The Diversionary Art of Zeina Abirached in Le Piano Oriental

2020 ◽  
pp. 334-357
Author(s):  
Mark McKinney
Keyword(s):  
Literary History ◽  
Graphic Novels ◽  
Graphic Novel ◽  
Conceptual Metaphors ◽  
Artistic Creativity ◽  
Post Colonial ◽  
Creative Self

Zeina Abirached, a Lebanese and French cartoonist, has published several graphic novels exploring possibilities for creative self-expression amid and against violence. Four conceptual metaphors are used to analyze Abirached’s diversionary art in her graphic novel Le piano oriental (The Oriental Piano, 2015), which offers a model for evading monocultural constraints and (post) colonial exclusion. One is from the author of this chapter (affrontier), one is from literary history (clinamen), and two are from Abirached (déhanchement and tricotage). It is argued here that déhanchement (hip swaying) is an apt metaphor for transcultural alternation between the Eastern and Western cultural poles in her book. Tricotage (knitting) offers a powerful variation on, or substitute for, tressage (braiding), a metaphor through which Thierry Groensteen theorized exceptional repetition of images in comics. The chapter also shows how Abirached deftly combines fiction with auto-/biography to escape constraints of the latter on her artistic creativity.

STUDENTS’ ACCEPTANCE TO USING GRAPHIC NOVELS IN LEARNING LITERATURE (L2): A MALAYSIAN CASE STUDY

2020 ◽  
Vol 1 (2) ◽  
pp. 43
Author(s):  
Abu Yazid Abu Bakar ◽  
Dayang Nurfaezah Abang Ahmad ◽  
Melor Md Yunus
Keyword(s):  
Mixed Method ◽  
Teaching And Learning ◽  
Graphic Novels ◽  
Graphic Novel ◽  
Mixed Method Study ◽  
Motivation To Learn ◽  
Esl Teachers ◽  
English As Second Language ◽  
Quantitative And Qualitative Methods

Research has shown that using graphic novels in the classroom is one of useful approaches to promote the understanding of learners especially for lengthy and difficult literature texts. This study reports the extent of graphic novel in facilitating students’ understanding of literature and the students’ perceptions towards using graphic novel in learning literature (L2) as compared to other genre of texts. This is a mixed method study which employs quantitative and qualitative methods to obtain data. The findings indicate that most students found that graphic novel helped them to enrich their vocabularies and understand the text better. The findings also reveal that students were attracted to the illustrations in the literature text in which this helps to boost their motivation to learn literature in the classroom. The findings provide useful insights for English as Second Language (ESL) teachers in incorporating and expanding the literature learning through graphic novels in the future. The findings also imply the need of ESL teachers to use graphic novels effectively in facilitating their teaching and learning of literature in L2 classrooms particularly to suit the 21<sup>st</sup> century teaching and learning.

scholarly journals graphic novel as a popular genre of book publishing in the context of modern design

2021 ◽  
Vol 5 (S4) ◽  
Author(s):  
Viktoriia Oliinyk
Keyword(s):  
Graphic Novels ◽  
Book Publishing ◽  
Synthetic Methods ◽  
Graphic Novel ◽  
Subject Field ◽  
Visual Component ◽  
Discursive Analysis ◽  
Cultural Codes ◽  
Meta Level

The relevance of the research is due both to the lack of research that would comprehend a graphic novel as an independent phenomenon and subject of art history, the youth of the genre, and its relative non-proliferation in the Ukrainian literary space. The vast majority of Russian publications touch on the analysis of specific graphic novels in the context of modern literary studies, which focuses on the narrative and ideological components of individual works without taking into account the role of the visual component for the genre as a whole. Theoretical analysis and practical application of new synthetic methods and means of transmitting visual socio-cultural codes are of value not only in the context of design but also for other multimodal-oriented industries. The structural approach is the main approach to the study of this problem, which uses the methods of linguistics and semiotics, bringing them to the meta-level regarding design, as well as discursive analysis, in the subject field of which there is a question of the cultural and historical conditionality of a graphic novel as a genre and the nature of its perception. 

scholarly journals Vigiando os vigilantes: uma abordagem sobre o Panoptismo a partir de Watchmen

2018 ◽  
Vol 9 (19) ◽  
pp. 120
Author(s):  
Mateus De Oliveira Fornasier ◽  
Thiago Dos Santos Da Silva
Keyword(s):  
Graphic Novels ◽  
Graphic Novel

Este artigo objetiva apresentar uma discussão filosófica a partir da obra Watchmen, abordando assuntos como o panoptismo e o utilitarismo (Bentham), discutindo a supervigilância na atualidade. O problema que norteia a elaboração do trabalho é: é possível discutir sobre questões filosóficas, morais e políticas a partir da mídia das graphic novels? Como hipótese, apresentou-se que sim, dado o alto teor filosófico apresentado em Watchmen, inspirado na crítica literária das ideias de panoptismo e utilitarismo. O texto tem, como objetivos específicos: 1) Introdução e comentários críticos acerca da graphic novel Watchmen; 2) explicação do panoptismo, com ênfase na supervigilância presente na pós-modernidade; e 3) estabelecimento de um paralelo entre a obra Watchmen e o panoptismo. Sua metodologia é dialética, estabelecendo-se uma conversação interdisciplinar entre a obra Watchmen e o panoptismo.Palavras-Chave: Panoptismo. Watchmen. Vigilância.

scholarly journals Book Review: The Readers’ Advisory Guide to Graphic Novels, 2nd ed.

2017 ◽  
Vol 57 (1) ◽  
pp. 65
Author(s):  
Karl G. Siewert
Keyword(s):  
Graphic Novels ◽  
Graphic Novel ◽  
Holistic View ◽  
Guiding Principles

Taking Ranganathan’s five laws as guiding principles, this new edition of a 2010 work addresses issues of how to effectively discuss and recommend materials in the graphic novel format with readers of all types. It addresses head-on the misconception that graphic works are only for teens and poorly socialized adults and presents a holistic view of the format and the particular challenges that it presents for library workers advising readers.

Richard McGuire’s Here as an Autography of Place

2017 ◽  
Author(s):  
Michael A. Chaney
Keyword(s):  
Sense Of Place ◽  
Graphic Novels ◽  
Graphic Novel ◽  
Traditional Sense ◽  
As If

This book concludes with an analysis of Richard McGuire's graphic novel Here to show how profoundly the architecture of place pervades our reading and seeing. It argues that, like many so-called graphic novels, Here makes use of temporality as if it were the only logic able to make sense of place, with its non-human ontic timelessness. It also considers Here to be ideal for identifying how autobiography operates when it is not a generic paradigm but a mode, precisely because the text is neither künstlerroman nor autography in the traditional sense. There are no recognizable self-portraiture of the artist hard at work, but Here still conjures the work behind the work and the creator who both carries out and covers over that labor. The fact that Here is not a self-announced autobiography helps to conceal the apprenticeship strategies in reading and viewing that structure it.

Bande dessinée

2020 ◽  
pp. 403-410
Author(s):  
Mark McKinney
Keyword(s):  
Graphic Novel ◽  
French Colonialism ◽  
Post Colonial ◽  
Bande Dessinee

Some contemporary French cartoonists have published comics that either themselves serve as post-colonial lieux de mémoire in place of disappeared colonial people, places, events or objects, or that otherwise recall colonial lieux de mémoire. The graphic novel Cannibale (2009), adapted by Emmanuel Reuzé from Didier Daeninckx's eponymous prose novel (1998), returns to the International Colonial Exhibition in Paris, which has become a post-colonial lieu de mémoire. The 1931 event, staged at the zenith of French imperial rule, and overseen by Maréchal Lyautey, was grandiose in conception, size and scope, and racist too, in fact. Both versions of Cannibale feature a Kanak narrator sent to perform as a New Caledonian cannibal in the Parisian exhibition. This essay analyzes how Reuzé uses cartooning techniques such as visual symbolism, subjective viewpoints, visual and verbal narration, inset images, and visual rhymes to critique French colonialism and to commemorate its victims.

The Scholar's Ludo-Narrative Game and Multimodal Graphic Novel

2016 ◽  
pp. 182-207
Author(s):  
Daniel J. Dunne
Keyword(s):  
Textual Analysis ◽  
Graphic Novels ◽  
Graphic Novel ◽  
Collaborative Effort ◽  
Written Text ◽  
Multimodal Analysis ◽  
Alternative Approaches

Current discussions within videogames focus on the ways in which gameplay or narrative can be analysed by themselves, and rarely as a collaborative effort to explore a text. Although there have been a number of alternative approaches to this debate, none have succeeded in becoming prevalent within the field. This contrasts greatly with the study of graphic novels in relation to the application of multimodal analysis. In this field, discussion about the interplay between the mode of the image and the mode of the written text are more frequent. This textual analysis takes into account the two modes to focus on their collaborative effects in how the graphic novel can be understood. This chapter suggests that current videogame scholarship can benefit from pre-existing multimodal discussion that exists within graphic novels.

scholarly journals The Covers of Young Adult Novels and Their Graphic Novel Adaptations: A Qualitative Multimodal Content Analysis

2020 ◽  
Vol 69 (1) ◽  
pp. 303-319
Author(s):  
Dani Kachorsky ◽  
Stephanie F. Reid
Keyword(s):  
Content Analysis ◽  
Young Adult ◽  
Visual Culture ◽  
Graphic Novels ◽  
Literacy Education ◽  
Graphic Novel ◽  
Social Semiotics ◽  
Visual Elements ◽  
Visual Artifacts ◽  
Support Students

Drawing from theories of visual culture, social semiotics, and multimodality, the researchers conducted a qualitative multimodal content analysis of the covers of 21 young adult (YA) books that had been adapted as graphic novels (GNs). This study showed that the GN covers emphasized character and that the ages of the represented characters seemed to shift during the process of adaptation. However, publishers linked the two covers through branding, color schemes, and visual elements. These findings suggest that publishers view the readership of GNs differently than the readership of YA novels. This article encourages literacy education researchers and classroom practitioners to support students in analyzing visual artifacts designed for particular consumers. Critical readers could examine the sites of production and dissemination in addition to the text itself.

Serials to Graphic Novels

2017 ◽  
Author(s):  
Catherine J. Golden
Keyword(s):  
Nineteenth Century ◽  
Children's Literature ◽  
Material Culture ◽  
Graphic Novels ◽  
Children’S Literature ◽  
Graphic Novel ◽  
Victorian Novels ◽  
Book Illustration ◽  
History Of ◽  
Illustrated Book

The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.

First Impressions Matter

2016 ◽  
Vol 48 (4) ◽  
pp. 423-447 ◽  
Author(s):  
Laura M. Jimenez ◽  
Carla K. Meyer
Keyword(s):  
Meaning Making ◽  
Graphic Novels ◽  
Graphic Novel ◽  
Primary Data ◽  
Source Analysis ◽  
Written Text ◽  
Visual Elements ◽  
Video Recordings ◽  
Multiple Case ◽  
K 12

Graphic novels in the K-12 classroom are most often used to motivate marginalized readers because of the lower text load and assumption of easy reading. This assumption has thus far been unexplored by reading research. This qualitative multiple-case study utilized think-aloud protocols in a new attention-mapping activity to better understand how expert readers use intentional attention shifts to make meaning in graphic novels. Four expert graphic novel readers, and four expert print-dominant readers, between ages 16 and 20 were asked to trace their attention across the opening pages of five graphic novels and to predict what the story was about. Utilizing digital video recordings as the primary data source, analysis included creating a visual representation of each reader’s attention patterns, time used, as well as the complexity and accuracy of his or her predicted stories. Findings indicate that the expert graphic novel readers initially attended to visual elements to gain an understanding of genre, character, and possible plot points. Only after attending to the illustrations did they decode the written text, and finally synthesized the two. The expert print-dominant readers predominantly attended to written text effectively but did not use illustrations to support or extend their understanding or meaning making in the text. This study complicates current assumptions about the ease of reading graphic novels by observing expert-print dominant readers and expert graphic novel readers negotiate written text and illustrations.

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