In the digital era, the comics medium has been transported from print to computer screen, and thus its evolution takes place in digital performances based on full-body interaction technologies. The major implication of this process is that the conventions of comics will be merging with those of performance, film, and animation. In a comics story implemented with full-body interaction technologies, representational space shifts from two to three dimensions. Physical elements can now easily be combined with virtual ones. The participants' contribution to the experience now includes a larger set of kinesthetic choices. Earlier media offer the readers the opportunity to read the story with their eyes, turn pages, and click a mouse. Instead of one or perhaps two readers of print and screen-based comics, a digital performance can be experienced by a group of viewers positioned in space in various ways. By utilizing the tools of computer vision, the projection of a participant can be made the main character of the comics story. Consequently, the comics and animation frame changes when moved to digital performance spaces. The frame becomes embodied, nested, elastic, and dynamic. The first two qualities relate to the physicality of the medium, where performers and viewers are simultaneously present in both the real and fictional spaces. The second two qualities relate to the procedurality of the medium and the potential for computational manipulation within the frame based on changing relationships across space (distance) and time (story).

Teilw. zugl.: Kiel und Coimbra, Universiẗat, Diss., 2004.

Thesis (M.A.)--Indiana University, 2009. / Title from screen (viewed on September 3, 2009). Department of Communication Studies, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): John Parrish-Sprowl. Includes vita. Includes bibliographical references (leaves 80-83).

This dissertation examines the feminist intersections of composition studies, visual rhetoric, and comics studies in order to identify a rhetorically interdisciplinary approach to composition that moves beyond composition studies’ persistent separation of qualitative and quantitative research methodologies, rhetoric and ideology, and analysis and composition. Chapter one transgresses the qualitative/quantitative divide using keyword analysis and visualization of 2,573 dissertation and thesis abstracts published between 1979 – 2012 to engage in what composition studies scholar Derek Mueller terms a “distant reading” of the extent and contexts of composition studies’ self-identified interdisciplinarity. Complementing my more traditional literature review, the results of this analysis validate the necessity of my analytical and pedagogical interventions by suggesting that composition studies has not yet addressed comics through the feminist intersections of visual rhetoric and critical pedagogy. Chapters two and three develop a rhetorical analytical approach to comics that moves beyond comics studies’ persistent separation of rhetoric and ideology by positing conflict as an identifiable form of rhetorical persuasion in the Martha Washington comics. These comics were collaboratively created by Frank Miller and Dave Gibbons between 1989 – 2007. Following feminist rhetorician Susan Jarratt’s case for rhetorical conflict as a pedagogical tool and extending Chicana feminist Chela Sandoval’s conceptualization of meta-ideologizing in which oppressive ideologies are re-signified via recontextualizations that juxtapose ‘old’ and ‘new’ signs of ideological meaning, I explore the rhetorically persuasive conflict arising from visual, conceptual, and embodied juxtapositions of race, class, and gender made visible in these comics. Chapter four outlines a feminist, critical, visual rhetorical – what I call prismatic – approach to composition pedagogy that requires (1) contexts in which differences and conflicts can be identified and engaged, (2) explicable sites of intersection between ideological perspectives and rhetorical construction, and (3) models for the transition from ideological critique to (re)composition. This is not an add-pop-genre-and-stir approach to composition pedagogy; rather, it intentionally deploys comics’ inherent multimodality as a challenge to students’ often narrow definitions of rhetoric and composition.

Alguns dos principais problemas na especificação de requisitos de um sistema estão relacionados com a identificação do que é necessário ser desenvolvido e com o entendimento das regras de negócio da empresa. Dentro deste contexto, este trabalho tem como objetivo propor a utilização de histórias em quadrinhos na metodologia de especificação de requisitos. Propôs-se um método de simulação de cenários por meio da utilização de histórias em quadrinhos, no qual é preciso definir uma linguagem para especificação de requisitos e, na sequência, é possível documentar requisitos utilizando a linguagem definida. Dois experimentos-piloto foram aplicados para Analistas de Sistemas, Engenheiros de Requisitos e Desenvolvedores de duas empresas, com o propósito de levá-los a desenvolver uma história em quadrinhos para mapear um processo de negócio dentro do seu ambiente de trabalho. Esses profissionais responderam a um questionário, analisando as histórias em quadrinhos desenvolvidas. Após análise desses dois experimentos, decidiu-se estabelecer um Guia Norteador para histórias em quadrinhos para auxiliar as pessoas na criação das histórias. Em um terceiro experimento a autora especificou requisitos de um software por meio de uma HQ. A HQ foi criada de acordo com o Guia norteador para criação de HQs e baseada na Gramática estabelecida para a linguagem das HQs. Este experimento foi aplicado para 77 participantes, com o propósito de verificar o entendimento de uma HQ. Um experimento final foi aplicado com alunos do quarto ano do curso de Ciência da Computação, com o objetivo de levá-los a criar uma História em quadrinhos especificando requisitos de um software, essa HQ deveria ser criada baseada na Gramática para HQs e de acordo com o Guia norteador. Os resultados de todos esses experimentos foram avaliados de forma positiva, comprovando, que o uso de histórias em quadrinhos facilita a identificação de detalhes nos processos de especificação de requisitos. / Some of the greatest challenges for Software requirements elicitation are related with the identification of what is needed to be developed and with the understanding of the organization business rules. Within this context, this work aims to propose the use of comics in the methodology of requirements specification. A method of scenario simulation has been proposed through the use of comics, in which a language needs to be defined for requirements specification and, in the sequence, it is possible to document requirements using the defined language. Two pilot experiments were applied to Systems Analysts, Requirements Engineers and Developers of two companies, with the purpose of making them to develop a comic book to map a business process within their work environment. These professionals answered a questionnaire, analyzing the developed comics. After analyzing these two experiments, it was decided to establish a Guide for Comics to help people create stories. In a third experiment the author specified requirements of some software through a HQ. The HQ was created according to the guideline for creation of HQs and based on the Grammar established for the language of the HQs. This experiment was applied to 77 participants, in order to verify the understanding of a HQ. A final experiment was applied with senior students of the Computer Science course, in order to get them to create a comic book by specifying software requirements, this HQ should be created based on the Grammar for Comics and according to the Guide. The results of all these experiments were evaluated in a positive way, proving that the use of comics facilitates the identification of details in the processes of specification of requirements.

No description available.

In this report I explore themes of aesthetics and communication, while describing my process of making a meta-comic about my experiences with art and education. What is beauty, and how can I tell you how it makes me feel? / I denna rapport undersöker jag estetik och kommunikation somtidigt som jag beskriver min arbetsprocess med att göra en meta-serie om mina upplevelser kring konst och konstutbildning. Vad är skönhet, och hur kan jag berätta om hur det känns?

Notre étude se propose d’analyser les enjeux et les formes de la représentation d’une figure d’auteur dans la fiction narrative comique du XVIe au XVIIIe siècle en Europe. Cette figure, extérieure à la diégèse ou appartenant au personnel narratif, exhibe un discours d’auteur, mime un dialogue avec le lecteur, instaurant une communication narrative fictive avec le lecteur. Cette communication apparaît paradoxale, elle représente une parole orale, problématique dans un texte écrit, et la présence réelle de l’auteur est insituable dans le texte, la figure auctoriale appartenant déjà à l’univers fictionnel. Le dialogue avec le lecteur repose sur une fiction de présence et sur un dispositif rhétorique séducteur dont les enjeux sont pragmatiques. Le récit est donné comme porteur d’enseignements. Il thématise une formation du héros souvent sujette à caution, dont le lecteur doit démêler les enjeux. La structure comique du récit et de l’énonciation contribue à une mystification du lecteur, appelé à interpréter un texte ludique, à la fois comique et sérieux, qui refuse de livrer son sens de façon univoque. Du XVIe au XVIIIe siècle se mettent en place, en relation avec leur contexte d’écriture, les formes d’un genre sério-comique, qui repose sur la parodie et le détournement des codes et des formes de la littérature contemporaine, sur l’instauration d’une attitude intellectuelle ironique et critique et d’une communication fictive avec le lecteur. Nous analyserons les formes de l’ambiguïté énonciative et narrative chez Rabelais, chez l’auteur anonyme du Lazarillo, chez Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux et Henry Fielding. / Our study intends to analyse the stakes and forms of a figure of author’s representation in the comical narrative fiction in Europe from 16th to 18th century. Such figure, either external to the diegesis or belonging to the narrative characters, produces the speech of an author, mimes a dialogue and by doing so, establishes an imaginary narrative communication with the reader. This kind of communication seems paradoxical. It represents oral speech, which is problematic in a written text; the actual presence of the author cannot be placed within the text whereas the auctorial figure already belongs to the fictional world. The dialogue with the author is set on an imaginary presence and on a seducing rhetorical device with pragmatic stakes. Lessons are expected to be drawn from this narrative. It topicalizes the forming of the hero, which is often questionable, and it is up to the reader to untangle the stakes. The comical structure of the narrative and of the enunciation contributes toward a deception of the reader who is expected to give an interpretation of an entertaining text which is both comical and serious, and which refuses to deliver its meaning in a univocal way. From 16th to 18th century forms of a serio-comic gender are established within their writing context. They rely on parody and diversion of the forms and codes of contemporary literature, on the introduction of an ironic and critical intellectual attitude as well as an imaginary interaction with the reader. We will analyse the different forms of enunciative and narrative ambiguity in Rabelais, in the anonymous author of Lazarillo to Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux to Henry Fielding.

O objetivo desta tese foi sugerir à prática didática subsídios que possam contribuir com a condução da leitura de Tiras de Quadrinhos. Promove-se a ideia de que é possível elaborar uma gramática contrastiva do não verbal a partir da gramática do verbal, na consideração de que a leitura da imagem deve estar maciçamente atrelada à vivência diária do ser humano. Perspectivas da Linguística textual, da Semiótica peirceana e da Gramática tradicional foram entrelaçadas para obter-se um suporte teórico julgado eficaz na sustentação da hipótese de que a leitura multifacetada oferecida pela Tira de Quadrinhos é promissora quanto à formação de leitores proficientes. Fazem parte dessa conjuntura a Análise da conversação, a Organicidade do tópico discursivo, a Iconicidade diagramática e focalizações fonéticas, morfológicas e sintáticas envolvidas pelo semântico. No amálgama da tradição com a modernidade, sugeriram-se análises e interpretações da imagem no contexto linguístico-textual. O corpus é constituído de Tiras de Quadrinhos, publicadas diariamente no jornal O Globo, referentemente ao período de cinco anos, de 2005 a 2009 / The objective presented herein was to provide elements to support the didactic practice in a way that they would contribute to the process of reading comic strips. The idea that it is possible to create a contrastive grammar of the non verbal departing from the grammar of the verbal is promoted here, considering that the reading of the image should be broadly linked to mans daily living. Perspectives of the Text Linguistics, of the Peircean Semiotics and of the Traditional Grammar were interwoven in order to achieve a theoretical support judged to be effective in the sustaining of the hypothesis that the multifaceted reading of comic strips brings promising perspectives to the formation of proficient readers. The Conversational Analysis, the Organicity of the discursive topic, the Diagrammatic Iconicity and phonetic, morphological and syntactic focusing comprised by the semantic aspect are part of this context of analysis. In the amalgam of the tradition with the modernity, some instances of analysis and interpretation of the image in the linguistic-text context were suggested. The corpus is constituted of comic strips, published in O Globo, a daily newspaper, concerning the period of five years, from 2005 to 2009

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Metrópolis e Gotham são as cidades imaginárias das histórias em quadrinhos que, respectivamente, ambientam as aventuras do Super-Homem e Batman. Estes dois super-heróis foram criados nos Estados Unidos em finais da década de 1930 e continuam a povoar a vida de crianças e adultos oito décadas depois de sua concepção. O objetivo desta dissertação é fazer uma análise das cidades do Super-Homem e Batman em seu contexto de criação por meio de uma análise etnográfica da literatura em quadrinhos. Objetiva-se analisar as representações dessas cidades ficcionais em relação com as questões vividas pelas grandes cidades norte-americanas de sua época, como crime, migração e delinquência. Para tanto, analisa-se as primeiras histórias dos referidos super-heróis publicadas desde a sua criação em 1938 e 1939 até a entrada dos Estados Unidos na Segunda Guerra Mundial, em dezembro de 1941. Discute-se a questão da dupla identidade, da liberdade e do anonimato nas grandes cidades a partir do gênero de super-heróis, bem como contextualiza-se a criação dos quadrinhos como um meio de comunicação de massa nascido no ambiente moderno e urbano. A tese central desta dissertação gira em torno da discussão sobre cidades e Modernidade. Considera-se Gotham e Metrópolis como representações que refletem pontos de vista distintos sobre as grandes cidades modernas. A primeira é uma cidade noturna e violenta de crimes relacionados com a loucura, o crime organizado e a migração. Subjaz aqui a noção de que a modernidade, tendo como locus as grandes cidades, seria um fator que desagrega a vida social levando os habitantes de Gotham City a enfrentar um cotidiano de conflitos, seja com criminosos, loucos ou imigrantes. Metrópolis, por sua vez, enfrenta em seu cotidiano problemas técnicos e crimes de cunho moral, sendo uma cidade diurna de linhas retas e prédios de estilos arquitetônicos modernistas retratados a partir de imagens panorâmicas que destacam seus prédios e arranha-céus iluminados, enquanto Gotham é representada como uma cidade escura de prédios monolíticos que se repetem indistintamente em seu horizonte. Por mais ficcionais, utópicas ou distópicas que possam ser as cidades das histórias em quadrinhos elas são representações que se relacionam com o imaginário da época e sociedade em que foram criadas. Esta dissertação compreende Gotham City e Metrópolis como sínteses de concepções urbanas modernas, relacionando-as com correntes urbanísticas presentes nas primeiras décadas do século XX e com questões colocadas pelo pensamento social da Escola de Chicago de Sociologia. / Metropolis and Gotham are the imaginary cities of comics that respectively set the adventures of Superman and Batman. These two superheroes were created in the United States in the late 1930s and continue to populate the lives of children and adults eight decades after its conception. The objective of this dissertation is to analyze the cities of Superman and Batman in their context of creation through an ethnographic analysis of comic book literature. The aim is to analyze the fictional representations of these cities in relation to the issues faced by large North American cities of its time, such as crime, migration and delinquency. In this intent the first stories of these superheroes are analyzed since its creation in 1938 and 1939 until the U.S. entry into World War II in December 1941. It is discussed the question of dual identities, freedom and anonymity in large cities through the comic book superheroes genre, as well it is contextualized the creation of comics as a medium of mass communication born in modern and urban context. The central thesis of this dissertation is developed around the discussion between cities and Modernity. Gotham and Metropolis are seem as representations that reflects distinct point of view about great modern cities. The former is a nocturnal and violent city which crimes are related to madness, organized crime and migration. Here underlies the notion that modernity, having as its prime locus the large cities, it is a factor that disrupts the social life leading the inhabitants of Gotham City to face a daily conflict with either criminals, madmen or immigrants. The city of Metropolis, in turn, faces technical problems and moral crimes, a daytime city of straight lines and buildings of modernist architectural styles always portrayed from panoramic images that highlight their buildings and gleaming skyscrapers, while Gotham is represented as a city with a dark outline of monolithic buildings repeated without distinction on the horizon. Cities of comics are representations that either fictional, utopian or dystopian they may be, are related to the imagery time and society in which they were created. This dissertation comprises Gotham City and Metropolis as synthesis of modern urban concepts, relating them to urban conceptions present in the first decades of the twentieth century and with issues exposed by the social thought of the Chicago School of Sociology.