Mythology is an integral part of literature and an important cornerstone in a student's education. However, mythology itself is an extremely broad topic that encompasses the myths of a number of cultures. In the Language Arts classroom, students are introduced to Greek mythology in middle school; in the state of Florida as early as sixth grade per the Sunshine State Standards. However, students might find difficulty connecting to Greek literature difficult due to issues of: voice, prose and an inability to see the relevance behind the study of Greek mythology. In addition, the immensity of Greek mythology makes it difficult to select what pieces to teach and what to omit, but as Roy Thomas, the author of this version of the Marvel Comic's adaptation states "[e]very generation should have its own translation of The Iliad, one that speaks to it in its own special way'' (p. iii). The purpose of this study is to conduct a content analysis of a graphic novel version of The Iliad by Homer, with the intent of identifying the benefits of using alternative versions of classic literature within the Language Arts or Reading classroom, specifically the graphic novel. In hopes of demystifying the negative stigma with which comics, and graphic novels by extension, this thesis will study the attributed of this graphic novel and ultimately provide educators insight into a medium that has the potential to engage students in a multiple modes.

<p>Using the discussion of Biblical typology from Northrop Frye’s <em>The Great Code</em> as a starting point, this paper proposes a typological lineage of fiction growing from the foundational <em>kerygmatic</em> stories of Western culture. After briefly proposing canonical texts that would fit into this lineage, there is an analysis of the graphic novel <em>All-Star Superman</em> which demonstrates this contemporary text’s place in the typological line and its status as a prime example of the sorts of texts that would fit this lineage. Specific characteristics of the graphic novel and of superhero fiction are discussed that demonstrate <em>All-Star Superman</em>’s place in the typological line, and this placement also argues for the consideration of superhero narratives as worthy parts of the American literary canon. The final chapter discusses some of the ramifications arising from the analysis of both the form and the text, pointing to ways in which critical frameworks for both the typological lineage and the critical elucidation of the graphic novel format can move forward.</p> / Master of Arts (MA)

Made available in DSpace on 2016-04-28T19:58:50Z (GMT). No. of bitstreams: 1 Milton Sgambatti Junior.pdf: 3731587 bytes, checksum: 20d0ce057f0f69a1cc02a446b06c2008 (MD5) Previous issue date: 2013-07-05 / The main objective of this research is the study of the book Nada me Faltará of Lourenco Mutarelli in view the absence of a narrator and the way the narrative installs itself at the intersection between the novel and the graphic novel, significant fact arising to an author of comics. To conduct these reflections we propose as a hypothesis nuclear the fact that this is a novel that, to be write just for dialogues, stands on the threshold between the novel and the graphic novel, creating a sort of sequential narrative art from the present, in experience of the here and now of the relation it establishes between the text and the reader. As grounds for this research are reflections about narrator and about the concept of history by Walter Benjamin, and the critical positioning of Will Eisner on the narrative art of the graphic novel. The analysis results highlight how critical Nada me Faltará is located around for new narrative format made from residues and forgetting in whose void spaces and reticence signs, materialized by graphic sign ... are inscribed actions of a narrator in state of an output, typical of contemporary times / O objetivo central desta pesquisa é o estudo do livro Nada me Faltará de Lourenço Mutarelli, tendo em vista a ausência de um narrador e a maneira como a narrativa se instala na intersecção entre o romance e a graphic novel, fato significativo para um autor advindo dos quadrinhos. Para conduzir estas reflexões, propomos como hipótese nuclear o fato de ser este um romance que, ao ser construído apenas por diálogos, coloca-se no limiar com a graphic novel, criando uma espécie de arte narrativa sequencial a partir do presente, na experiência do aqui e agora da relação que estabelece entre o texto e o leitor. Fundamentam este trabalho as reflexões sobre o narrador e o conceito da história, de Walter Benjamin, além do posicionamento crítico de Will Eisner sobre a arte narrativa da graphic novel. Os resultados da análise crítica ressaltam como Nada me Faltará se encontra em novo formato narrativo feito de resíduos e esquecimento, em cujos espaços vazios e reticenciosos materializados pelo sinal gráfico ... , inscrevem-se gestos de um narrador em estado de potência, próprio da contemporaneidade

In a narrative the narrator tells the story, and the focalizer is a character through whose eyes the story is seen. The narrator is thus the one who speaks, whilst the focalizer is silent. The identification of these two narratological features is made with the help of verbal cues such as personal pronouns for instance. Determining the narrator and the focalizer can sometimes be challenging due to ambiguous cues in the analyzed text, as well as narratological aspects which at times can be difficult to distinguish from each other. Determining the narrator and the focalizer in graphic narratives (comics) with no narrative voice, or which completely lack words, must be done with the help of pictorial cues instead. In this thesis, Shaun Tan’s wordless graphic narrative The Arrival is used in order to show how the narrator and the focalizer can be determined by combining pictorial cues with the reader’s general knowledge of storytelling as well as his or her experiences from real life scenarios. To analyze narratological features in The Arrival, I employ terminology from comics studies, literary and film narratology. My analysis shows that determining the narrator and the focalizer in narratives lacking explicit narrative voice is possible by using only pictorial cues.

The Revisionist comics of the 1980s to present represent an effort to literally revise the existing conventions of mainstream comics. The most prominent and common device employed by the Revisionists was self-reflexivity; thus, they created metacomics. The Revisionists make a spectacle of critically interrogating the conventions of mainstream comics, but do so using those same conventions: formal, generic, stylistic, etc. At their most practical level, Revisionist metacomics denaturalise the dominant genres of the American mainstream and therefore also denaturalise the ideological underpinnings of those genres. At their most abstract level, they destabilise the concepts of "fiction," "reality," "realism," and "fantasy," and even collapse them into each other. Chapter 1 explains my methodological approach to metacomics: formal (sequence and hybridity), self-reflexive (metafiction, metapictures, metacomics), and finally denaturalising (articulation and myth). Chapter 2 analyses two metacomic cycles in the mainstream (the Crisis and Squadron Supreme cycles) and surveys the self-reflexive elements of Underground comix (specifically with regard to gender and feminist concerns). Chapter 3 presents three motifs in Revisionist comics by which they denaturalise the superhero: the dictator-hero, postmodern historiography, and fantasy genres. Finally, Chapter 4 analyses three major Revisionist comic-book seriesTransmetropolitan, Promethea, and Sandmanall of which comment on contemporary culture and the nature of representation using the dominant genres of American comics (science fiction, superhero, and fantasy, respectively). / English

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Mit masterprojekt er en grafisk roman med titlen Du er her ikke. Den omhandler temaer såsom identitet, dualitet, ensomhed og tvillingeskab. Bogen har en fragmentarisk struktur, hvor helheden skabes af erindringsglimt, der veksler med fantasier, og hvor selve billedudtrykket er en bærende del af fortællingen. En fortælling, der handler om de mange modstridende følelser, der rør sig i familierelationer og i særdeleshed mellem søskende. / My master's project is a graphic novel with the title You are not here. It touches upon topics such as identity, duality, loneliness and twinship. The narrative is built up in a fragmented structure, where glimpses of memories are alternated with fantasies, where the image is the primary focus. At the core of this story are the many conflicting emotions that are present in family relations and in particular between siblings.

Diese Arbeit untersucht, wie man mit einer Graphic Novel im schwedischen Deutschunterricht arbeiten kann. Heute beschäftigen sich Kinder und Jugendliche in ihrer Freizeit mit einer Vielzahl von verschiedenen Medien aus Wort und Bild. Dieses Interesse und Können der Schüler kann man im Klassenzimmer nutzen. Die Arbeit beschreibt, wie Wort und Bild in Graphic Novels zusammenwirken und geht näher auf das Werk Wunderland von Tom Tirabosco ein. Außerdem wird Literatur über Lernprozesse im Fremdsprachenunterricht untersucht, um anschließend Unterrichtsentwürfe zu entwickeln.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-02T15:38:19Z No. of bitstreams: 1 maiaraalvimdealmeida.pdf: 5092033 bytes, checksum: 4923150e0f7eb5b14fecc03fdca22ce0 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T01:37:36Z (GMT) No. of bitstreams: 1 maiaraalvimdealmeida.pdf: 5092033 bytes, checksum: 4923150e0f7eb5b14fecc03fdca22ce0 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T01:37:58Z (GMT) No. of bitstreams: 1 maiaraalvimdealmeida.pdf: 5092033 bytes, checksum: 4923150e0f7eb5b14fecc03fdca22ce0 (MD5) / Made available in DSpace on 2016-04-24T01:37:58Z (GMT). No. of bitstreams: 1 maiaraalvimdealmeida.pdf: 5092033 bytes, checksum: 4923150e0f7eb5b14fecc03fdca22ce0 (MD5) Previous issue date: 2013-05-03 / A presente pesquisa tem como objetivo analisar a situação das histórias em quadrinhos, em especial o subgênero romance gráfico, a partir do estudo do caso da obra Sandman, de Neil Gaiman. Investigaremos qual o papel desempenhado por esse obra nas alterações de status pelas quais vêm passando os quadrinhos, situando-a historicamente. Dissertaremos sobre características intrínsecas ao gênero quadrinhos, tais como o uso que faz de imagens e texto para construção de narrativas e discutiremos quais características diferenciariam os romances gráficos dos demais quadrinhos e quais aspectos desse subgênero contribuíram para a identificação dos quadrinhos como uma forma de literatura. Mostraremos como os quadrinhos, também, são um espaço profícuo para o diálogo com as teorias do hipertexto, tal qual colocadas por Landow (1997). Argumentaremos como um romance gráfico seria um hipertexto não eletrônico, ilustrando nosssas considerações com exemplos retirados de Sandman. Discorreremos, também, sobre como Sandman se insere no cânone da literatura internacional através da paródia de obras consagradas, apoiando-nos na teoria da paródia de Linda Hutcheon (1991). / This research intends to analyze the state of art in which comics are found nowadays, especially the subgenre known as graphic novel, being Sandman by Neil Gaiman our corpus. We shall investigate the role played by Gaiman‟s graphic novel in the changing of roles experienced by comics in general in the last few decades. We will highlight characteristics of the genre, such as the use of images and text together for the development of narratives, and also discuss which aspects make graphic novels different from other comics. It is also important to identify the aspects that helped to legitimate this subgenre as a literary form. In this study, comics are understood as a fruitful space for dialogue with the hypertext theories, as stated by Landow (1997).We believe that graphic novels can be seen as a non-electronic hypertext, using as an example an analysis of a chapter. Sandman is also seen in relation to its position in the literary canon and the parodies of other well established works, according to Linda Hutcheon‟s parody theory (1991).

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