Analisa o processo de construção e reconstrução de identidades por meio das histórias em quadrinhos e a consolidação da imagem que a linguagem reivindica para si. Utiliza os fundamentos do método arqueológico/genealógico (FOUCAULT, 1979) como uma via de aproximação do processo de construção cultural na sociedade. A hipótese sustentada é a de que as linguagens, como um todo, estão sujeitas a um duplo movimento de incorporação de aspectos da sociedade disciplinar e construção de novas realidades identitárias. Os resultados da pesquisa reforçam a necessidade de se lançar um novo olhar em relação às histórias em quadrinhos no contexto social de esmaecimento das fronteiras identitárias. É possível se perceber, por meio da linguagem, os novos papéis reservados à representação e à interação entre imagens e coisas, arte e produto. / Discusses the process of construction and reconstruction of identities in comics and how this form of expression builds a particular image for itself. The process of cultural construction in society is analyzed by means of the archaeological and genealogical methodology (FOUCAULT, 1979). The work sustains that any form of expression, comics included, is subject to a double movement that comprises the incorporation of some aspects of the disciplinary society but also creates new possibilities for identitarian expressions. The results reinforce the importance of a new look at comics, considering the context of vanishing identity boundaries in present society. The language of comics makes it possible to recognize new roles performed by representation and the interaction between images and things, art and products.

>Doctor Literarum - DLit / The South African years (1925-1966) of Alex la Guma is examined in this thesis. While La Guma's father was an important role model, most critics have overlooked his mother's contribution to his literary and political development. Throughout the thesis the same point is made about Blanche, La Guma's wife, who supported him in many ways. The researcher describes La Guma's infancy, childhood and adolescence, his father's political profile, how notions of race and writing, coloured identity and family and political experiences created the conditions that enabled him to become a story teller and political activist . / South Africa

This study is made to determine any educational values to be derived from the use of the comics. The problem shall be to show (1) what those values are, (2) how they shall be attained, and (3) which comics are best suited to aid in the attainment of those values, as shown by the data to be assembled.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-10T14:29:27Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Rosa.pdf: 10145887 bytes, checksum: 2cbd76aeaa7b11ffe936e2850d86c47e (MD5) / Made available in DSpace on 2017-07-10T14:29:27Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Rosa.pdf: 10145887 bytes, checksum: 2cbd76aeaa7b11ffe936e2850d86c47e (MD5) Previous issue date: 2016-03-31 / CAPES / Esta dissertação tem como principal objetivo estudar as possibilidades educacionais contidas em histórias em quadrinhos peruanas, as chamadas historietas, que tratam dos Incas e de figuras heroicas, históricas e da literatura de reconhecido relevo para aquele país na rede de ensino público e privada do mesmo. Para tanto estudamos as historietas utilizadas nas salas de aula do ensino regular peruano, historietas publicadas no país e as cartilhas e manuais que orientam os estudantes na leitura, confecção e elaboração das mesmas. Aqui buscamos responder a seguinte pergunta: as histórias em quadrinhos são parte relevante da política educacional que objetiva a preservação da tradição histórica e da construção do homem peruano civilizado do século XXI? Queremos demonstrar que as histórias em quadrinhos têm e tiveram relevância no processo educacional peruano, o fazemos a partir do debate da edificação do processo civilizador daquele país nos apoiando nas teorias de Norbert Elias e José CarlosMariatégui. / This thesis aims to study the educational possibilities contained in stories from Peruvian comics, dealing with the Incas and heroic figures of historical and recognized relevant literature to this country in public and private schools ot the same. For this we have studied stories used in Peruvian mainstream classrooms, short stories published in the country and booklets and manuals that guide students in the reading and making of the comics. Here we seek to answer the following question: Are comics a relevant part of education policy which aims at preserving the historical tradition and the construction of civilized Peruvian man of the XXI century? We want to show that comics had and still have a relevance in the Peruvian educational process, we do it from the debate of the building of the civilizing process of this country by supporting the theories of Norbert Elias and Jose CarlosMariategui.

This project develops a new context for understanding the rise of the graphic novel by linking the grammar of comics as a form to the multimedia experiments of modernist writing. Presenting a counter-history of comics, I show how the form can be traced not just to the emergence of newspaper comics, as critics routinely claim, but also to the intermedial strain of modernist avant-garde fiction. With developments in photomechanical engraving and offset lithography, the space of the printed page increasingly became a zone of uncertain contact between text and image. Taking up a number of different genres—philosophy, modernist prose, book illustrations, and the wordless novel in woodcuts—I argue that modernist writing and early experiments in graphic narrative alike responded to this transformation of the book’s materiality by imagining new modes of literary and pictorial storytelling.  While comics scholars often trace the rise of the graphic novel to the work of Winsor McCay, George Herriman, and other early-century newspaper cartoonists, I offer a history and an aesthetics of graphic narrative that takes full account of the medium’s roots in the debates and collaborative practices of the modernist avant-garde. Graphic narratives undoubtedly take their grammar—panels, word balloons, motion lines—from newspaper comics. But they also become aesthetically entangled with the intermedial dimension of modernist writing. Literary modernism, I argue, is not a high cultural tradition that graphic novelists want to attack and overturn. It is instead a tradition that foregrounded the questions about media, language, and narrative that dominate contemporary graphic fiction. Exploring the dynamic connection between modernists like Joyce, Matisse, Rockwell Kent, and Lynn Ward, this project seeks to uncover the buried history of modernism’s kinship with the graphic novel, a kinship based on the legacy of inter-art experimentation that characterizes both modernist fiction and graphic narrative. / 2022-10-09T00:00:00Z

No description available.

The aim of this study is to examine upper and lower secondary school teachers’ experiences of using graphic novels in the English subject in Swedish schools in order to discuss if, and how, multimodal texts can be used to increase students’ motivation to read and analyze fictional texts. This is done through qualitative semi-structured interviews with 12 participants currently working as English teachers from both upper and lower secondary schools in Sweden. The framework of this study centers around the concept of multimodality, multimodal literacy and how it can be used in the English classroom. The results of the study indicate that comics and graphic novels can and are being used for a number of purposes in English language courses in Sweden, and that they allow teachers to incorporate visual analysis into their literature modules, adding more elements for students to discuss and work with. Furthermore, the participants experience that comics and graphic novels aid in increasing students’ motivation and interest as the multimodality makes them more accessible. The results of the study also show that comics and graphic novels could be used to teach students about literary analysis, both visual and verbal. However, in order to utilize the multimodality of comics and graphic novels, teachers require an understanding for how two modalities can be used together to create meaning. Moreover, the study shows that comics and graphic novels are viewed as a lesser form of fictional texts, as they are mostly seen as motivational supplements or a stepping-stone toward other types of novels. In conclusion, there are numerous benefits to using comics or graphic novels in EFL courses, such as an increase in motivation and additional visual/multimodal aspects for students to analyze when working with fictional texts.

No description available.

A building for experiencing and creating comics in many different ways - reading, exhibtiong, drawing, printing - while also being a dynamic, inviting cultural institution in the district of Slakthusområdet. Containing professional, educational and public functions, the bullding aims to create a ”synergy effect” from the interaction between artists, students, editors and other people working with comics.

This paper addresses the issues inherent in comics translation, with specific regard to the translation of Japanese manga into English. In North America, the norms of manga translation have undergone several radical shifts in the past few decades, with strong preference being shown alternately for domesticating and foreignizing translations. Such paradigm shifts suggest differences between readerships, which have a strong influence on translators’ and publishers’ decisions. This understanding of the current translation situation then provides the backdrop for a novel method of translation that is centered around an initial textual analysis, which is itself rooted in a form-focused understanding of the comics medium. This understanding of the medium also sheds light on some of the translation issues specific to the Japanese context, particularly those of flopping and treatment of onomatopoeia. At all points in the translation process, the translator must keep in mind that comics is a medium that utilizes multiple overlapping, intertwining sign-systems, which can only be translated effectively when considered in relation to one another. The paper concludes with two short manga translations, which represent the culmination of these ideas.