Maija is a graphic novel about identity, family, the tumultuous and often forgotten history of the Baltic region and, ultimately, how I have sought to create a relationship to a place from which I feel so disconnected. Using drawing as a means to bring myself closer to a lost family, as an act to record the past and also as a tool to create a possible future. Using my own hand, I am circling the past to bring it to a connecting point with my own present.

This paper compiles research regarding comics utilised in the visual arts classroom. Our findings are based on numerous research projects demonstrating the positive impact of incorporating comics into the classroom while acknowledging some potential challenges. Some of the history and background of comics will be explored, and we will take you along on our journey through databases full of research and case studies. Furthermore, the studies are sorted in an ascending fashion according to their relevance to this paper. Our goal is to offer insight into the educational potential of comics, drawing from the work of various researchers in the field. The findings show that while some challenges in instruction may occur, comics are a vastly underestimated and overlooked teaching tool in both visual arts and various subjects. The results tell us that comics in the visual arts classroom are filled with opportunities to broaden the bank of knowledge and resources further.

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Notre recherche porte sur la compréhension approfondie de la chronogenèse italienne et, en son sein, de l'expression du futur, selon les principes théoriques et méthodologiques guillaumiens. Notre étude comparative associe les approches diachronique et synchronique. Nous étudions l'évolution de l'expression du futur de l'ancien italien à l'italien contemporain écrits grâce à un 1er corpus construit à partir du texte original du Decamerone de G. Boccaccio, de sa traduction en italien contemporain proposée par A. Busi et de sa traduction en français par J. Bourciez. Nous comparons l'expression du futur dans trois romans graphiques rédigés en italien (par des auteurs originaires de Vénétie et de Sicile) et en français, à l'aide d'une 2e série de corpus extrapolée à partir des transcriptions de ces BD. Nous observons, d'une part, les différences entre le français et l'italien standards contemporains, d'autre part, les réalisations de l'italien standard selon l'influence des substrats régionaux. Grâce à un 3e corpus, nous étudions l'expression du futur en napolitain en comparant les textes de chansons napolitaines du XIXe au XXIe, avec leurs traductions en italien et français standards. Notre confrontation des diverses solutions pour le futur couvre d'Ouest en Est la Romania occidentale (français standard, italien régional de Vénétie), la position centrale qu'occupe l'italien standard issu du florentin littéraire, la Romania orientale (italien régional de Sicile, napolitain). Nous étudions la distribution des formes morphologiques du futur (synthétiques, analytiques), leurs emplois (temporels, modaux) ainsi que les solutions alternatives d'expression du futur (autres temps, CC de temps). Nous discutons les concepts d'aspect, d'accompli et d'inaccompli, de perfectif et d'imperfectif et étudions leur distribution dans les formes morphosyntaxiques de l'expression du futur. / Our research focuses on the deep understanding of the Italian chronogenesis, and within it, of the expression of future, based on the theoretical and methodological principles of G. Guillaume. Our comparative study combines diachronic and synchronic approaches. We study the evolution of the expression of future from former Italian to contemporary Italian literature through a first corpus built from the original text of the Decameron of G. Boccaccio, its contemporary translation proposed by A. Busi and its French translation by J. Bourciez. We compare the expression of future in three Italian (by authors from the Veneto and Sicily) and French graphic novels, with a second series of corpus extrapolated from the transcripts of these comics. We observe, on one hand, the differences between French and Italian contemporary standards, and on the other hand, the achievements of the Italian standard according to its substrates' regional influence. With a third corpus, we study the expression of future by comparing Neapolitan songs texts from the XIXth to the XXth century, with their translations in Italian and French. Our comparison of the various solutions for future covers, from West to East, the western Romania (standard French, Veneto regional Italian), and the central position of the Italian literary standard from Florentine, Eastern Romania (Sicilian regional Italian, Neapolitan). We study the distribution of future's morphological forms (synthetic, analytic), uses (temporal, modal) and alternative expression of future (other times, adverbial phrase of time). We discuss the concepts of aspect, accomplished and unaccomplished, perfective and imperfective and study their distribution in the morphosyntactic forms of future's expression.

This diploma thesis deals with the possibilities of using graphic novel in German language teaching (teaching German as a foreign language). The main premise of this thesis is that graphic novel, as a multimodal medium and a phenomenon of current literature, has a wide potential for the German (and other foreign languages) classroom. The goal of the thesis is to design a didactic material respecting the specific qualities of graphic novel and drawing upon its potential. The first chapter serves as an introduction, exploring graphic novel as a medium, as a phenomenon of current literature and as a pedagogical tool. The term is defined and put into context. In the second chapter, the method of a review study is employed to explore how graphic novel is used in the foreign language classroom. The systematic review has shown that it is possible to use graphic novel as a tool for achieving the objectives of foreign language teaching and learning - the language aims (through vocabulary acquistition, reading skills development and creative writing) as well as the cognitive and formative aims (through the development of literacies, cultural and historical awareness, intercultural competence and citizienship). Moreover, graphic novel proved to be positive influence on motivation. The third chapter uses the...

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The aim of this thesis is the examination and analysis of postmodernist overtones in the medium of comics. It is concerned both with the postmodernist content in comics, and comics' possibilities and attributes as a postmodernist medium. The first part of the thesis elaborates on sequential art in general and the essential elements of postmodernism, such as deconstruction, metafiction, and intertextuality, within its context. The second part of the thesis is concerned with selected postmodernist works of prominent comicbook authors: Alan Moore and Grant Morrison. Key words Comics, comicbook, graphic novel, postmodernism, metafiction, intertextuality, continuum, narration, binary oppositions, deconstruction, superhero, author, creation, Watchmen, Animal Man

The graduation work Ultima Thule made up by four parts, the first one is a science fiction world buliding made up of scripts, notes and sketches, the second one is a science fiction comic book in the edition of 200 with the name Everything in one place, this is the first part of the Ultima Thule-world. The third part is this report with text explaining the work process, and the third part was the participation in the Konstfack Spring Exhibition, this is also described in the report. Ultima Thule is a narrative about the end of humanity set in three Swedish cities; Västerås, Uppsala and Stockholm.

Made available in DSpace on 2016-04-26T18:14:26Z (GMT). No. of bitstreams: 1 Rafael Giardini Lenzi.pdf: 1494429 bytes, checksum: 55a3d4eb4107b7e0f274a6b49fb760e8 (MD5) Previous issue date: 2014-07-07 / Fundação de Amparo a Pesquisa do Estado de São Paulo / From the existential conflict between I vs False ego, as enunciated by ancient mythology, this work investigates the interpretation s possibility of this duality nowadays. This way it is examined on these two temporal contexts the conflict between the man element, or even his soul, often designed as I, and his false ego, or false perception of himself. It starts with the analysis of an antiquity s literary source whose narrative explicitly shows this topic, the Bhagavad-Gita, and sequentially it is taken as object a mediatic verbal-visual-spatial text of the present time, the graphic novel Ramayan 3392 AD. By exploring this question on the first text it is aimed to identify it in the graphic novel, therefore examining the theme s continuity, which according to this point of view is originated in antiquity and kept in nowadays media. Thus it is looked forward to prove this interpretation s possibility in mediatic texts, to prove how this opposition can be considered a connection between different mythologies; and to analyze how the duality is structured at the present times, through comic books research. As important points are considered the changes that occur in the value of sacred, whose investment is existent in the ancient mythology connected to religiosity, but not in comic books generality, not explicitly at least. As theoretical basis to this problematic s analysis on the study corpus, it is used the referential of Greimas discursive semiotics and its development on Landowski s socio-semiotics, while for observations regarding mythologies, beyond these semioticists works and others , it is mainly taken this question s approach by Cassirer. It can be pointed that there is dissolution of the value of sacred, represented in ancient mythology by emphasis and detailing of the mystical and religious theme, while the subject hero s characterization by a duty is kept, in a way that the mystical religious value becomes an ethical value in the nowadays text, being kept in both texts the modalization by should as invariable. Furthermore, mediatic texts bring a differentiated appeal to sensible experience, through plastic components, which alongside with the verbal plane add another meaning s dimension to the narrative; a meaning that is also considered from the ancient text s prescription concerning the existential conflict examined, leading to the formation of a chromatic schematization connected to this opposition. As conclusions it is obtained a possible interpretation of the euphoric subjects as attached to cognitive instances, and of the dysphoric subject as associated to the somatic actancial instance precisely, in an assemblage constitutive of a single macro-subject. From myth to media rises the main change which is the passage from the direct holy s revelation to the detachment of aesthesic sensibility as key piece on the subject s formation. This mechanism allows the sensibility s perception as responsible for making feel the new proposition of the existential conflict that is undeniably of all times / A partir do conflito existencial definido como Eu vs Falso ego, conforme enunciado pela mitologia da antiguidade, este trabalho investiga a possibilidade de interpretação desta dualidade em textos midiáticos da atualidade. Desta forma, examina-se nestes dois contextos temporais o confronto entre o elemento homem, ou mesmo sua alma, frequentemente denominado Eu, e seu falso ego, ou falsa percepção de si mesmo. Parte-se da análise de uma fonte literária da antiguidade cuja narrativa apresenta explicitamente este tópico, o Bhagavad-Gita, e em seguida toma-se como objeto um texto midiático verbi-visual-espacial atual, a história em quadrinhos Ramayan 3392 AD. Explorando esta questão na primeira obra, busca-se identificá-la na história em quadrinhos, abordando assim a continuidade do tema, que de acordo com este ponto de vista surge na antiguidade e se mantém nas mitologias e mídias atuais. Procura-se então provar a possibilidade dessa interpretação nos textos midiáticos, provar como esta oposição pode ser considerada uma conexão entre as diferentes mitologias; e analisar como a dualidade é estruturada na atualidade, por meio da pesquisa sobre histórias em quadrinhos. Como ponto importante são consideradas as alterações que ocorrem no valor sacralizador, cujo investimento é presente na mitologia antiga ligada à religiosidade, mas não nas histórias em quadrinhos em sua generalidade, ao menos não de forma explícita. Como base teórica para as análises dessa problemática nos objetos do corpus de estudo é utilizado o referencial da semiótica discursiva de Greimas e o seu desenvolvimento na sociossemiótica de Landowski, enquanto para observações referentes a mitologias, além dos estudos desses e de outros semioticistas, é tomada a abordagem desta questão por Cassirer, principalmente. Pode-se apontar que há a dissolução do valor sagrado, representado na mitologia antiga pelo enfoque e detalhamento do tema místico e religioso, enquanto é mantida a caracterização do sujeito herói por um dever, de forma que o dever místico religioso passa a ser um dever ético no texto atual, sendo em ambos os textos a modalização por dever mantida como invariável. Além disso, os textos midiáticos trazem um apelo diferenciado à experiência sensível, por meio dos componentes plásticos, que junto ao plano verbal conferem outra dimensão de significação à narrativa; significação esta que é considerada também a partir da prescrição do texto antigo em relação ao conflito existencial abordado, levando à formação de uma esquematização cromática ligada a essa oposição. Como conclusões obtém-se uma interpretação possível dos sujeitos eufóricos como ligados às instâncias cognitivas, e do sujeito disfórico como associado à instância actancial somática propriamente, em um conjunto constituidor de um macrossujeito único. A principal alteração que emerge do mito na mídia é a passagem da revelação direta do sagrado ao destacamento da sensibilidade estésica como peça chave na constituição do sujeito. Esse mecanismo possibilita a percepção da sensibilidade como responsável por fazer sentir a nova proposição do confronto existencial que é incontestavelmente de todos os tempos

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