Self-reflexive graphic narrative: Seriality and Art Spiegelman's Portrait of the Artist as a Young &

2010 ◽  
Vol 1 (2) ◽  
pp. 197-211 ◽  
Author(s):  
Nicole McDaniel
Keyword(s):  
Graphic Narrative

Engaging Student Mothers Creatively: Animated Stories of Navigating University, Inner City, and Home Worlds

2017 ◽  
Vol 2 (2) ◽  
pp. 103-114
Author(s):  
Lise Kouri ◽  
Tania Guertin ◽  
Angel Shingoose
Keyword(s):  
Inner City ◽  
Community Engagement ◽  
Lived Experience ◽  
Graphic Narrative ◽  
Student Mothers ◽  
Education Outcomes ◽  
The Social ◽  
And Gender ◽  
The University ◽  
Animated Graphic

The article discusses a collaborative project undertaken in Saskatoon by Community Engagement and Outreach office at the University of Saskatchewan in partnership with undergraduate student mothers with lived experience of poverty. The results of the project were presented as an animated graphic narrative that seeks to make space for an under-represented student subpopulation, tracing strategies of survival among university, inner city and home worlds. The innovative animation format is intended to share with all citizens how community supports can be used to claim fairer health and education outcomes within system forces at play in society. This article discusses the project process, including the background stories of the students. The entire project, based at the University of Saskatchewan, Community Engagement and Outreach office at Station 20 West, in Saskatoon’s inner city, explores complex intersections of racialization, poverty and gender for the purpose of cultivating empathy and deeper understanding within the university to better support inner city students. amplifying community voices and emphasizing the social determinants of health in Saskatoon through animated stories.

“A Chosen People”: Religious Discourse and the Making of the Republic of Guatemala, 1821-1871

1997 ◽  
Vol 54 (1) ◽  
pp. 17-38
Author(s):  
Douglass Sullivan-González
Keyword(s):  
Religious Discourse ◽  
Graphic Narrative ◽  
Political Landscape ◽  
The Social ◽  
Women And Children ◽  
The Republic ◽  
Social Upheaval ◽  
The Military ◽  
First Time ◽  
White Elite

No clearer testimony evidenced the social upheaval and shifting political landscape in Guatemala in February 1838 than the graphic narrative by the traveling United States' diplomat, John Lloyd Stephens. Recently arrived in the capital for the first time, Stephens witnessed the insurrectionary triumph of the military caudillo, Rafael Carrera, and his “tumultuous mass of half-naked savages, men, women, and children, estimated at ten or twelve thousand.” Stephens described how Carrera's indigenous followers, upon entering the abandoned plaza and within earshot of the terrified white elite shouted “Long live religion and death to foreigners!” Carrera's political uprising incited by religious concerns had laid siege to the power structure inherited from colonial times.

Readability of a Radiotherapy Graphic Narrative Patient Education Guide Series in English and Spanish

2021 ◽  
Vol 111 (1) ◽  
pp. e12
Author(s):  
Santiago Avila ◽  
John Paul M. Macayan ◽  
Alicia Haydon ◽  
Michael K. Rooney ◽  
Brian Callender ◽  
...  
Keyword(s):  
Patient Education ◽  
Graphic Narrative

scholarly journals Communicating Guideline Recommendations Using Graphic Narrative Versus Text-Based Broadcast Screensavers: Design and Implementation Study (Preprint)

2021 ◽  
Author(s):  
Lauren Sinnenberg ◽  
Craig A Umscheid ◽  
Frances S Shofer ◽  
Damien Leri ◽  
Zachary F Meisel
Keyword(s):  
Clinical Practice ◽  
High Volume ◽  
Suppressive Therapy ◽  
Guideline Recommendation ◽  
Graphic Narrative ◽  
Design And Implementation ◽  
Resident Physicians ◽  
Graphic Narratives ◽  
The One ◽  
The Impact

BACKGROUND The use of graphic narratives, defined as stories that use images for narration, is growing in health communication. OBJECTIVE The aim of this study was to describe the design and implementation of a graphic narrative screensaver (GNS) to communicate a guideline recommendation (ie, avoiding low-value acid suppressive therapy [AST] use in hospital inpatients) and examine the comparative effectiveness of the GNS versus a text-based screensaver (TBS) on clinical practice (ie, low-value AST prescriptions) and clinician recall. METHODS During a 2-year period, the GNS and the TBS were displayed on inpatient clinical workstations. The numbers of new AST prescriptions were examined in the four quarters before, the three quarters during, and the one quarter after screensavers were implemented. Additionally, an electronic survey was sent to resident physicians 1 year after the intervention to assess screensaver recall. RESULTS Designing an aesthetically engaging graphic that could be rapidly understood was critical in the development of the GNS. The odds of receiving an AST prescription on medicine and medicine subspecialty services after the screensavers were implemented were lower for all four quarters (ie, GNS and TBS broadcast together, only TBS broadcast, only GNS broadcast, and no AST screensavers broadcast) compared to the quarter prior to implementation (odds ratio [OR] 0.85, 95% CI 0.78-0.92; OR 0.89, 95% CI 0.82-0.97; OR 0.87, 95% CI 0.80-0.95; and OR 0.81, 95% CI 0.75-0.89, respectively; <i>P</i>&lt;.001 for all comparisons). There were no statistically significant decreases for other high-volume services, such as the surgical services. These declines appear to have begun prior to screensaver implementation. When surveyed about the screensaver content 1 year later, resident physicians recalled both the GNS and TBS (43/70, 61%, vs 54/70, 77%; <i>P</i>=.07) and those who recalled the screensaver were more likely to recall the main message of the GNS compared to the TBS (30/43, 70%, vs 1/54, 2%; <i>P</i>&lt;.001). CONCLUSIONS It is feasible to use a graphic narrative embedded in a broadcast screensaver to communicate a guideline recommendation, but further study is needed to determine the impact of graphic narratives on clinical practice.

Remediation and hypermediacy: Ezekiel’s World as a case in point

2018 ◽  
Vol 19 (2) ◽  
pp. 199-229
Author(s):  
Ayelet Kohn ◽  
Rachel Weissbrod
Keyword(s):  
World War Ii ◽  
Original Work ◽  
Second Generation ◽  
Holocaust Survivors ◽  
World War ◽  
Graphic Narrative ◽  
The Holocaust ◽  
Graphic Narratives ◽  
Jewish Resistance ◽  
Resistance Movement

This article deals with Kovner’s graphic narrative Ezekiel’s World (2015) as a case of remediation and hypermediacy. The term ‘remediation’ refers to adaptations which involve the transformation of the original work into another medium. While some adaptations strive to eliminate the marks of the previous medium, others highlight the interplay between different media, resulting in ‘hypermediacy’. The latter approach characterizes Ezekiel’s World due to its unique blend of artistic materials adapted from different media. The author, Michael Kovner, uses his paintings to depict the story of Ezekiel – an imaginary figure based on his father, the poet Abba Kovner who was one of the leaders of the Jewish resistance movement during World War II. While employing the conventions of comics and graphic narratives, the author also makes use of readymade objects such as maps and photos, simulates the works of famous artists and quotes Abba Kovner’s poems. These are indirect ways of confronting the traumas of Holocaust survivors and ‘the second generation’. Dealing with the Holocaust in comics and graphic narratives (as in Spiegelman’s Maus: A Survivor’s Tale, 1986) is no longer an innovation, nor is their use as a means to deal with trauma; what makes this graphic narrative unique is the encounter between the works of the poet and the painter, which combine to create an exceptionally complex work integrating poetry, art and graphic narration.

Sign in / Sign up

Export Citation Format

Share Document