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"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]

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]

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 study examined the kinds of narratives that nine pre-service teachers shared in online collaborative learning discussions about the future of education in relation to global megatrends, namely digitalisation and ecological sustainability. We also analysed how they positioned themselves in the future of education. We used data-driven qualitative analysis and narrative analysis, and we report our findings partly as non-fiction comic strips. We found that the pre-service teachers (1) viewed digitalisation in education through antonyms and ambivalence, (2) emphasised critical media literacy, (3) viewed ecological perspectives through a main and counter-narrative (taking root more deeply vs. not everyone needs to get excited) and (4) emphasised the role of action. In terms of positioning, we found dynamic tensions between passive and active stances. We discuss our findings in light of teacher identity and education for democracy and sustainability. The results can be used as thinking tools in teacher education. [ABSTRACT FROM AUTHOR]

This essay studies the representation of the everyday of geopolitical conflicts in Vanni and Welcome to the New World. The graphic novels are situated in war-torn Sri Lanka and Syria, respectively, and document the everyday of their characters. The apparent ordinariness of everyday, especially in states of tension and conflict, has been a prominent trope in comics. The paper examines the properties of comics vis-à-vis their grammar, spatiotopia, and visual-verbal registers to decode a particular medium-specific import in the representation of everyday. Living in zones of conflict requires careful materialize a similar aesthetic of intentional navigation in their reading by creating palimpsestic cartographies, spatiotopic interventions, and image-text tensions of the comics form. These properties make a case for the medium in creating horizontal and non-hegemonic writings of geopolitical conflict. It finds that comics, as a medium, is able to function as a minoritarian intervention in majoritarian representation. [ABSTRACT FROM AUTHOR]

Taking the specific example of Paco: Les Mains Rouges (2014; 2017) – a two-volumed sepia graphic novel by Fabien Vehlmann and Éric Sagot – this article explores the potential of the comic format to destabilize carceral histories via the trope of the convict tattoo. The creation of convict records (including the surveillance of tattoos) leaves a rich textual and visual archive that is steeped in power inequalities and absent voices, but also creative potential. By articulating the comic as a critical methodology, this article aims to explore the potential for the format to develop narratives that counter authorized archives and challenge dominant representations of incarceration whilst drawing creative inspiration from historical iconographies of punishment. In its consideration of creative interpretation and potential for engaging with new modes of collecting, it has applications for historical research, media, visual criminology and museum and heritage studies. [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]

Broadly speaking, the term "narrative" is defined as any account of connected events and experiences. Narrative is used in several therapeutic interventions within behavioral health. Narrative approaches can be an affirming process for the patient and can increase a therapist's understanding of their patients' perspectives.1 Unfortunately, there is a lack of medical education and training on narrative approaches, and these remain underutilized in clinical settings. Comics are an accessible medium of expression that can empower the voices of underrepresented individuals and communities. [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]

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]

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.)

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]

This article analyzes how the poetry collection Susy, secretos del corazón (1989) by the Argentinian poet, playwright and cultural manager Susana Villalba (Buenos Aires, 1956) establishes a critical dialogue with the comic strip of the same name, published in the sixties and seventies in Latin America. The collection of poems also engages in dialogue with other cultural references through an enunciative process that reveals the social constructs aiming to define and establish femininity. The critical stance of the text becomes evident as it illuminates how the experience of romantic love in women is codified. At the discursive level, from the use of textual mechanisms related to collage and pastiche, an open, mobile, multiple, playful poetic voice is generated-it unfolds to reveal the role of social factors in the construction of subjectivity. [ABSTRACT FROM AUTHOR]

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.)

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 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]

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]

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]

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 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]

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]

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 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]

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]

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]

Manga is a Japanese comic book that differs from comics in style and content and contains elements from Japanese culture. This study aims to get Turkish teachers’ opinions and suggestions about the content of manga and its suitability for students and to learn their students’ interest in manga from the Turkish teachers participating in the study. For this purpose, thirty questions created through Google Forms were sent to twenty-two Turkish teachers teaching Turkish in public and private secondary schools in different regions of Turkey. The answers were collected via Google Surveys and the data were interpreted by content analysis method. The research data were analyzed by dividing them into five different themes in line with the opinions of the participating teachers. As a result of the research, it was determined that the majority of Turkish teachers, who stated that students mostly prefer books with fantasy and adventure content, do not read manga, although they know Japanese manga by name. At the same time, although the teachers do not see the content of manga as suitable for Turkish culture and children, they are in favor of students reading manga genre with the changes to be made. [ABSTRACT FROM AUTHOR]

In 2019, the Peruvian comic strip Selva Misteriosa was republished in the format of a graphic novel, reintroducing one of Peru’s most important comic referents to a contemporary audience. An icon of the early 70s, Selva Misteriosa is an adventure comic that follows Javico, an adventurer and family man making a living in the Peruvian Rainforest. The main focus of this article is tracing back the corporeal representation in the comic as a remnant of the anxieties the Spanish colonizers faced when confronted with the new environment of the Americas. This paper argues that, although the understanding of the body has changed dramatically, the underlying anxieties the Spanish conquistadors faced have remained with the Peruvian creole elite, and Selva Misteriosa shows a new expression of these anxieties in the, at the time, still unknown environment of the rainforest. In this regard, Javico’s idealized body and subjectivity is contrasted with the vulnerability the creole body still shows in the character of “El Finado”. As such, the ambivalent portrayal of the creole body shows the lack of resolution for the possibility of contaminating and changing the purity of the creole body and subjectivity. [ABSTRACT FROM AUTHOR]

Milton Hatoum’s devoted readership has become an economic asset for crossover audiences the last ten years, and nowhere is this more visible than with his “modern classic,” the Jabuti Prize-winning Dois Irmãos (2000), which has been adapted for television, theater, and comics. Identical twin Brazilian cartoonists Gabriel Bá and Fábio Moon’s graphic adaptation of the same name in 2015 not only won the prestigious Eisner Award, but it was also accompanied by a strong marketing campaign from Hatoum’s editorial press utilizing the brothers’ fraternal status and mass cultural appeal to expand readership bases. Drawing on Angela Landsberg’s “prosthetic memory,” Pointner and Boschenhoff’s exploration of spatial embodiment in graphic adaptations, and recent Latin American comic scholarship linking military dictatorships and the rise of memory discourses, this article demonstrates that Moon and Bá’s hauntingly beautiful rendition, far from being derivative or merely “faithful,” is able to apply medium-specific strategies to even more effectively render Hatoum’s association between individual history and national allegory, in the process introducing new generations of citizens increasingly alienated from Brazil’s darkest period. [ABSTRACT FROM AUTHOR]

This article aims to show the special status of Cuban comics within the Americas. As the article argues, the special status derives primarily from Cuba’s particular political situation – the revolution of 1959 and its political, social, economic, and cultural repercussions being perhaps the most decisive factor – as well as from the ways in which cartoonists, artists, and writers have handled these repercussions. This article begins by tracing this tradition and history from the republican period to the revolution and its aftermath through the Período Especial and to the present. The authors then take stock of contemporary Cuban comics and their culture, which are more dynamic than they may seem at first glance and which belie attempts to reduce them to emanations of scarcity, hardship, political uniformity, and cultural conformism. [ABSTRACT FROM AUTHOR]

The need for more interaction between scientists and the public is widely recognized. If we want the public to support science, we need to effectively convey its nature and benefits. Science outreach can help reverse negative attitudes, spark curiosity and enthusiasm, and encourage communities to support science. Better communication tools than traditional texts are needed to increase positive attitudes toward science, which may lead to more self-motivated engagement with science in the future. The unique language of comics has the potential to portray abstract scientific concepts more easily than just words. Here we report findings from an assessment of how a science comic can affect student learning and attitudes toward engaging with science, compared to more traditional written texts, a journal article, and popular science summary. We used a pre- and post-reading questionnaire to measure learning gains and attitudes toward science engagement. Students who read the comic have the highest learning gain, equivalent to a journal publication, and see the most positive changes in attitude toward engagement with science. Our findings suggest that science comics could be a highly effective form of communication and outreach among the public. [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 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.)

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]

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 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]