Search

Up to now, comics have mainly been used for teaching literature. In this article, approaches of language teaching methodology for the use of comics in German classes are presented. Using the example of the history comic Mosaik, the article discusses different variants of languagehistorical staging. The didactic potential subsequently shown illustrates how comics can be used in language teaching to promote both vocabulary acquisition and the development of language criticism competence and thus the formation of language awareness among students. [ABSTRACT FROM AUTHOR]

The paper analyses different verbal and non-verbal ways of disagreement. From both a pedagogical and didactic perspective, it argues that multimodal texts such as the Asterix comic books are well suited to explore the verbal and non-verbal aspects of quarrels. The analysis incorporates elements of PicDRT, a quite recently proposed variant of Discourse Representation Theory that enables the discursive interpretation of multimodal texts. PicDRT is then combined with didactic and educational elements. [ABSTRACT FROM AUTHOR]

The project “Visualities of Gender in German-language Comics”, funded by the FWF and located at the Department of German Philology at the University of Vienna, systematically investigates how gender is narrated in comics through linguistic and visual codes and to what extent gender norms are discussed. The article presents the research project, its conception and goals, the corpus as well as the essential data- base and, last but not least, its theoretical approaches. In addition, characteristics of comics with regard to gender and points of contact with frida are addressed. Indeed, comics by women, including numerous autobiographical works, have been an integral part of the comics boom of recent decades. Even more so, comics by and for women ap- pear to be an appropriate medium for taboos, articulating illness, sexuality, trauma, violence, and injuries of various kinds in a way that is of both personal and societal interest. Auto_biographical documents are important elements of these artistic explorations. One example is Ulli Lust’s autobiographical comic “Today is the Last Day of the Rest of Your Life” (2009). [ABSTRACT FROM AUTHOR]

The article deals with scenic readings in primary school. A close look at characteristics of graphic storytelling reveals that comics, graphic novels, and graphic picture books provide play values for scenic reading. From a didactic perspective, the article focuses on the opportunities and challenges of scenic readings of graphic stories that come with the shift from the spatial order of the book to a temporal sequence of staging. Through the example of the graphic stories Detektiv John Chatterton and Lehmriese lebt! the article shows how scenic readings can be arranged in primary schools. Insights into concrete classroom discussions make learning potentials for dealing with space and time in graphic stories visible. [ABSTRACT FROM AUTHOR]

The article focuses the designing of characters in comics from the perspective of Art Education. Selected examples help to understand fundamental aspects of drawing, reading and understanding comics, where character design oscillates between simplification and differentiation. The tension and the range of possibilities between simplification and differentiation influences the interplay of form and content and the narrative qualities. How characters are embedded in a comic narrative can be seen as both a specific potential and challenge of working with comics as a medium. The article shows examples of comic character design inspired by personal experiences with students in school and higher education. [ABSTRACT FROM AUTHOR]

In order to determine narrative moments in comics, both from an analytical and a didactic perspective, the main focus is usually on its sequentiality. In doing so, it is easy to overlook the fact that the comic page itself is structured by its layout like a coherent picture. In this coherent pictoral unit the panels are designed and composed in a distinct way. This article delivers a poietic perspective on conventionalized ways of page design as well as the compositional knowledge and skills that go along with it. From this point of view further conclusions are drawn with regard to comics as a subject in art classes. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Languages for Specific Purposes is the property of University of Oradea, Faculty of Economic Sciences 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 Goethe-Jahrbuch is the property of Wallstein Verlag 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 German as a Foreign Language is the property of German as a Foreign Language 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 Colloquia Germanica Stetinensia is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press 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 discusses acquisition of American comics in German libraries. It mentions German Museum of Books and Writing acquired the extensive collection from Armin Abmeier, the former publisher of the Great Books and Great Notebooks; and also mentions Abmeier particularly valued Robert Crumb and Art Spiegelmann, but early works by Chris Ware and Mark Beyer are also represented.

The article presents a report from an April 27-30, 2016 conference in Leipzig, Germany on history and mythology in comics and graphic novels. Topics of presentations delivered include depictions of ancient Greek mythology in the comics "Sokrates der Halbhund" and "Age of Bronze", minotaurs in the comic book series "Thor: God of Thunder", and the depiction of the Bosnian war in the graphic novel "Fax from Sarajevo: A Story of Survival" by Joe Kubert.

The article presents a report from a May 28-29, 2015 conference in Münster, Germany on the depiction of Middle Ages and modern history in the 1963 East German comic strip "Ritter Runkel" by Johannes Hegenbarth and Lothar Dräger which ran in the "MOSAIK von Hannes Hegen" periodical. Topics of presentations delivered included the influence of authors Karl May, Viktor von Scheffel, and Wilhelm Hauff on the strip, the depictions of Genoa, Pisa, and Venice, Italy in the strip, and the absence of depictions of church history in the strip.

Comic books have been part of the stock of public libraries for a long time. They belong to the group of books that are borrowed frequently. Although their reputation is not the best, an appropriate selection and a skillful presentation can turn the comic book stock into an attractive segment of every library. This article describes how comic books are handled at the Cologne Public Library. [ABSTRACT FROM AUTHOR]

The article presents a report on popular culture in Western Europe from the 1950s to the 1970s, held in Saarbrücken, Germany, from October 6-8, 2014. Topics of discussion included comic books, the so-called "British Invasion" pop music trend, and consumerism. Cultural historian Kaspar Maase gave a keynote address on youth culture and social change.

The article discusses the political conditions surrounding the East German comic "Hannes Hegen's Mosaik" particularly its relationship with the Sozialistische Einheitspartei Deutschlands political party. The cultural and social role of "Mosaik" as a socialist-approved replacement for popular western comics is examined, information is offered on the education and family history of the comic's author Johannes Hegenbarth (pen name Hannes Hegen), and the historical function of "Mosaik" is also described.

The article discusses historical narratives in graphic novels, manga, and comic books as well as attempting a definition of historical comics. Topics of discussion include the history of European historical comics such as "Astérix" and "Mosaik", the categorization of comics and manga within literature, and the use of comics in education. Information is offered on the introduction of fictional protagonists and characters into historical situations in graphic media and the retelling of other novels through comics.

The article introduces the topics of the June 2014 issue of the comparative history periodical "Comparativ: Leipziger Beiträge zur Universalgeschichte und Vergleichenden Gesellschaftsforschung" on historical comics and manga in Europe, Asia, and the U.S.

Copyright of Zeitschrift für Katalanistik is the property of Zeitschrift fur Katalanistik 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 Zeitschrift für Katalanistik is the property of Zeitschrift fur Katalanistik 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 essay examines the representation of emotions in comics from the early history of modern comics around 1900 until the present day. It begins by examining the representation of emotions in comic strips from the turn-of-the-century to the 1950s, then presents a close reading of exemplary comic books and graphic novels of the postwar era which depict historical events. Finally, it compares contemporary graphic novels with historico-political subjects, arguing that comics are not limited to comedy and comical subjects. For when dealing with historical items, comics convey emotions connected with impotence, perplexity and grief. [ABSTRACT FROM AUTHOR]

The article discusses how emotions have been portrayed in comic strips throughout history since around 1900, and how feelings have been treated thematically in the historical development of American comics, which are seen to have had international influence. Although there is little systematic research on this form of pop culture, the authors of the article point out that feelings are rarely absent from comics, and appear in the form of gestures or mimicry. They cite as examples the comic strip "Peanuts" with its Charlie Brown character by cartoonist Charles Schulz, and also refer to the comic book "Maus" by artist Art Spiegelman. Also referred to are the comics of Superman and Batman, which portray patriotism and a sense of justice.

Based on interviews and empirical data this article analysis whether comic books, graphic novels, and manga still can be considered as neglected, marginal media in the library landscape, or if collection building and cataloguing procedures and routines have changed since the 1970s seeing comics become remarkable parts of the libraries' collections sufficient to satisfy readers and researchers. A further aspect of the article is the level of national organization of cataloguing and collecting. The main thesis in this paper is, that major developments in the general field of librarianship but also on the specific field of comics librarianship have passed without inducing any further recognition in the treatment of comic books in German libraries: Not only a comparative view on major comic collections in other countries shows the enormous effort necessary for integrating comics in modern German librarianship. [ABSTRACT FROM AUTHOR]

Copyright of Acta Facultatis Philosophicae Universitatis Ostraviensis. Studia Germanistica is the property of Acta Facultatis Philosophicae Universitatis Ostraviensis. Studia Germanistica 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 investigates wordplay clusters ("Wortspielketten") in the comic series 'Asterix'. It focuses on Delabastita's five translational strategies which he developed for film and T.V. translations (repetitio, adiectio, detractio, transmutatio and subsitutio) and their adaptability in this case study. However, the discussion of defining wordplays is not explored, as this would be a purely rhetorical and ultimately fruitless exercise. Instead, Harvey's Brief (translation specifications) is employed which influences or even determines the decisions taken by the translator. The author concentrates on two of the four specifications in the Brief, firstly the "primary readership of the translation" and secondly, the "purpose of the translation". The other two specifications are omitted as the first one "the instigator of the translation" is not relevant and the fourth one "the target text-type" is not applicable for this study. Six wordplays clusters are studied in detail, with the author arguing that the translators not only faced the customary difficulties involved in wordplay translations but also encountered case specific challenges such as matching the translated wordplay with the image in the cartoons. [ABSTRACT FROM AUTHOR]

Copyright of Code / Kodikas is the property of Narr Francke Attempto Verlag GmbH & Co.KG 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.)

Abstracts of two master's theses in library and information science completed at the University of Vienna, Austria, in 2013 are presented, one by Beate Lang on the subject of comic books in libraries, the other by Bernhard Schubert on cataloging according to the FRBR (Functional Requirements for Bibliographic Records), RDA (Research Description and Access), and RAK-WB (Regeln für die alphabetische Katalogisierung in wissenschaftlichen Bibliotheken) standards.

The article presents the summary of a conference that focused on the depiction of humans in the media that was held February 17-19, 2011 in Mainz, Germany. Topics under discussion at the conference included the depiction of humans in a time of biotechnological enhancement, the depiction of humans in manga art, comic books, and graphic novels, as well as the depiction of aging and senior citizens in photographs.

A correction to an article on the lecture on Zacharias comic hero epic "The Renommist in Marginalien," published in a previous issue of the journal is presented.