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Background: Research suggests that comics are effective at conveying narratives, promoting literacy, empowerment, and as a therapeutic intervention. However, there is a gap in research on the use of comics in art therapy. Aims: This study explored the potential of comics within an art therapy and narrative therapy framework. The primary research question explored the effectiveness of comics compared to single images in evoking narratives from past problems. The secondary research question examined differences in the representation of an event between the two formats. To address these questions, the process of depicting a past problem as a single image was compared to depicting the same problem as a comic. Methods: This study recruited 15 adult participants through convenience sampling. This was a non-clinical population consisting of individuals with no known psychological difficulties or history of psychological disorders. Participants evaluated the formats through a survey and verbal interview. Quantitative and qualitative data were analysed to determine the formats' effectiveness. Participants' artwork was analysed for unique characteristics the comic evoked. Results: Data analysis indicated participants responded positively to the comic, which seemed especially effective at facilitating the narrative therapy technique of deconstructing. Artwork analysis indicated the comic evoked increased word inclusion, and unique representations of time and movement. Conclusions: These results support the hypothesis that comics are at least as effective than single images in eliciting narratives from past problems, and evoke unique characteristics. Implications: This study suggests the potential of comics in art therapy, encouraging further research and application. Plain-language summary: Research has suggested the effectiveness of comic creation as a means of communication and empowerment. However, there is a gap in research on the use of comic creation as an art therapy intervention. This study explored the potential of comics as an art therapy tool by comparing the process of depicting a past problem as a single image to the process of depicting the same problem as a comic. This was done in order to determine the effectiveness of creating a comic compared to creating a single image in depicting a past problem, particularly in eliciting a narrative from the problem. This study also explored how the representation of an event might differ in a comic versus a single image format. This study worked with 15 adult participants who had no prior history of psychological disorders. Participants first depicted a past problem as a comic and a single image and then completed a survey and a verbal interview comparing these two formats. Results indicated that participants responded positively to the comic format and that it appeared especially effective in helping participants break down the origins, impacts and actions involved in the problem. Examining participants' artwork also suggested that the comic format brought about unique representations of time and movement. The findings of this study suggest that comic or sequential art have potential for use in an art therapy setting. This study hopes to spark further research and encourage the use of comics in therapeutic settings. [ABSTRACT FROM AUTHOR]

"Losing the West, Finding Western Worlds" explores how recent critical work in Western American studies breaks apart the region's foundational myths and invites readers and reviewers to revise understandings of this popular, enduring, and protean genre. Reflecting on four studies that interrogate Western American fiction, film, and comic books (two monographs by British scholars Mark Asquith and Neil Campbell; a study of the Black Western by film historian Mia Mask; and a collection of essays edited by Christopher Conway and Antoinette Sol on varieties of comic book westerns produced around the world), the essay considers how this diverse cohort of scholars pursues a common imperative to unlearn "the West" and sets new directions for literary and cultural studies of the region. Through rereadings of the work of writers and actors who fracture and reassemble the heroic settler narrative from the perspective of outsiders, these critics contend, the West can emerge as a place whose stories offer more complete understandings of the past, whose heroes illuminate the political challenges of the present, and whose writers provide the right words for imagining a better future. [ABSTRACT FROM AUTHOR]

Understanding visual narrative sequences, like those in comics, requires readers to track situational information like the continuity of characters, locations, or events across panels. Yet, some sequences intentionally present incongruities, which may elicit the inference that the narrative presents two separate domains: an established, expected storyworld (primary domain) and an additional context surrounding the incongruous events (auxiliary domain), like a character's imagination, dreams, or memories. This paper describes how these inferences are supported by visual constructional patterns, which emerge across a wide range of narratives, yielding further insight into the fundamental role of graphic and structural cues within visual storytelling. [ABSTRACT FROM AUTHOR]

This scoping review provides an analysis of the available experiences on the use of comics to promote the health of school children. It was registered in the Open Science Framework (OSF) under DOI: doi.org/10.17605/OSF.IO/Z5VX6. Seventeen studies were used, including articles, theses and dissertations. The results present the main characteristics of the studies such as year; country; sample characteristics; study design; description of actions and population/ sample. The target population of each selected study was children younger than 10  years. The sample number of the studies ranged between 47 and 881 children. Fifteen studies developed the interventions in schools. 44.4% of the selected studies were published between 2011 and 2020, and the continents with the highest number of publications were South America and North America, with 33.3% each. Regarding the type of study, 55.6% used the nonrandomized experimental method and 35.3% had themes related to specific diseases. The experiences that were considered successful were conditioned to the organizational structure of the use of comic books and how they were offered to school children. [ABSTRACT FROM AUTHOR]

People who have the histrionic self-presentation style (HSP) demonstrate certain As-If-behaviors, involving pretense and role play, in their daily interactions to seek attention and amuse others. Doing As-If may be closely related to humor behaviors, so we examined this relationship in greater detail by using the Comic Style Markers (CSM) in Polish, English, and Canadian samples (N = 285, 383, and 305, respectively; Mage = 20.85, SD = 5.35). We expected that the HSP might be related to fun, wit, and satire due to their pretense-based characteristics. We confirmed configurational, metric, and scalar invariance for the As-If-Scale (AIS) and the CSM in the three samples, which allowed for cross-cultural comparisons. As expected, the HSP was positively associated with fun, wit, and satire. Additionally, men scored higher on the AIS, but no cross-country differences were found. [ABSTRACT FROM AUTHOR]

The article shares a personal history of a blind reader encountering graphic novels at different times in life. Following a brief review of the low-vision accessible comics and adaptation strategies currently available, it offers a critique of the emphasis placed on high-tech adaptation strategies for idealizing "independent" reading practices. In response to the potentially ableist pitfalls of high-tech adaptation, the article offers "co-reading" as an anti-ableist reading practice which enables access to comics for blind and visually impaired readers while encouraging sighted readers to interrogate ableist assumptions about dis/ability. With reflections on Alison Bechdel's Fun Home, the author considers why blind readers might be interested in reading a conventionally visual medium; why the privileging of independent reading works to limit accessibility of comics to blind and low vision readers; and last but not least, how the practice of collaborative comics reading—co-reading—offers opportunities to engage in anti-ableist praxis of reading comics. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores three different comics by creators with brain tumors: Rick , written and drawn by Gordon Shaw; Going Remote , written by Adam Bessie and drawn by Peter Glanting; and Parenthesis , written and drawn by Élodie Durand. It examines how the affordances of the comics medium enables the creators to present an experience of subjective time that is multiple, diffuse, and contradictory, in contrast to the regular apportioning of time via calendars, schedules, and pathways essential to institutional neuro-oncology. The question of time here is significant because the side effects of brain tumors can include blackouts, seizures, and periods of extreme fatigue, during which the experience of time can be significantly disrupted. The title of the article therefore evokes a temporal duality: on the one hand, it refers to the common phrase used to describe what clocks do, as well as our ability to read them; on the other hand, it speaks to one of the most important qualities of graphic medicine, which is that it allows patients dealing with medical or health issues to tell time differently. The article explores the representation of personal time in Rick , social time in Going Remote , and lost time in Parenthesis. [ABSTRACT FROM AUTHOR]

The article focuses on using Comic Life, an app designed for creating digital comics, to enhance composition skills for adult learners. Topics include the effectiveness of Comic Life in reducing writing anxiety, its application in teaching digital and writing skills, and how it helps learners integrate personal experiences and creativity into their writing practice.

The purpose of this paper is to demonstrate that, in a particular genre of the Japanese novels called Raitonoberu (‘light novels,’ ad verbum), the sentences containing the Japanese conjunctive particle “TO” (“when”), which I name cue-incorporated sentences, involve multiple points of view, much like free indirect speech in English, and, followed by the internal speech of a character, they have the function to draw the readers into the perspective of the characters. According to Maynard (2012), ‘light novels’ are intentionally written to bring readers closer to the characters than general novels, and therefore, there are many devices to try to make readers empathize with the feelings of the characters. It might be difficult for the readers to understand if the inner voice of a character abruptly appears in the main text, but, with the intervention of a cue-incorporated sentence, it is possible to gently shift the point of view, allowing the readers to naturally superimpose their own perspective on that of the character. This paper also stresses the significance of doing a contrastive study of ‘light novels’ and the comic book versions, since this could provide new insights into linguistics. [ABSTRACT FROM AUTHOR]

Copyright of Revista la Palabra is the property of Revista la Palabra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What makes a language alive is its rich heritage of both proverbs and idioms, which are part of our daily speech, giving voice to popular wisdom and common sense, not to mention their ironic thrust. These features of proverbs, passed on from generation to generation, are to be widely found in The Betrothed by Alessandro Manzoni. As the most recent studies are showing, proverbs and idioms can be considered the core of Manzoni's linguistic inquiries in his search for a model of language of speech to be used in the novel. The main linguistic tools Manzoni employed for his studies were therefore vocabularies, extensively annotated (such as the Crusca veronese, but also the Vocabolario milaneseitaliano by Francesco Cherubini and the Dictionnaire des proverbes français by Pierre de la Mésangère) and, above all, the Florentine comedians of the XVI, XVII and XVIIIth century. Manzoni treasured these comedies as examples of texts which tried to mirror the oral speech of the Florentines, as the hundreds of notabilia (underlined expressions), including proverbs, attest. This article will highlight some significant cases of concordances between the notabilia and the novel, in order to show the double role of proverbs: a means to portray oral speech (but not only for the dialogues of the less educated characters) and a way to make the prose smooth, as proved by their use in the diegesis or in the historiographic digressions. The study of the Florentine comic tradition not only has affected the language of the novel, but it has even worked at a deeper and creative level, inspiring Manzoni in the creation and development of memorable episodes which were not present in the Fermo e Lucia, the first draft of the novel. This is the case of two well-known episodes, which will be fully analyzed in this contribution: the episode built on the expression fare orecchie da mercante ('to turn a deaf ear') and the creepy refrain «A chi la tocca, la tocca», mumbled by Tonio. [ABSTRACT FROM AUTHOR]

Purpose: This paper brings attention to the role of hybrid middle managers. In particular it explores the relationship of organisational purpose and role requirements. Design/methodology/approach: The primary research question for the original research was: What does it mean to hybrid managers to lead and deal with imposed changes (restructuring) to services? A novel narrative approach based on a synthesis of Czarniawska, Gabriel and Boje was applied. Accounts from interviews were condensed into narratives by initially using the categories defined by Gabriel (2000) as epic, tragic, comic and romantic and then further categorised into stories, themes and a serial (Czarniawska, 1997). The final stage of the three-way synthesised narrative approach incorporated Boje's (2001) notion of "antenarrative" to include pre-emplotment elements. Findings: Four narratives are provided that give insight to the nature of the struggles the hybrid middle managers were in the midst of. A struggle to address incongruent demands being placed on them that cause tension with their sense of purpose, organisational goals and their hybrid clinical roles and management roles. In the midst of these struggles the narratives illustrate the dynamic of ethical resistance that seeks a way forward. However, this appears to come at a health and well-being cost to the middle managers. Originality/value: The paper offers up the notion of an added third bind to the traditional double, that of "ethical resistance", a struggle to align organisational purpose with clinical and management role requirements. Theorising this third bind provides a new insight into understanding the context and dynamics of the hybrid middle manager role and behaviour. Indeed, the idea of ethical resistance may cause a revision of how resistance is understood. [ABSTRACT FROM AUTHOR]

The narrative review examines the current state of research on reading for pleasure and its relevance in education and personal development. By analysing 22 studies published over the past several years (2014–2022), the authors have sought to identify the key trends and areas of focus within this field. The selected articles have been coded and analysed, and the results have been used to, among others, examine the type of research on reading for pleasure, the subject areas covered, the research methods used, the variables analysed, and the target groups involved. A particular attention has been paid to possible conceptualisations of reading for pleasure and reading for pleasure pedagogy, to the type of reading and the texts reading for pleasure may predominantly be associated with, as well as to its social dimension and relationship to the digital literary environment. The literature review shows that the studies on reading for pleasure highlight the importance of personalisation in reading for pleasure pedagogy and acknowledge the role of the material and social dimension of reading. Further, there are signs of a broader definition of reading materials, like comics, also in the educational context. The findings of the present review indicate the gaps in the research of reading for pleasure and highlight the need for a more profound understanding of the title concept and its benefits, thus contributing to the development of its future research and promotion. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Turkish Literature, Culture, Education is the property of International Journal of Turkish, Literature, Culture, Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Autobiographical graphic novels have become crucial texts for understanding displacement and transnational identities. This article discusses a long-lost early example of the genre, The Voyage and Adventures of a Well-Behaved German in Kangarooland (Reise-Abenteuer eines Braven Deutschen im Lande der Kangaroo), a series of proto-comic books created circa 1918–1919 by the cartoonist C. Friedrich. A German immigrant to Australia imprisoned in an Australian internment camp during World War I, Friedrich used his self-published comics to document the routines, passions and frustrations of camp life. Drawing on recent scholarship on "POW creativity" as a conceptual lens, we argue that the transnational displacement at the heart of Friedrich's work affirms Kangarooland as a pioneering work that provides a conceptual link with later autobiographical graphic novels and which should lead scholars to question claims that autobiographical comics are an American-born genre. Its origins in displacement and transnationalism, themes that animate so many of the most renowned graphic novels of the late 20th and early 21st centuries, suggest the genre instead developed out of the ability of comics to depict transnationalism and the precarity of displacement. [ABSTRACT FROM AUTHOR]

This paper examines The diary from the border: Ventimiglia, an auto‐ethnographic comic based on intensive fieldwork in the Italian border city of Ventimiglia from September to December 2018. The primary objective of my empirical research was to explore the socio‐spatial effects of France's reintroduction of border controls in the area since 2015, mainly targeting irregular mobilities within the European Union (EU). This study presents the auto‐ethnographic comic by delving into two crucial aspects. Firstly, it illuminates the rationale behind utilising an auto‐ethnographic comic as a research output, shedding light on the creative process involved in its conception. Secondly, it explores its composite narrative plot, encompassing three key elements: 'me' (the researcher's personal experiences extending beyond the fieldwork), 'me in Ventimiglia' (the researcher's encounters during the fieldwork), and 'Ventimiglia itself' (the French‐Italian border regime). By fostering a trans‐disciplinary dialogue encompassing migration issues, comics and life course theory, this paper enriches the geographical debate in three significant ways. It recognises the profound impact of the researcher's life events in shaping both research experiences and outcomes within and beyond the fieldwork. Additionally, it underscores the importance of auto‐ethnographic comics in challenging dominant narratives and visually portraying the multifaceted experiences of migration. Lastly, it contributes to the ongoing discussion on visual methods within geography and advocates for using comics as a compelling tool to disseminate research findings, fostering empathy and a comprehensive understanding of migration experiences. [ABSTRACT FROM AUTHOR]

This article examines the cultural history of Donald Duck and his friends in comics, highlighting their global popularity and influence in various forms of media. It explores how the Duck family comics have reflected societal changes over time, focusing on themes such as science, education, and ethnicity. The article discusses Disney's efforts to address representation of marginalized groups and gender roles, while also acknowledging the need for further diversity and inclusion. It also explores the portrayal of capitalism in the comics, noting that it offers a nuanced reflection of the economic structure. Overall, the article suggests that Disney's Duck comics are valuable artifacts that provide insights into American society. [Extracted from the article]

Education is one aspect that is influenced by developments in technology, information and communication. For example, a shift in learning paradigms to accommodate advances in science and technology to increase efficiency and optimize learning. The development of the educational era indirectly requires teachers to be able to utilize technology, information and communication as media and teaching materials for learning activities. The aim of developing digital-based comic learning media is that it is considered to be able to help students understand learning material because the advantage of digital-based comic media is that it is able to present images that can arouse students' interest in learning. This type of development research uses the 4D model which was initiated by Thiagarajan (1974). This 4D development model has four stages, namely define, design, develop and desseminate, but in development research it only reaches the develop stage. The product that has been developed by this researcher has been validated by material experts getting 81.66% percentage with the criteria "very feasible", media expert validation gets 93.33% percentage with the criteria "very feasible", and language validation gets 100% percentage with the criteria " very worthy.” Based on the results of expert validation, the product that has been developed in the form of digital-based comics is suitable for students to use during the learning process. [ABSTRACT FROM AUTHOR]

Copyright of Ondokuz Mayis University Journal of Education is the property of Ondokuz Mayis University Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Scholars have underestimated comics as an art form. This article uses an analysis of unreliable narration to show the complexity of this narrative mechanism in comics and, in turn, the sophistication of comics. Groensteen divides comic narrators into reciters and monstrators, and this distinction provides the basis to discuss unreliable narration in comics. This article categorizes comics with unreliable narration into mono‐sequence and dual‐sequence unreliable narrations according to the picto‐verbal relationship in the works. Moreover, medium‐specific features of comics such as spatialization of time and panel designs lead to unique types of unreliability. [ABSTRACT FROM AUTHOR]

The article highlights the perspectives of comic research as a culturally specific phenomenon within the framework of multidisciplinary studies. The comic as a complex and multifaceted phenomenon has been of interest to researchers since antiquity. However, the definition of the concept of "comic" and its belonging to a certain scientific discipline still leave room for scientific discussions. In the light of modern studies, researchers prefer to study this phenomenon at the intersection of several sciences with the involvement of the theoretical and methodical basis of such disciplines as linguistics, cultural studies, cognitive studies, pragmatics, etc. The article analyses the practicability and advantages of applying the approach of modern multidisciplinary theories in the study of the comic in literary texts in view of its complexity and cultural conditioning. The study suggests that the results of such interdisciplinary cooperation can become the basis for a more in-depth translational analysis of the comic. Such an analysis makes it possible to cover different levels of research on this phenomenon and to open up new perspectives for the study of the nature of the comic in literary texts and the strategies of its rendering in literary translation. [ABSTRACT FROM AUTHOR]

This research is aimed to analyze types of flouting maxim. To find cooperative principle of the implicature through the utterances expressed from the characters in comic strips. The method that will be used in this research is qualitative research design. The researchers use 12 chapters of the tiger comic strips from comics kingdom website as data source from December 01, 2023 to January 24, 2024. Then analyze the conversation that the character had. Likewise, this study attempts to discover the reason for using implicature in the comic strips. The researchers draw a conclusion where the flouting maxim of quantity (32.5%), the flouting maxim of quality (20%), the flouting maxim of manners (25%), and the flouting maxim of relevant (22.5%). The characters of “Tiger” digital comic strips mostly flouted the maxim of quantity since they avoid making others upset about lack of the answer, so they provide a comprehensive explanation. [ABSTRACT FROM AUTHOR]

Copyright of Selçuk University Journal of Faculty of Letters is the property of Selcuk Universitesi Edebiyat Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article will attempt to answer the question 'Why aren't we talking about the Beano?' by first of all explaining what The Beano is, who 'we' are, and why there is a popular perception, in the UK at least, that the latter should be discussing the former. It will then provide empirical evidence that we are not talking about The Beano and offer a number of explanations for why this might be before finally demonstrating why any of it matters. [ABSTRACT FROM AUTHOR]

Barbara Brandon-Croft is the first African American woman to have a nationally syndicated mainstream newspaper comic strip. Her comic Where I'm Coming From was first published in the Detroit Free Press in 1989. Two years later it was nationally distributed when it was picked up by Universal Press Syndicate. This interview is a compilation of edited excerpts from two recorded interview sessions conducted with Barbara Brandon-Croft during the summer of 2022, and follow-up sessions that occurred in the fall of 2023. The conversation focuses on how Barbara's experiences during her formative and adult years inspire the world depicted in Where I'm Coming From. We discuss her experiences while growing up in the predominantly Black neighbourhood of New Cassel, Long Island; her father Brumsic Brandon, Jr.'s influences on her career path; her undergraduate years at Syracuse University; and the inspirations behind the content in some of her strips. [ABSTRACT FROM AUTHOR]

This article examines two recent Israeli webcomics and explores how each has introduced new modes of graphic communication in Israeli comics. Both are rooted in the Israeli cultural milieu but they reject the forms and substance traditionally associated with Israeli comics and graphic novels. In particular, I analyse Barlev's use of anthropomorphism and Nachmany's use of superhero parody in order to offer novel critiques of Israeli society while also expanding the range and scope of the Israeli comic book and graphic narrative marketplace. I conclude the article by offering a tentative assessment of what it is about webcomics that has facilitated both of these works and how Nachmany's and Barlev's popularity can lead to future novel expressions in Israeli comics. [ABSTRACT FROM AUTHOR]

The article presents the discussion on exploring the educational practices and knowledge within Latinx Preservice Teachers' (LPSTs) homes and how they utilize comic strips to depict these pedagogies. Topics include impact of borderland education marked by resistance and survival and the documentation of home-based teaching and learning practices by LPSTs.

Copyright of Etnolingual is the property of Universitas Airlangga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Comic Style Markers (CSM) is a questionnaire that allows a fine-grained description of how people differ in the way they display humor in their daily lives. It includes 48 statements capturing eight interrelated, yet distinct comic styles: fun, irony, wit, sarcasm, benevolent humor, satire, nonsense humor, and cynicism. Despite the independent conceptual roots of these humorous domains, the analysis of the CSM scales' latent structure shows that their empirical distinction needs to be improved. Using the information derived from a competitive latent approach, including confirmatory factor analysis, bifactor analysis, and exploratory structural equation modeling, we proposed and validated a shorter 24-item version of the CSM in a large sample of 925 Spanish individuals (SP-CSM-24). This scale-refinement improved the psychometric differentiation of the eight comic styles without undermining the good internal consistency and the temporal stability of the CSM scores. Strong invariance was held for gender and age groups, and partial scalar invariance for countries also emerged using a sample of 318 U.S. American adults. Structural equation modeling also corroborated a convincing test-criterion validity for the SP-CSM-24, with dispositional expressions of benevolent humor (positively) and cynicism (negatively) outperforming other comic styles in accounting for individuals' well-being. [ABSTRACT FROM AUTHOR]

Copyright of RILCE. Revista de Filología Hispánica is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims, on the one hand, at contributing to the analysis of one of the most enduring stock-characters in Roman comedy: the comic soldier, in its Plautine manifestations in particular. On the other hand, it will shed light on a much more serious soldier: Telamonian Ajax, and his in some way unfortunate reception. Weaving a twofold discussion of such apparently distant figures, I will evaluate the possible echoes of the mighty warrior Ajax in the parodic processes enacted by Plautus' milites , as well as the role played in turn by these echoes in the Roman reception of Ajax himself. I will show how the Roman Ajax enhanced and developed comic nuances, which can be better understood through the trigger of Plautine memories and play a role in Rome's own reflection on everchanging criteria for measuring valour. [ABSTRACT FROM AUTHOR]

This article investigates single-panel cartoons portraying official corruption in China's longest- running state-owned cartoon newspaper Cartoon Weekly (Fengci yu youmo). A total of 433 cartoons are identified as relating to corrupt officialdom between 2012 and 2019 in the wake of Xi Jinping's anti-corruption signature policy. In contrast with the individualizing critique of political cartooning in liberal democracies, the corpus of corruption cartoons investigated in this article is argued as a didactic form of visual schematization in a pseudo-self-critical discourse typically buttressed by verbal reading instructions. To support this claim, the article addresses its politics of visual discourse by employing Peircean hypoiconicity, consisting of direct resemblance, diagrammatic schematization and metaphoric displacement. Accordingly, the article identifies three major features of corruption cartoons as anonymization of direct resemblance, visual schematization of policy and metaphoric displacement of conventional symbols. [ABSTRACT FROM AUTHOR]

The use of renewable energy as a substitute for fossil energy must continue to be promoted to achieve sustainability. This study aimed to reveal the development of digital comics on the topic of biogas energy as a learning medium. The method used is research and development with the DDDE model (Decide, Design, Develop, and Evaluate). The results showed that biogas digital comics were very good to be used as learning media. This study recommends the use of comics as a medium of learning on other topics. [ABSTRACT FROM AUTHOR]

Copyright of Diversitas Journal is the property of Diversitas Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Lusofona de Educacao is the property of Universidade Lusofona de Humanidades e Tecnologias, CEIEF and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Jakob Hinrichs, a comic artist, highlighting his unconventional studio space and his approach to comic art as a legitimate and evolving form of contemporary literature and visual expression. Topics include his innovative adaptations of literary classics into graphic novels, his rejection of conventional artistic norms in favor of populism, and his use of traditional printing techniques to enhance the visual and tactile experience of his books.

Background/Aim: Childhood dental trauma poses a prevalent concern, and the limited knowledge of lay caregivers toward the needed immediate actions can adversely affect a child's well‐being. This study aimed to create and validate an educational comic book for lay individuals, designed to guide immediate actions in dental trauma cases, and assess its effects toward enhancing reader knowledge. Methodology: The four‐stage study involved: (1) Literature review and script development; (2) Version 1 of the comic book creation (including illustrations, layout, and design) and Flesch Readability Index (FI) calculation; (3) Version 1 validation by expert judges, assessed by the Content Validity Index (CVI); (4) Version 1 refinement based on the judges' feedback, recalculation of FI, and a pilot test (CVI) involving lay individuals who validated the final material (Version 2). The validation process involved 67 participants, including 13 specialist judges and 54 elementary school teachers. Results: The CVI for Version 1 was calculated at 0.89 (89%), indicating a favorable level of agreement on the evaluated criteria. The FI was determined as 91.1%, indicating a high level of readability. The FI for Version 2 was 92.1% (indicating a very easy level of comprehension). The CVI calculated for the target audience after the pilot test was 0.99 (99%), denoting a substantial agreement among the participants. In assessing the level of knowledge, a significant increase was observed in the rate of correct answers after the comic book was read by lay individuals (p < 0.05), inasmuch as the percentage rose from 50.5% before to 81.2% after reading it. Conclusion: The educational comic book proved valid in terms of readability, appearance, and content. Furthermore, it had a positive impact on gaining the knowledge needed to take the appropriate actions, thus making it a valuable tool for guiding the lay population in cases of dental trauma. [ABSTRACT FROM AUTHOR]

Reading is an important element of independent work on the language, but offering students additional reading to improve their linguistic and cultural competences is an extremely difficult task, due to the evolving tastes of young people and the variability of the media they use. Given the popularity of manga and digital comics in France, Romance philology students were asked to read a series selected from the webtoons.com/fr platform in French. A survey was then carried out to find out their views on how this tool could be used in French language learning. The results of the survey clearly indicate that the webtoons.com/fr platform can be used as an effective tool for learning French. According to the respondents, reading the selected series allowed them, above all, to develop lexical resources and was also an enjoyable pastime that increased motivation to learn the language. Students also paid attention to the combination of word and image, appreciating both the aesthetic and practical side of reading digital comics. Finally, the practicality of using the platform, its ease of use and accessibility was emphasised. [ABSTRACT FROM AUTHOR]

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