Sammanfattning Syfte och frågeställningar Syftet med uppsatsen var att studera och analysera de budskap som förmedlas i samband med idrott i serietidningen Bamse. Frågeställningarna i arbetet var på vilket sätt förmedlingen sker respektive vilka budskap det är som förmedlas.   Metod Datainsamlingen skedde genom textundersökning och bildanalys. Antalet årgångar av tidningen som studerades var sju (mellan år 2001 och 2007). Utöver detta studerades två nummer av Bamse-extra. Samtliga episoder i de angivna utgåvorna lästes igenom, men endast de delar analyserades där något idrottsinslag på ett eller annat sätt var bärande av budskap. En analysmodell användes för att lättare kunna uttolka seriernas fulla innebörder. Modellen har reviderats något men är ursprungligen utformad av Lars Peterson.   Resultat Förmedlingen av budskap sker ibland genom att de tydligt uttalas i episodernas slutskeden. Den kan också ske genom att det görs en klar tudelning mellan goda karaktärer som handlar gott och onda dito som handlar skurkaktigt. På så vis förmedlas vad som är ett handlingsmönster att eftersträva och vad som inte är det. Ett ytterligare sätt som förmedlingen sker på är genom att låta läsaren förstå huruvida olika sätt att handla får önskvärda eller icke önskvärda konsekvenser.   De budskap som förmedlas är att det goda övervinner det onda, att alla ska få vara med, att det (i normalfall) är fel att fuska, att en handling måste alltid ses i ljuset av omständigheterna och de bakomliggande motiven, att tankeförmåga och teknik bringar idrottslig framgång, att personer av kvinnligt kön mycket väl kan vara dugliga idrottare (liksom män kan), att man skall ställa upp för varandra, vara hjälpsam och generös, att den som försöker utsätta någon annan för något elakt eller obehagligt ofta faller offer för gärningen själv, att man skall våga stå för vad man har gjort, att allt inte bör handla om att vinna, att man skall våga delta och inte ge upp, att det oväntade kan vinna samt att man inte skall döma någon på förhand.   Slutsats Budskapen följer en tydlig linje om att man skall handla gott. För att kunna göra det bör man vara öppensinnad, rättrogen, ödmjuk, fördomsfri, eftertänksam, solidarisk, hjälpsam, vänlig, generös, ärlig, trägen och framåt samt ha en känsla för alla individers lika värde. Ett gott handlande leder enligt Bamse till en mer trivsam tillvaro för samtliga. Idrottslig framgång bringas av tankeförmåga och teknik.

With shows such as Big Bang Theory and the increased mainstreaming of San Diego Comic-con, now more than ever before, it is acceptable to be a “nerd”. The question now becomes what efforts are being made to appeal to fans of color in traditional “nerd” activities, specifically comic books (this can include television shows and movies based on comic book characters), anime, and science fiction. Throughout the decades, there have been various attempts to have a discourse about the lack of diversity in nerd culture, both among its creators and characters from various properties considered beloved to nerds. Only, at the time of this writing, in recent years does there seem to be an increase among fans of color discussing these issues in the world at large, and not just in their own social group(s). This research will discover how minority fans feel about representation, or lack thereof, in the three above fandom. It will examine how minority fans feel about specific instants involving race and ethnicity in fandom from the past year. What I have discovered is that, issues of race are not discussed among the majority of fans and creators. Occasionally, when such issues are discussed there is an amount of hostility from white fans.

Our main purpose in this study was to identify the gender representations in comics and how these are presented to their readers. We focused on how comics, with six to ten year old children as their implied readers, represent male and female roles for identification. We also aimed to investigate differences and similarities in comics addressing boys or girls as implied readers. The study was based on theories on gender, media and children in order to give some explanations to socialization and gendered identity processes in comics implied for young readers. We used qualitative methods, as discourse and semiotics, to analyze the chosen comics. According to these, in society media content also supports the male role as an unaware norm, and that media use during childhood have some effects on our identities as grown ups. The result of our study shows that comics present young readers with stereotypical gender roles of male and female identities in society. The stories main characters are generally represented by men, while women often play the supporting parts to these male leading characters.

The purpose of this study is to investigate the effects of instructional comics on sixth grade students&#039 / achievement in heat and temperature. The population of the study was all of the sixth grade students in public elementary schools in Y&uuml / z&uuml / nc&uuml / Yil district. The sample of the study was 113 sixth graders from three public elementary schools in Y&uuml / z&uuml / nc&uuml / Yil district. In the beginning of the matter and heat chapter of science and technology course, the implementation started with the pretest. Then, a series of comics were implemented to the students for two weeks. Then, the implementation ended with the posttest. Data were analyzed through MANCOVA where the independent variable is the treatment implemented to the students. The dependent variables are students&#039 / achievement in heat transfer, enjoyment of science and perception of success in science. It was statistically found that there is no significant effect of the treatment on the combination of the dependent variables. However, when the effects of the treatment on the dependent variables is investigated separately, it was found that students in the treatment group got significantly higher scores than the students in the control group. On the other hand, it was also found that there is no significant difference in students&#039 / enjoyment of science and their perception of success in science between the groups. In addition, it was observed that instructional comics increase the participation of reluctant students.

<p>Comics have been used as a programming tool for agents, giving them instructions on how to act. In this thesis I do this in reverse, I use comics to describe the actions of agents already interacting with each other to create a storytelling engine that dynamically generate stories, based on the interaction of said agents.</p><p>The model for the agent behaviours is based on the improvisational puppets model of Barbara Hayes-Roth. This model is chosen due to the nature of comics themselves. Comics like those found on newspapers and children magazines are funny because their characters behaviour depends heavily on emotions, which is why this model is well suited for this application.</p><p>This project implements an emotion-based model for agent behaviour in a way that tells a story in the form of comic strips. For this, the model is adapted to a discrete time form since the actions no longer occur in real time (like in traditional simulation games) but rather in a sequence of frames or panels. The model is inspired by the analysis of time and space mechanics in comics by Scott McCloud. The emotional model is also adapted to reflect the rather extreme emotions and responses that characterize cartoon characters.</p>

"Icon," "representation," and "virtuality," are key elements to consider when reading multi-modal narratives, including graphic narratives. By considering in detail how these elements are realized in various examples, the author shows how the study of the comics can lay groundwork for critical reading across the technological continuum of storytelling.The author looks at how icon, representation, and virtuality interact in a reading of William Hogarth's A Harlot's Progress. He then examines each term in more detail through readings of a variety of graphic narratives including Max Ernst's, Une Semaine de Bonte, Winsor McCay's Little Nemo in Slumberland, Kurt Vonnegut's Breakfast of Champions, Craig Thompson's Blankets, Phoebe Gloeckner's Diary of a Teenage Girl, and Posy Simmonds's Gemma Bovery. The author distinguishes between two types of virtuality, internal and external, and ties the construction of virtuality to reader response theory. In exploring issues related to the icon, the author builds on Scott McCloud's conjecture that the iconic character is the means through which the reader inhabits the virtual space of the graphic story. The author advances the proposition that icons are metonymies and that graphic narratives are centered in metonymic, not metaphoric devices. He also undertakes a discussion of how icon operates within the expanding tradition of the "illustrated novel." Throughout the dissertation an attempt is made to express observation and analysis through continuous instead of binary descriptors in order to emphasize the cooperative rather than oppositional arrangements of word and image within the graphic narrative.The dissertation concludes with an extended examination of Will Eisner's contention that the use of stereotype is a necessity in graphic storytelling. Examples from Frederik Strömberg's Black Images in the Comics are used to test this theory and illustrate its consequences. The treatise finishes with an analysis of approaches to representation that avoid stereotypical treatment, are inclusive but sufficiently flexible to operate through caricature..These observations are applied to issues of characterization and representation in electronic gaming narrative. The author concludes that ethics, effectiveness, reputation and empathy are all compromised when artists resort to stereotypes.

This report is a chronicle of my research and design practice at The University of Texas at Austin in pursuit of the MFA in Design. It traces my interest in visual narrative, specifically in the component relationships evident in a close study of comics as they relate to questions of dimensionality and form. Key elements in this trajectory include the application of humor, sequential illustration, paper engineering and the adaptation of texts to works of visual and dimensional narrative. Along with a documentation of my working methods and experience, an appropriately distilled version of my extensive study of literature, comics, diorama, and pop-up books can be found in the following pages. / text

Comics have been used as a programming tool for agents, giving them instructions on how to act. In this thesis I do this in reverse, I use comics to describe the actions of agents already interacting with each other to create a storytelling engine that dynamically generate stories, based on the interaction of said agents. The model for the agent behaviours is based on the improvisational puppets model of Barbara Hayes-Roth. This model is chosen due to the nature of comics themselves. Comics like those found on newspapers and children magazines are funny because their characters behaviour depends heavily on emotions, which is why this model is well suited for this application. This project implements an emotion-based model for agent behaviour in a way that tells a story in the form of comic strips. For this, the model is adapted to a discrete time form since the actions no longer occur in real time (like in traditional simulation games) but rather in a sequence of frames or panels. The model is inspired by the analysis of time and space mechanics in comics by Scott McCloud. The emotional model is also adapted to reflect the rather extreme emotions and responses that characterize cartoon characters.

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This thesis delves into the surprisingly uniform treatment of the female character in comic storytelling, across all media, and will examine how this has evolved over time. It further explores what these changes represent for the stories, the characters, the creators, and the readers. The focus of the production aspects of this project is on the curation and development of a feminist perspective on comic books, their narrative and the industry that forms them. Looking at specific examples from historical and modern comics, as well as creative