an open call for contributions from members of the crowd, in the form of a CC0 licensed comic book series "Who is Secret Agent X-9?", a showcase platform for cutting edge technologies like the Bitcoin network and Nemo Mobile operating system.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-10-21T23:51:27Z No. of bitstreams: 1 Proposta de material paradid?tico sobre as origens do Universo e da vida -Jociene Oliveria Vit?ria Nascimento.pdf: 12914128 bytes, checksum: 943c18fc8a4048089a11fdba32735688 (MD5) / Made available in DSpace on 2015-10-21T23:51:27Z (GMT). No. of bitstreams: 1 Proposta de material paradid?tico sobre as origens do Universo e da vida -Jociene Oliveria Vit?ria Nascimento.pdf: 12914128 bytes, checksum: 943c18fc8a4048089a11fdba32735688 (MD5) Previous issue date: 2015-08-27 / Natural science fields of research, especially Astronomy, have been expanded with a lot of information produced from technological advances. The study of the origins of the universe and life attracts men throughout their existence on Earth. So far, life has been not detected in other universe system apart from our solar one, but we already know that there are many planetary systems with good possibilities for that existence. This information come to school and must be worked on, in order to generate knowledge. The Brazilian education, especially in public schools, presents numerous problems related to learning, avoidance, lack of motivation for learners and teachers and little credibility as to the capacity of that educational structure to form citizens. From astronomy topics listed in Elementary Education curriculum and finding that there is deficiency in teacher?s training on basic knowledge of this science, it is proposed to draw up a paradidactic grounded in scientific conceptions, to be used in Basic Education. The paradidactic material was thought to be developed in comic format (HQ) in view of the official documents governing the Brazilian education when it is proposed the use of different languages in teaching. We have consulted the bibliography and have used the methods of qualitative and quantitative research. For the preparation of the paradidactic, there was a concern to support it at assumptions of the Theory of Meaningful Learning. We justified the preparation of the paradidactic and themes chosen from finding that there is little use of this science, which is interdisciplinary in basic education, since their subjects are part of the Basic Education curriculum, so they are attractive and offer possibilities to change the way education is conceived, pointing to the development of transdisciplinary proposals. / As ?reas das ci?ncias da natureza, especialmente a Astronomia, v?m sendo enriquecidas com muitas informa??es produzidas a partir do avan?o tecnol?gico. O estudo das origens do Universo e da vida atrai o homem ao longo de sua exist?ncia sobre a Terra. At? o momento, n?o foi detectada vida em outros astros do Universo, mas j? sabemos que existem v?rios sistemas planet?rios com boas possibilidades. Estas informa??es chegam ? escola e devem ser trabalhadas a fim de gerarem conhecimento. A educa??o brasileira, especialmente na escola p?blica, apresenta in?meros problemas relacionados com aprendizagem, evas?o, desmotiva??o de discentes e docentes e pouca credibilidade quanto a capacidade de formar cidad?os. A partir dos temas de Astronomia que constam no curr?culo do Ensino Fundamental e da constata??o de que existe defici?ncia na forma??o docente sobre conhecimentos b?sicos desta ci?ncia, prop?e-se a elabora??o de um paradid?tico embasado em concep??es cient?ficas, a ser utilizado na Educa??o B?sica. O paradid?tico foi pensado no formato de hist?ria em quadrinhos atendendo aos documentos oficiais que regulam a educa??o brasileira quando estes prop?em o uso de diferentes linguagens no ensino. Utilizou-se a consulta bibliogr?fica e os m?todos da pesquisa quali e quantitativa. Para a elabora??o do paradid?tico, houve a preocupa??o em apoi?-lo em pressupostos da Teoria da Aprendizagem Significativa. A elabora??o do paradid?tico e os temas escolhidos s?o justificados a partir da constata??o da pouca utiliza??o da Astronomia enquanto ci?ncia com um potencial muito grande para o desenvolvimento de a??es interdisciplinares, uma vez que seus temas fazem parte do curr?culo da Educa??o B?sica e oferecem possibilidades de transformar a maneira como se concebe a educa??o, favorecendo o letramento cient?fico e apontando para o desenvolvimento de propostas transdisciplinares.

Déployant une esthétique tournée vers la claire lisibilité des images garantissant leur performativité narrative, la ligne claire s’est naturellement constituée comme un style graphique idéel pour la bande dessinée. Mais en bâtissant un univers orienté vers la neutralisation de l’empreinte plastique de l’auteur, elle restreint singulièrement les ressources expressives de la représentation. À l’orée des années 70, de nombreux auteurs américains et français participent à redéfinir de façon radicale les canons du neuvième art et explorent le potentiel figural de l’image et du récit : l’icône et la linéarité narrative se trouvent alors perturbées par de multiples expérimentations. Elles sont placées en déséquilibre et accède à travers cette instabilité à une richesse insoupçonnée. La bande dessinée découvre l’équivoque et s’accorde à l’incertitude d’une pratique expérimentale et non plus normée. Tourmentée, l’image atteint à une puissance poétique qui étend le champ d’expression du neuvième art. Nous souhaitons observer les conditions d’émergence de ces auteurs et de production de ces œuvres qui entrent en dissidence avec l’esthétique « classique », afin d’analyser les procédés stylistiques employés pour détourner la bande dessinée des conventions de la ligne claire. Nous verrons ainsi que les diverses stratégies que nous avons relevées conduisent, selon les degrés d’intensité développés par les auteurs, à une conversion des images et des récits qui les amènent progressivement à s’éloigner de la limpidité figurative et narrative pour aller vers une confusion figurale de plus en plus affirmée. / The Clear Line naturally constituted itself as an ideal graphic style for the comic strip by deploying an aesthetic turned towards the clear legibility of the images, guarantying their narrative performativity. By building a graphic universe oriented towards the neutralization of the author's plastic imprint, it strangely restricts the expressive resources of the representation. At the dawn of the 1970s, many American and French authors tried to radically redefine the canons of the ninth art and explore the figural potential of the image and narrative: the icon and the narrative linearity are then disturbed by multiple experiments. They are placed in imbalance and access through this instability to an unsuspected wealth. Comics discover this ambiguity and the uncertainty of an experimental practice no longer normed. Tormented, the image reaches a poetic power that extends the field of expression of the ninth art.We wish to observe the conditions of emergence of these dissenting authors and works parting with the "classical" aesthetic, and analyze the stylistic processes used to divert the comics from the conventions of the Clear Line. The various strategies we have identified, to the levels of intensity developed by the authors, lead to a conversion of images and narratives, gradually moving away from figurative and narrative limpidity towards a growingly assertive figural confusion.

Comics, graphic novels, and manga differ appreciably from textual narrative formats, and materials with increasingly visual elements have found their way into progressive and student-centered library collections. But many educators and librarians still resist inclusion of graphic narratives in school libraries and devalue the reading practice of students who prefer more visual texts. Using the framework of radical change, which posits that both text conventions and reader expectations for text are increasingly multimodal as they possess characteristics of evolving digital media, this study considered the relationship of the characteristics of text individual students prefer, particularly those they select from the school library, and their attitudes towards aspects of reading practice as evidenced through the Adolescent Motivation to Read Profile instrument. Survey data was supplemented with circulation history from the library management system to inform a correlational study punctuating attitudinal differences based on reader preferences. Findings include high school students who engage with graphic narrative text formats reporting more favorable views of libraries and reading. There is a demonstrable distinction in attitudes between students who prefer more visual text when compared with peers with more traditional print affinities. Student engaging with graphic narrative texts also report more frequent engagement with text overall. These demonstrated relationships should help to legitimize the inclusion of more graphic narrative text formats in school library collections.

Existence Stories is an interactive activist art project that gathers personal narratives from people about the ways in which their lives have been impacted by the current political climate in the United States, particularly surrounding the 2016 Presidential election and its aftermath. The project harnesses first-person narrative and audience participation as tools for humanizing the “Other” and building connections between people through the act of sharing stories. As the project has progressed over time, it has evolved in multiple directions and come to incorporate a variety of media, primarily comics, animation, printmaking, and zines. The roles that reproduction, distribution, and communication play in all of these media are also explored within this body of work.