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Proponemos en este artículo una aproximación al cómic como pedagogía pública crítica en la representación racial y narrativas antirracistas. El análisis explora cómo se conforman diversos procesos de racialización y otredad en autoras españolas a partir de la pedagogía crítica pública, la teoría crítica racial y los estudios del cómic sobre raza. Se ofrecen tres aproximaciones con tres tipos de cómics diferentes: La construcción de la otredad en cómics con fines humanitarios, el humor como pedagogía crítica y la autobiografía como exploración de procesos racializantes. Lo que busca este artículo es contribuir a un debate mucho más establecido fuera de nuestras fronteras sobre inclusión, diversidad y representación en el cómic, que resulta igualmente necesario en el ámbito nacional. In this paper, I study racial representation and antiracist narratives on comics as critical public pedagogy. I analyze how Spanish artists depict a set of racializing and “othering” processes through the lense of critical public pedagogy, Critical Race Theory and comics studies on race. I provide three approaches on three different sets of comics: the construction of the “other” in comics funded by humanitarian organizations, humor as critical public pedagoy and autobiography as an exploration of racializing processes. The aim of this article is to contribute to discussions about inclusion, diversity and representation in comics that are already well-established and expanding outside Spain but hardly developed in the national context.

Resumen: El presente artículo se plantea como una propedéutica al estudio del cómic ensayo o ensayo gráfico, desde su nacimiento con autoconsciencia hasta la actualidad. Con la voluntad de trazar una genealogía de obras significativas, el artículo incide en aquellos aspectos formales relacionados con estrategias de montaje que resultan relevantes en la forma-ensayo a partir de desarrollos de investigación en el campo del cine. Además, y de manera central, se propone una metodología, basada sobre todo en la iconología de Aby Warburg para el estudio del ensayo como fórmula didáctica y de transmisión de la tradición en el contexto de las formas de no ficción en el cómic. Abstract: This paper serves as an introduction to the study of the graphic essay or comic essay, tracing its evolution from its self-aware inception to the present day. With the intention of establishing a genealogy of significant works, the article emphasizes formal aspects related to montage strategies that are relevant to the essay form, drawing from research developments in the field of cinema. Furthermore, at its core, it proposes a methodology primarily based on Aby Warburg's iconology for the examination of the essay as a didactic formula and a means of transmitting tradition within the context of non-fiction forms in comics. comic; essay; iconology; editing; Aby Warburg.

Resumen: A partir de una aproximación inicial al cómic de no ficción como tipo de historieta de cierta tradición, surgida en el contexto del comix o cómic underground de los 60 (y sus diferentes concreciones posteriores en el cómic periodístico, autobiográfico, etc.), asumimos la posible distinción teórica entre ensayo gráfico y cómic ensayístico, y presentamos en este artículo un estudio de las características esenciales de la obra en viñetas de la autora sueca Liv Strömquist como ensayo postmoderno y feminista; realizamos, además, una justificación curricular de su lectura en las aulas de secundaria y formulamos una propuesta didáctica basada en el análisis previo de la obra titulada La sala de los espejos, con el objetivo principal de estudiar las posibilidades formativas del cómic de no ficción, de tipología argumentativa, en el marco de la educación lectora y literaria en la actualidad. Abstract: In this article, based on an initial approach to non-fiction comics as a type of comic with a certain tradition, emerged in the context of comix or underground comics (and its various genres in journalistic comics, autobiographical comics, etc.), we assume the theoretical distinction between graphic essay and essayistic comic, and we present a study of the essential characteristics of the works by the Swedish author Liv Strömquist as a postmodern and feminist kind of essay. Additionally, we provide a curriculum justification for its reading in secondary school classrooms and formulate a didactic proposal based on the prior analysis of the work titled In the Room of Mirrors, with the main objective of studying the formative possibilities of non-fiction comics, of argumentative typology, within the framework of reading and literary education today.

Resumen: Este artículo pretende plantear una lectura de El museo de Carrión y Sagar a partir del concepto de ensayo gráfico. Este género gráfico-narrativo no ha llamado la atención de la crítica si lo comparamos con un término como novela gráfica; sin embargo, tiene una importante tradición que se remonta a un doble modelo: el trabajo de Pajak y McCloud publicado en los años 90. En este ensayo gráfico emerge una nueva gramática visual que evita el uso sistemático de paneles y diálogos. A lo largo de este libro se sostiene un proceso dialéctico entre el concepto de museo, la noción de ensayo y la importancia del arte considerado como archivo cultural. Abstract: This paper aims to set a reading of Carrion and Sagar´s El museo based on the concept of graphic essay. This graphic-narrative genre has not drawn attention of critics if we compare it with a term such as graphic novel; however, it has an important tradition that can be traced back to a double model: the Pajak and McCloud´s work that has been published in 90´s. In this graphic-essay emerges a new visual grammar that avoids the systematic use of panels and dialogues. A dialectic process among the concept of museum, the notion of the essay and the importance of art considered as cultural archive is held throughout this book.

Resumen: El cómic de no-ficción se ha incorporado con éxito a la práctica educativa debido, entre otros factores, a su potencial para la transmisión de información de forma objetiva al receptor, unido a su riqueza y diversidad estilística y temática. No obstante, su tradición e historia no ha sido abordada de forma específica en la investigación en cómic, dada la complejidad de establecer límites precisos entre las concreciones de no ficción desarrolladas y, por tanto, para la definición de diferentes taxonomías. Por este motivo, los investigadores analizamos, desde las definiciones más representativas del género, su evolución a partir de las distintas formas de representación de la realidad desde la expresión dibujada, con el objetivo de la búsqueda cronológica de una genealogía que identifique los orígenes del cómic de no ficción como parte de la producción artística y cultural. La investigación aquí realizada permite conectar desde las primeras formas de narración dibujada hasta el cómic documental actual, identificando diferentes ejemplos claves en su evolución desde las primeras expresiones en la Edad Media a los primeros cómics de divulgación del mediados del siglo XX, creando vínculos y relaciones que permiten su inclusión en el aula desde diferentes perspectivas. Abstract: Non-fiction comics have successfully integrated into educational practice, taking advantage of their increased relevance and thematic diversity. However, it is essential for their proper treatment to understand the connection of this form of comics with its tradition and history. In this work, the evolution of this form of comics from various representations of reality through drawn expression is analyzed, starting from taxonomic definitions of the genre. The objective is to chronologically trace a genealogy that identifies the origins of non-fiction comics as part of artistic and cultural production. This research, conducted broadly in its criteria, allows for connecting from the earliest forms of drawn narration to contemporary documentary comics, identifying different key examples in their evolution from the first expressions in the Middle Ages to the early 20th-century educational comics. This establishes links and relationships that facilitate their inclusion in the classroom as a didactic tool from various perspectives.

Community Service held by FKIP-UT at SDN Sukamaju I Cianjur aims to increase students' knowledge about earthquake disaster mitigation. This activity requires media that is appropriate to the level of development of students. Researchers created earthquake disaster mitigation comics as an interesting information medium equipped with colorful illustrations, communicative dialogue and easy to understand for elementary school students. Data collection was carried out quantitatively and qualitatively. Qualitative data was taken from expert input including educational technology lecturers and BNPB staff. Comics are revised based on expert input. Quantitative data was obtained from the results of expert validation tests and a score of 91% was obtained from all aspects including material, media, and language design. Comics were tested during Community Service and were assessed by teachers and students at 92% from all aspects, namely material, media, and language design. This score shows that the comic is suitable for use in the very good category.

Copyright of Tejuelo: Didáctica de Lengua y Literatura is the property of Tejuelo. Didactica de la Lengua y la Literatura. Educacion 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 Tejuelo: Didáctica de Lengua y Literatura is the property of Tejuelo. Didactica de la Lengua y la Literatura. Educacion 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 Tejuelo: Didáctica de Lengua y Literatura is the property of Tejuelo. Didactica de la Lengua y la Literatura. Educacion 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 Tejuelo: Didáctica de Lengua y Literatura is the property of Tejuelo. Didactica de la Lengua y la Literatura. Educacion 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 Tejuelo: Didáctica de Lengua y Literatura is the property of Tejuelo. Didactica de la Lengua y la Literatura. Educacion 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 Tejuelo: Didáctica de Lengua y Literatura is the property of Tejuelo. Didactica de la Lengua y la Literatura. Educacion 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.)

It takes several months or years to release a new volume of a comic book after the previous volume. Therefore, when reading a long-awaited newest volume of a comic, it is sometimes difficult to recollect and understand the flow of the story, causing the readers to reread the previous volume or reread from the first volume to check the story. Re-reading can be fun when there is enough time. However, when there are many volumes of the comic or the time is limited, the reader will want to recollect the previous content as soon as possible to read the newest volume. One way to recollect the previous content quickly is to check its summary. However, a synopsis is often not enough to recollect everything and may become a spoiler if the reader has forgotten to read the previous volume. In this paper, we proposed and implemented a system that enables users to recollect the content of the previous volume by quizzes (question-answer pairs). We considered that just reading a question text would not be a spoiler. In addition, we released our system, "ComiQA," as a Web service and found the characteristics of quizzes made by analyzing the registered 1465 quizzes in our service. We also experimented to investigate and compare the degree of recollection of creating quizzes and writing reviews. We found that creating quizzes helps people recollect the episodes more effectively than writing reviews, and viewing the quiz leads to further recollection. [ABSTRACT FROM AUTHOR]

Since comics are diverse, there are some depictions that readers like and some that they do not like. If readers find a part of a comic that they dislike, they can continue reading it even if they can skip that part, but there is a possibility that they will stop reading it entirely if they actually read it. Therefore, we propose a method for allowing readers to enjoy comics without worrying about depictions that they do not like. To realize this method, we developed a system that allows readers to flag depictions they dislike while reading comics and conducted data collection experiments. We also implemented a system in which jirai (content to be avoided) flags and announcements are given to readers while reading a comic, and we examined the feasibility of the system by operating it for about four weeks. We confirmed that the flagging and jirai announcements were performed during the system operation. In addition, the evaluation of jirai judgments for comics using the Vision API showed that while there is potential for AI to make judgments, there are still difficulties in judging detailed depictions. [ABSTRACT FROM AUTHOR]

In reading manga, it is common to look back at the storyline when following a serialized work. Although there are services that assist comic re-reading through quizzes, searching for specific parts related to the quiz takes a lot of time and complicates the review process. Therefore, in this study, we examined whether it is possible to estimate the scenes related to the quiz based on the quiz questions, answers, and manga-specific features. To achieve this, we extracted key elements from the comic and proposed two estimation methods: a word-based CS method and a context-based GPT method. Furthermore, we discussed extractable and difficult-to-estimate scenes in comics. The results showed that the pages containing the answers could be estimated with a probability of 66.7%. Pages containing specific keywords or events were easier to estimate, while those requiring an understanding of the comic's overall time series and context were more difficult to estimate. In addition, since the accuracy varied greatly depending on the presence or absence of the answer text, it can be considered that the content as close as possible to the topic of the quiz can be estimated if important keywords such as the answer text are included. [ABSTRACT FROM AUTHOR]

Focusing on the type of funny woman that came to life in the Hollywood screwball comedy genre of the 1930s and 1940s, this article explores the intersections of genre and gender. The particular type of female comedic performance associated with the screwball comedy is characterized by an accelerated speed of dialogue, in which the woman demonstrates rhetorical skill, wit, and quick intelligence, as well as eccentric behavior that leads to comical situations. By taking a closer look at specific scenes from canonical screwball comedies, such as Bringing Up Baby, The Lady Eve, and His Girl Friday, as well as less widely known films, such as Four's a Crowd and Take a Letter, Darling, the article demonstrates how the comic effect stems from the incongruity between the woman's gender performance and conventional scripts of femininity, without however making the woman the object of the joke. Instead, the woman's actions serve as the motor of the comic by radically disrupting the man's sense of authority and the patriarchal order, by extension. The article argues that by featuring women as agents who disrupt the established or conventional order of things, the screwball comedy genre makes possible the emergence of a new way (or ways) of inhabiting femininity. [ABSTRACT FROM AUTHOR]

The theory of expertise suggests that there should be observable differences in the eye movement patterns between experts and non-experts. Previous studies have investigated how expertise influences eye movement patterns during cognitive tasks like reading. However, the impact of expertise on eye movements in comics, a multimodal form of text, remains unexplored. This article reports on a study that uses eye tracking to examine patterns in the ways that experts and non-experts read comics. Expert participants (14) with experience in reading comics than non-expert participants (17). When controlling for variables such as layout and text quantity, we found significant differences in visual scanning between experts and non-experts. Experts exhibited more frequent saccades and greater amplitude of saccades. Further analysis revealed distinct strategies in processing text and image content between the two groups: the interaction between expertise level and content type in specific AOI showed significant differences across multiple visual measurement metrics, including Average duration of fixations, number of fixations, and number of saccades within AOI. These findings not only support the applicability of the expertise level theory in the field of comic reading but also provide a new perspective for understanding the reading processing of multimodal texts.

Ficha técnica: Mario-Paul Martínez y Fran Mateu Editores Tirant Humanidades, Valencia, 2023 324 pp. ISBN: 978-84-1183-091-1

Entrevista al director catalán Salvador Simó sobre el proceso de creación y producción de su primer largometraje Buñuel en el laberinto de las tortugas (2018), adaptación homónima de la novela gráfica de Fermín Solís, y de su última película Dragonkeeper (2024), basada en la primera obra de la éxitosa saga juvenil de Carole Wilkinson.

Disorder of Sex Development (DSD) encompasses conditions where individuals face challenges in determining their sexual identity, often deviating from the binary gender norms prevalent in society. This research delves into the portrayal of sexual identity formation among DSD individuals, specifically in the manga 'Houkago Hokenshitsu' by Mizushiro Setona. This research is conducted by applying qualitative research methods, research analysis is described or described through written words. The study aims to elucidate the process through which DSD characters navigate their sexual identity within a dream world, while also exploring the interplay between sexual identity, DSD, and feminist psychoanalytic perspectives presented in the comic. Drawing upon Juliet Mitchell's theoretical framework of Unconsciousness and Neurosis as expounded in 'Psychoanalysis and Feminism: A Radical Reassessment of Freudian Psychoanalysis' (2000), this research underscores the significant role of the unconscious mind in shaping individual identity. Mitchell contends that unconscious processes profoundly influence one's psyche, often manifesting in symptoms of hysteria-induced Neurosis, such as anxiety. The findings of this study reveal two key insights: Firstly, the engagement and exploration of the dream realm facilitate the DSD character in crystallizing their desired sexual identity for real-world expression. Secondly, this journey towards self-identification within the dream world precipitates symptoms of neurotic anxiety, stemming from societal pressures and the internal struggle for self-acceptance and autonomy in reconstructing their sexual identity. In essence, this research underscores the intricate dynamics between sexual identity formation, DSD experiences, and the psychological ramifications portrayed in 'Houkago Hokenshitsu', shedding light on the complexities inherent in the quest for personal identity and acceptance. Keywords: DSD; Dreams; Sexual Identity; Feminist Psychoanalysis

El cómic de autoras femeninas se ha incrementado a lo largo de los últimos años en el panorama español y, su desarrollo expresivo y visual, se ha visto impulsado gracias a las editoriales e imprentas especializadas en dar visibilidad y soporte a este tipo de publicaciones. Y es, en el mercado de cómic para adultos, donde han ganado en popularidad, evolucionando de la autoedición de fanzines alternativos con pequeñas tiradas, a ocupar los primeros puestos en las librerías españolas. Las redes sociales como Tik Tok e Instagram, han contribuido a su difusión e impacto entre un público juvenil e internacional. Partiendo de los escasos estudios académicos publicados sobre autoras de cómic contemporáneo español, se ha considerado realizar una investigación enfocada en la obra gráfica y trayectoria profesional de las autoras María Medem, Ana Galvañ, Marta Cartu y Miriam Muñoz. El estudio tiene como objetivo principal, el análisis comparativo de la obra gráfica de las autoras, así como de sus influencias estéticas y técnicas visuales utilizadas que demostrará, a modo de conclusión, el impacto e influencia en la narrativa gráfica española, en la actualidad.

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 Kranion is the property of Publicidad Permanyer SLU 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 Colombiana de Educación is the property of Universidad Pedaggica Nacional 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 CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid 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.)

El presente trabajo es un análisis sobre la manera en que el concepto de «exploración espacial» contiene ciertos aspectos falaces respecto a la verdadera exploración espacial, puesto que se ha construido a partir de textos de diversos lenguajes estéticos de la tradicionalmente denominada «cultura popular». Estos textos han jugado con un imaginario que remite a cierto romanticismo espacial y a una obsesión con un Otro inquietante o modélico, según el caso, así como con lo sublime desprendido del llamado «vértigo cósmico». Todo ello se aglutina bajo el tópico «sentido de la maravilla».

La saturación permanente de información sobre los públicos hace que los profesionales del periodismo se enfrenten a constantes retos a la hora de transmitir la información. Las nuevas generaciones encuentran en la imagen una estrategia que posibilita un cuestionamiento y análisis riguroso de la información, además de potenciar la captación de mayores audiencias. Este artículo examina la eficacia del lenguaje del cómic para la elaboración de reportajes periodísticos y para el desarrollo de habilidades asociadas al pensamiento crítico y mide la percepción sobre los reportajes-cómic en audiencias universitarias pertenecientes a la generación Z. Todo ello se ha materializado a través de una propuesta didáctica llevada a cabo con alumnado de Periodismo de la Universidad Europea de Madrid. De los resultados se extraen conclusiones positivas en cuanto al uso del lenguaje verbo-icónico del cómic, tanto en la creación como en la percepción, pero se detectan problemáticas asociadas con el uso de la imagen mediante inteligencia artificial.

El artículo plantea la historieta como objeto de estudio para la antropología bajo la premisa de su valor documental y axiológico en el análisis de una sociedad en una época determinada. El caso que se presenta es el de los cómics caricaturescos contenidos en el semanario Tío Vivo editado en España durante su primer año de publicación entre 1957 y 1958. Tío Vivo fue una excepción dentro del sistema editorial de tebeos español fruto de la formación de una cooperativa editora, constituida por varios autores consagrados que habían abandonado Bruguera, la mayor editora del momento, con la intención de crear una publicación independiente sobre la que tuvieran plenos derechos. Las peripecias de los personajes relatadas en las cuatro series de historietas estudiadas resultan importantes documentos etnográficos que describen tanto como critican la sociedad de la época vivida por sus dibujantes. Las cualidades del tebeo caricaturesco permiten realizar una aproximación singular a los años centrales del franquismo que debe sumarse a la obtenida a través de otros medios.

The meaningfulness of math learning in multiplication material is still lacking. This can be seen from students who do not care when they get low results in multiplication learning and are considered boring for students. In overcoming these problems, it is necessary to have the meaningfulness of mathematics learning, one of which is through the Meaningful Instruction Design model with the help of Comics in achieving a better understanding of the concept of multiplication. The type of research used is pre-experiment with pretest-posttest one group de-sign design. The study population was 25 third grade students selected by random sampling technique with a sample of 20 students. From the results of hypothesis testing, the significance of 0.00 < 5% was obtained so that it was stated that the Meaningful Instruction Design model assisted by Comics had an effect on understanding multiplication. Based on the results of the study, students' understanding of multiplication can increase due to the implementation of the Meaningful Instruction Design model assisted by Comic media. However, in order to produce new contributions using the Meaningful Instruction De-sign model can be applied to other mathematics materials. Kebermaknaan pembelajaran matematika pada materi perkalian masih kurang. Hal ini dilihat dari siswa yang tidak peduli ketika mendapatkan hasil yang rendah pada pembelajaran perkalian serta dianggap membosankan bagi siswa. Dalam mengatasi masalah tersebut, perlu adanya kebermaknaan pembelajaran matematika, salah satunya melalui model Meaningful Instruction Design dengan berbantuan Komik dalam mencapai pemahaman konsep perkalian menjadi lebih baik. Jenis penelitian yang digunakan adalah pre-eksperimen dengan desain pretest-posttest one group design. Populasi penelitian sebanyak 25 siswa kelas III yang dipilih dengan teknik random sampling dengan sampel sebanyak 20 siswa. Dari hasil uji hipotesis diperoleh signifikansi 0,00 < 5% sehingga dinyatakan bahwa model Meaningful Instruction Design berbantuan Komik berpengaruh terhadap pemahaman perkalian. Berlandaskan hasil penelitian, pemahaman perkalian siswa dapat meningkat dikarenakan adanya implementasi model Meaningful Instruction Design berbantuan media Komik. Namun, agar dapat menghasilkan kontribusi baru menggunakan model Meaningful Instruction Design dapat diterapkan pada materi matematika lainnya.

El proyecto de museografía permanente de la estación de metro de Cuatro Caminos en Madrid cuenta con dos murales de síntesis histórica cuyo instrumento metodológico principal es el dibujo de arquitectura. Además, plantean propuestas narrativas que utilizan recursos propios del cómic de vanguardia, con representaciones simultáneas del espacio y el tiempo en las que se llega incluso a manipular el sentido cronológico de la narración. Este artículo analiza los dos murales desde el marco conceptual del cómic en cuanto a la combinación de la visión simultánea del medio gráfico y las visiones parciales de sus contenidos. También reflexiona en torno a la utilización de estos recursos en la problemática de la transmisión de realidades complejas en trabajos de difusión patrimonial.

The permanent museography project for the Cuatro Caminos metro station in Madrid features two historical synthesis murals whose main methodological instrument is architectural drawing. In addition, they offer narrative proposals that use resources of the avant-garde comic, together with simultaneous representations of space and time in which the chronological sense of the narrative is even manipulated. This paper analyses the two murals from the conceptual framework of the comic book in terms of the combination of the simultaneous vision of the graphic medium and the partial visions of its contents. Moreover, it ponders on the use of these resources when transmitting complex realities in heritage dissemination works. [ABSTRACT FROM AUTHOR]

Copyright of FLAMME is the property of Universite de Limoges 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 FLAMME is the property of Universite de Limoges 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 FLAMME is the property of Universite de Limoges 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 FLAMME is the property of Universite de Limoges 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 Cuadernos del CEMYR is the property of Cuadernos del CEMYR (Servicio de Publicaciones de la Universidad de La Laguna) 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, consisting of 31 illustrations with annotation, presents the result of an artistic research project revolving around the question of how to use one's power as a creator of humour. The reader/viewer is presented with insight into the life and thinking of cartoonist/artistic researcher Self-reflexive Steve, who engages in self-investigation because he is conscious of the virtues as well as the dangers of humour. In a globalised, diverse, and democratic world, it is important to consider different sensibilities within society. Self-reflexive Steve always regarded humour as a form of connecting communication, because when people are able to laugh together, they understand each other. However, Self-reflexive Steve increasingly wonders whether he has achieved his set targets, as he primarily acts for a captive audience and creates his humorous drawings from a safe stand-off in his ivory tower. His publications are always endorsed by the editorials of the magazines he is working for and this within a society where humour makers are protected and esteemed. However, in today's society humour is frequently used to divide. As a cartoonist/researcher, Self-reflexive Steve explores the limits of his medium, deliberately going off the rails at times. As a humour maker he seeks to reclaim the right to use fantasy, lies, distortions, exaggerations and wild associations from those in power who deploy these qualities of humour to divide and rule. [ABSTRACT FROM AUTHOR]

El cómic es un tipo de obra que se caracteriza por contener un discurso oral prefabricado con el que se intenta imitar las conversaciones espontáneas. Para ello, se incluyen rasgos y recursos característicos, en este caso concreto, de la inmediatez comunicativa con el objetivo de dar naturalidad a los diálogos de los personajes y que resulten verosímiles. Este artículo tiene como objetivo examinar las marcas de oralidad presentes en Idiotizadas. Un cuento de empoderhadas y la manera como estas han sido trasladadas al portugués. La comparación de ambos textos ha servido, asimismo, para observar las similitudes y las diferencias entre el español y el portugués a la hora de reflejar la oralidad prefabricada en la obra y la forma como se han solventado los problemas derivados de su traducción..

Comics und Graphic Novels gehören nach wie vor zum Lesestoff vieler Kinder und Jugendlicher. Im Gegensatz zu den 1970er und 80er Jahren des letzten Jahrtausends spielen sie aber im Fach Deutsch gegenwärtig keine oder nur eine marginale Rolle. Dabei bergen sie als Gegenstand und kulturelles Handlungsfeld ein großes Potential für den Literatur- und Sprachunterricht, und zwar auch über ihre Nutzung zur Leseförderung hinaus. Als Teil der Schrift-Bild-Literaturen repräsentieren sie ein multimodales Arrangement, das im medialen Alltag aller Menschen rein textbasierte Formen in seiner Bedeutung längst überholt hat. Sie sind Teil gewaltiger transmedialer Storytelling-Universen. Gleichwohl weisen sie eine eigenständige Ästhetik auf, die sie von allen anderen literarischen Formen unterscheiden. Zu fordern ist daher die systematische (und nicht nur optionale) Förderung comicbezogener Kompetenzen. Im Rahmen der medien- und literaturdidaktischen Annäherung an den Gegenstand folgt dem Artikel ein Comiccurriculum, das gegenstandsspezifisch die Kompetenzbereiche mit Vorschlägen für die Nutzung in den drei Schulstufen (Primarstufe, Sekundarstufe I und II) füllt. Abstract (english): Reading comics also needs to be learned! Comics and graphic novels are still part of the reading material of many children and young people. In contrast to the 1970s and 80s of the last millennium, however, they currently play no or only a very marginal role in German lessons. Yet as an object and special cultural field, they have great potential for literature and language teaching, even beyond their use for reading promotion. As part of the text-image literatures, they represent a multimodal arrangement that has long since overtaken purely text-based forms in its significance in the everyday media life of all people. They are part of vast transmedia storytelling universes. Nevertheless, they have an independent aesthetic that distinguishes them from all other literary forms. This article recommends the use of comics in German lessons in order to promote the acquisition of comic-related competencies. As part of the media and literature didactic approach to the subject, the article is followed by a comic curriculum that fills the subject-specific areas of competence with suggestions for use in the three school levels (primary, lower secondary and upper secondary).

La orientación para profesionales que se vinculan con la educación de las personas sordas debe considerar especialistas competentes en la lengua de señas y el diseño de materiales visuales. Por lo tanto, este artículo de investigación tiene como objetivo explorar el valor de las historias de personas sordas líderes para la construcción de un prototipo pedagógico visual (PPV) que contribuya al desarrollo de la lectura y la escritura en educación primaria. La investigación se aborda desde un enfoque cualitativo y considera las epistemologías de los sordos con un diseño narrativo. De esta forma, se recopilaron historias de vida por medio de entrevistas semiestructuradas a 6 adultos líderes sordos de 3 ciudades de Chile. La información fue codificada con el software Atlas ti. La categoría central es el prototipo pedagógico visual, que engloba 4 subcategorías: identidad sorda, comunidad sorda, comunicación y aprendizaje. Estas conforman el sustento para el diseño del cómic Cata Plum-Cata Plam, cuya historia pone de relieve elementos desde las experiencias lingüístico-culturales de los participantes con su entorno familiar y escolar, que visibilizan la importancia de la lengua de señas chilena, así como la lectura y escritura a través de un material significativo.

Given the socio-economic circumstances of the Victorian Era, one of its unassailable facts was that the conservative and solemn spirit of the time created a claustrophobic social atmosphere for some of its occupiers. Victorian, as well as Neo-Victorian novels register an exigency for laughter partly as a response to this solemnity. As a successful representative of the latter, Jane Harris’ debut novel, The Observations (2006) narrates the dolorous life of an Irish girl, Bessy Buckley who is taken on as a maid in a Scottish manor and is asked to perform strange duties assigned to her by the mistress of the house. This study attempts to unearth The Observations’ versatile approach to the notion of comic on three functional levels by resting on Alexander Bain’s notion of ‘ludicrous degradation.’ Firstly, the study scrutinizes comicality arising out of situations in which clashes of value and meaning occur. Secondly, it explains how ludicrous degradation turned into humour allows for psychological release. Thirdly, it looks at how Bessy’s sense of humour works as a coping mechanism and an antidote for Victorian pathos apart from being a literary source of amusement.

Basic Health Research data from the Ministry of Health of the Republic of Indonesia in 2018 showed that nationally the problem of central obesity at the age of 15 years was still serious, namely, 31%, while the prevalence of central obesity at the age of 15 years in Maluku reached 33%. Obesity is becoming a health problem worldwide; even the WHO states that obesity has become a global epidemic. Obesity is a health problem that must address immediately because it is a risk factor for degenerative diseases and metabolic syndrome. Obesity in adolescents needs to get serious attention, be consistent, and be addressed together. To improve health status and optimize adolescent growth and development, it is necessary to apply a healthy diet through the socialization of balanced nutrition with comic media and implementation assistance. Urban gardening for teenagers through mosque youth can be an effort to implement healthy eating patterns for teenagers for optimal nutrition and health status.

The article examines the state of modern Ukrainian opera of the 21st century, which reflects European and global trends aimed at updating the genre and searching for new genre models. The authors of the article purposefully chose works by composers of almost all age categories, which are quite different in terms of genre content – interpretation of traditions and innovation – from creative youth to the most famous artists in the whole world (E. Stankovich), and consciously focused attention on examples of modern opera from several regions of Ukraine: Kyiv, Kharkiv, Odessa, Lviv, Dnipro. This work, dedicated to modern Ukrainian opera, combined the efforts of a practicing composer and a musicologist-scientist. After all, the material of research in one of the sections of the article was the parody comic opera by Valentina Martynyuk (Brondzia) as an example of the only opera performance in the Dnieper region. The research methodology is based on historical-typological, genre-stylistic, comparative, and analytical methods. The historical -typological method is related to the problems of the opera genre at the modern stage, which needs updating and radical changes; genre-stylistic, comparative, and analytical methods allow us to draw conclusions about the peculiarities of genre models of modern Ukrainian operas. They reflect Ukrainian national traditions, including authentic music and modern compositional techniques. It is noted that the level of the ratio of traditional and innovative appeal to the opera genre is determined by the individual creative approach of a certain composer and director.

En torno al año 2013, con la celebración del 40.º aniversario del golpe de Estado perpetrado contra el gobierno de Salvador Allende en Chile, se publicaron en el país varias novelas gráficas que abordaban los hechos y la consecuente represión de la oposición política y la militancia de izquierdas. Dichas obras constituyen un modesto boom del cómic chileno sobre memoria histórica, y su análisis resulta relevante por ser una fuente novedosa, que se sirve del lenguaje icónico-textual para representar hechos de la memoria colectiva ocurridos durante el golpe y la dictadura de Augusto Pinochet. Se plantea, así, un análisis pormenorizado de las estrategias de representación que los autores y autoras de estas obras emplean para abordar el tratamiento de diferentes tipos de violencia política —represión en las calles, tortura y violencia sexual ejercida contra las mujeres— asociada al periodo dictatorial, mediante la aplicación de una metodología específica que aúna el análisis historiográfico y el iconográfico, y que permitirá evidenciar el potencial del cómic como medio de expresión del trauma.

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata 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 presents the creation of an informational and recruitment tool in comic form, for a psychosocial intervention program aimed at refugees as well as the process of its cultural adaptation. We aimed to culturally adopt the comic and ascertain whether the participants' perception of the comic was in line with the illustrator's goal. The study involved refugee communities that lived in the Closed Controlled Access Centre (CCAC) of Samos. In order to culturally adapt the comic's content, three mini focus groups were conducted; one for each of the languages spoken by the communities for which the comic was intended. Thematic analysis was performed to ascertain whether the perception of the messaging by the beneficiaries was in alignment with the creator's intentions. The pilot implementation revealed that no major changes were necessary, as the participants succeeded in discerning the intended message accurately when the comic was presented without accompanying text. Initial customization to the specific conditions of its target population, and the participation of persons with a refugee background in the initial steps of the creation process are some of the reasons that may have contributed to this outcome. [ABSTRACT FROM AUTHOR]

Esta investigación nace de la necesidad de fortalecer los procesos de producción escrita en los estudiantes de grado quinto de la I.E.D Diana Turbay en la ciudad de Bogotá. Se tuvo en cuenta los bajos resultados de las Pruebas Saber en el área de Lengua Castellana y las dificultades escriturales que se evidenciaron a partir de un diagnóstico basado en las habilidades y características que debe tener un buen escrito (Cassany, 1995). En consecuencia, diseñamos una estrategia pedagógica utilizando el cómic como herramienta didáctica. Trabajamos un enfoque cualitativo con un tipo de Investigación Acción apoyada en el modelo constructivista a través de cuatro etapas: a) elaboración de diagnóstico a partir de observación, entrevista y pruebas escritas; b) diseño de la estrategia pedagógica; c) implementación de la secuencia didáctica; d) análisis de resultados, logrando avances significativos, ya que los manuscritos mostraron un aprendizaje formal dentro de la escritura, teniendo en cuenta estructuras como la coherencia, redacción y conciencia ortográfica.

Abstract There are growing calls for cancer screening to become more personalised by considering a range of risk factors, rather than a one-size-fits-all, age-based approach. The aim of this public involvement was to co-create a comic book about bowel cancer screening to be used as a visual elicitation tool in research focus groups with members of the public and healthcare professionals, as part of the At Risk study, to discuss their attitudes toward personalised bowel cancer screening, which would involve considering different risk factors. This article critically reflects on the co-creation process to develop the comic book, benefits and challenges, and some lessons learned to inform other researchers considering a similar approach. In total, ten public contributors (5 men and 5 women) from two public involvement networks participated in two successive online workshops to develop six fictional characters, two for each level of bowel cancer risk (low, moderate and high risk). This tool was then used in the At Risk study comprising five focus groups involving 23 participants, including members of the public (n = 12) and healthcare professionals (n = 11). The co-created comic book was a generally well-received research tool able to generate discussion about a complex topic, bowel cancer risk, in an accessible way. It was suggested that the comic book may also be extended beyond the research context to inform bowel cancer screening decisions and raise awareness of risk factors.

En este artículo se presenta una propuesta para trabajar en la clase de español como lengua extranjera (ELE) contenidos pragmáticos, que tan importantes son para una comunicación eficaz, relacionados con las conversaciones orales espontáneas. Para ello, se ha utilizado un tipo de obra como es el cómic que se caracteriza por la oralidad prefabricada, es decir, por reflejar las particularidades propias de la inmediatez comunicativa, seleccionadas previamente por el autor, en un texto escrito y por poseer un gran potencial didáctico. A partir del contraste de ejemplos sacados del cómic Idiotizadas (2017), traducido al portugués en 2018, se ofrece una posible explotación de algunas marcas de la oralidad presentes en la obra, teniendo siempre presente la especificidad de la enseñanza de español a luso-hablantes. Se trata de una propuesta que ayuda al alumno a mejorar su conocimiento pragmático a través de la observación y reflexión de las situaciones comunicativas escogidas por el docente para su análisis, así como del contraste del español y del portugués.

The lack of student interest in learning mathematics is caused by the teaching materials used not being able to make students active so that student scores have not reached the Minimum Completeness Criteria (KKM). School teaching materials contain many questions with almost the same level of difficulty and solution methods so that students get a little bored of doing them. So it is necessary to develop mathematics learning media that can improve students' mathematics learning outcomes. In this research, mathematics learning media was developed in the form of comics with Contextual Teaching and Learning (CTL) nuances. In this development, it is hoped that effective mathematics learning media results will be obtained. The research subjects were students of class VII C at SMP N 20 Jambi City as the experimental class and class VII B as the control class. This learning tool has been effective as seen from the average student learning outcomes. It can be seen from the learning results of the experimental class that 90% of students have achieved a score above the KKM, while the learning results from the control class have 70% of students achieving a score above the KKM. Based on these results, it can be concluded that comic learning media with CTL nuances for improving the learning outcomes of class VII C students can be declared effective.