Search

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.

This article looks at three graphic memoirs and considers the specific ways in which the comic medium allows for the representation of complex and non-verbal interactions between the members of a family. The selected texts show how the sequencing of panels in a comic can depict the unspoken affects that circulate within a family unit. The comic medium seems to be apt for representing the distributed consciousness of a family, and also for splintering a character temporally so that older and younger versions of the character can be put into dialogue with each other in a family context. [ABSTRACT FROM AUTHOR]

These poetry selections and poetic memes are from Data Mind (Curbstone/Northwestern University Press, forthcoming 2024). They explore the experience of living in the digital age as a non-digital native and the tension between what was envisioned for the internet and what it has become. [ABSTRACT FROM AUTHOR]

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]

Copyright of Revista de la Asociacion Aragonesa de Criticos de Arte is the property of Asociacion Aragonesa de Criticos de Arte 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.)

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.

Critical thinking skill is one of the top-notch thinking abilities required in the 21st century. Training students' critical thinking is not easy for teachers, so it takes an exciting learning media and contextual student worksheet to students' lives. Meanwhile, the available student worksheet from the government and publishers is less attractive and contextual. This study is a research and development of a 4D model with the stages comprising definition, design, development, and dissemination. The study recruited four-grade elementary school students, as many as 26 students. The test instrument was developed based on critical thinking ability indicators. The trial test of the student worksheet employed a group pretest-posttest design. The expert judgment result on the student worksheet prototype analyzed using Aiken V showed a very good category score and feasibility to be tested in the trial. The student worksheet trial test result indicated that Sasak ethnicity comic character-based student worksheets affect students' critical thinking. The students liked very much on the comic design very much, such as the Sasak ethnicity wardrobe design, the conversation location, and the issues discussed in the comic are contextual to real-life events, so the students were enthusiastic and critical in the discussion.

En el año 1977 se funda en Barcelona el bar-biblioteca LaSal, vibrante centro de reflexión feminista con editorial propia. Entre las obras artísticas que produce, creadas exclusivamente por mujeres, está el cómic Las Entrañablesas, serie de 7 episodios publicada en la revista Mundo de enero a febrero de 1977. Esta obra coral firmada por Montse Clavé, Mari Chordà, Amparo Tuñón y Ana Díaz-Plaja traslada al lenguaje del cómic el proyecto feminista plural en el que muchas intelectuales se encontraban inmersas en la España de mediados de los años 70. A través del análisis visual de la obra se observa una profunda crítica a la perpetuación de una imagen cosificada de la mujer que tanto los medios masivos como la sociedad en general llevan a cabo. Tomando como marco teórico el concepto écriture féminine de la feminista francesa Hélène Cixous, se analiza cómo Las Entrañablesas responde a las características de este concepto no solo en sus innovaciones formales y de contenido, sino en su propósito de desestabilizar y confrontar un lenguaje estructurado por dictados androcéntricos, convirtiendo el simple acto de crear el cómic en pura resistencia feminista. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 aim of the article is to reflect on religious themes in contemporary Japanese comics. The manga Mieruko-chan by Tomoki Izumi is analyzed. The themes include the Japanese tradition of horror, derived from folk beliefs, as well as Shintō and Buddhist rituals. The author draws attention to religion as an important element of creating cultural reality and its function that makes it more attractive. [ABSTRACT FROM AUTHOR]

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 Jangwa Pana is the property of Revista Jangwa Pana 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 Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Introduction: Children typically have a diminished capacity to comprehend the COVID-19 epidemic. To convey information about COVID-19 to elementary school students (ESS), it takes educational comic media that children like because it is "fun," "informative," and well-understood. However, the effectiveness of this intervention has yet to be thoroughly investigated. This study aimed to measure the knowledge of ESS after studying COVID-19 with comics. Methods: A pre-post quasi-experimental design with a control group was used in this study. There were 66 ESS recruited on purpose. Intervention (n = 33) and control (n = 33) groups were formed. The intervention group received COVID-19 education using comic book media. Who Will Win the Fight Between Kids, Vaayu, and Corona?, a COVID-19 Awareness Comic, was translated into Indonesian. The education was given twice every two weeks, while the standard school intervention was given to the control group. To collect data, researchers designed a questionnaire based on a literature study. The questionnaire was valid and reliable, with a Cronbach alpha of 0.71, and the results were analysed using the independent sample t-test. Results: There was a substantial difference in Knowledge towards COVID-19 ratings between the control and intervention groups (p = 0.001). The mean Knowledge towards COVID-19 score of the intervention group was higher than that of the control group (M=4.33 vs M=1.63). Knowledge about COVID-19 differed significantly between the intervention and control groups (p = 0.001). Conclusion: Comic books are effective in increasing knowledge about COVID-19 in ESS. [ABSTRACT FROM AUTHOR]

The purpose of the article is to identify and investigate the structural and stylistic components of the comics, its verbal and non-verbal components, as well as their use in the context of the formation of modern forms of stage and screen entertainment culture as a special visual phenomenon of today. The methodology is based on the use of dialectical, semiotic, analytical, and culturological methods for distinguish and systematise the structural-stylistic and compositional elements of the comics, which, thanks to their artistic features, are used in the formation of modern forms of stage and screen spectacular culture. The scientific novelty of the study lies in conducting the first cultural analysis of the synergy of comics and stage-screen forms of spectacular culture, as well as in the modern analysis and systematisation of the main compositional and structural-stylistic components of the comics; concepts such as "comic", "ideogram", and "creolised text" have been clarified and supplemented. Conclusions. The article reveals the peculiarities of modern varieties of the comics, as well as considers their influence on the formation of spectacular culture. The researched components of the comics, its verbal and non-verbal components, which are the basis of the general construction of the comics. The semiotic features of the use of ideograms, panels, phylacteries and creolised text in the composition of graphic stories are revealed, and the classification of the characteristics of pictorial lines is given. The use of structural and stylistic components of the comics as a special visual component in the real space of the formation of modern stage and screen forms of spectacular culture, namely in cinema, animated films, musicals, shows, and fashion shows, is considered. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari 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.)

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

Copyright of Sur le Journalisme, About Journalism, Sobre Jornalismo is the property of Sur le journalisme, About journalism, Sobre jornalismo 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 to analyze how the centrality of marginal spaces such as the province and the periphery is realized in contemporary Italian comics through the discussion of three case studies: Non mi posso lamentare by Paolo Cattaneo (2019), Malibu by Eliana Albertini (2019), and Padovaland by Miguel Vila (2020). After a brief historical contextualization, some of the main approaches to spatiality in comics will be illustrated, a complex and layered aspect of this multimodal medium. This will be followed by an introduction to the three selected comics, the stories they tell and the relationship they establish with the different Italian territorial realities they refer to. Finally, the analysis will be conducted, trying to take into consideration all the aspects related to spatiality, whether these are the graphic and drawing style or the mise en page and the layout, without ever disregarding the narrative dimension. It will be conducted a medium-specific analysis which will allow for the identification and discussion of the techniques through which the focusing of marginal spaces is achieved within some contemporary Italian comics. [ABSTRACT FROM AUTHOR]

The comedic discourse is a very important hub where the elements of the political discourse are refracted, often in an ironic-satirical formulation. For our conditions, it is particularly important to examine the contextualization of political discourse in Branislav Nušić's comedies. There is hardly any of his work that does not represent aspects or a hidden view of political discourse. This imposes a broader interdisciplinary approach, among the first a structural approach, the interpretation of the represented macro and microstructures of comedy in which a narrative diversionary action is performed through political discourse. Hence, the conditional stylistic-rhetorical, intertextual and linguistic approach should be supplemented with elements of discourse analysis. This will enable an insight into the structural design of the comedy. Parts of microstructures from other contexts (social, political, ideological, literary, everyday) often have multiple parallel roles. One is the delineation and criticism of social reality, the other is the shaping of the fictitious world of comedy with important literary premises. Changing the context of certain microstructures conditions different behavior and interpretation, as well as significant humorous motivation.

In order to make a deeper research on the existing animation character recognition technology and improve the existing role intelligent analysis technology, semantic ontology and Poisson equation are combined to apply to the animation character recognition and role intelligent analysis technology. For the three-dimensional model, the mapping relationship between semantic tags and local geometric features is extracted to form an intelligent recognition ontology. In the recognition process, support vector machine (SVM) and local geometric features are used to identify semantic tags, and the recognition analysis is carried out according to the semantic tag driving level. Ensure the consistency of animation character model recognition level. In view of the equal perimeter of the recognition boundary under attitude change, the isoline is defined by Poisson equation. This optimization method makes the recognition boundary smooth and consistent under the change of attitude. In the experimental part, various animation character models under different postures are verified and analyzed, and the consistent hierarchical recognition effect is obtained. Compared with the existing methods, the proposed recognition ontology can solve the problem of adaptive selection of optimization parameters of different models and improve the recognition quality.

Lazzo is a short scene of a comic nature that can be compared to a modern-day gag. Italian actors had various categories of such scenes in their repertoires (mimic-gestual, acrobatic, verbal or mixed). Such a ready-made stage sequence was suitable for editing into various plots. The purpose of this paper is to analyze scenes of fear in selected scenarios dell’arte. To illustrate the variety of fear scenes improvised by Italian actors, four scenarios were chosen to adapt a single literary text, Calderón de la Barca’s La dama duende, a very popular work in the 17th and 18th centuries (La Dame Diablesse, manuscript from the Bibliothèque Nationale in Paris; La dama Demonio, manuscript from the collection of the Vatican Library; La dama creduta spirito folletto from the Neapolitan collection; La dama demonio e la serva diavolo from the collection of arguments of the court of August III).

Este trabajo propone un análisis de la novela gráfica La cólera (2020) de Javier Olivares y Santiago García, en el que, desde la perspectiva de la Recepción Clásica, se atiende a las novedades que propone esta reescritura de la Ilíada. Esas novedades son especialmente llamativas en dos ámbitos: la identidad de género y sexual, y las desigualdades sociales. A través de la feminización del personaje de Aquiles que propone la obra, se aborda, por una parte, un cuestionamiento de los papeles de género tradicionales, la fluidez entre ambos y la problemática de la orientación sexual y, por otra, una denuncia de la injusticia social, que no solo afecta al género, sino también a otros parámetros sociales, como los factores económicos. El trabajo, por último, ilustra las ventajas que ofrece el análisis de obras recientes desde el punto de vista de la Recepción Clásica.

El texto aborda la aportación a la expresión gráfica arquitectónica de un profesional ajeno a la disciplina, el autor de cómic e ilustrador neerlandés Joost Swarte (n. 1947). Se estudia para ello su colaboración con Mecanoo en el diseño del teatro Toneelschuur, ejemplo de participación del artista desde el embrión del proyecto hasta su definición final. El material gráfico conservado ha permitido analizar el papel que el dibujo y la ilustración jugaron en cada fase del proceso, así como su utilidad en la comunicación entre los distintos agentes participantes. El análisis se extiende a continuación a otras obras donde o bien la intervención de Swarte se limitó a fases concretas del proyecto o bien sus diseños funcionaron como adiciones artísticas a la arquitectura.

Copyright of Journal of Artistic Creation & Literary Research is the property of Departamento de Estudios Ingleses, Facultad de Filologia, 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.)

Manga has established itself as one of the world's most profitable publishing industries, becoming a major artistic movement of the 21st century whose influence has permeated other media such as film, music, video games and fashion. This article attempts to identify the existence of a general semantics in manga narrative, as well as its industrial influence. This leads us to predict the disappearance of its commercial genres due to a process of hybridization that is occurring in contemporary productions, implying the dismantling of the male hegemony rooted in it for decades. [ABSTRACT FROM AUTHOR]

People differ in their assessment of whether they consider spoilers to be problematic or not. Recent studies have investigated the effects of spoilers. However, the definition of spoilers in those studies was ambiguous, so it is difficult to say that the impact of spoilers has been investigated. In this work, we propose a definition of comic spoilers and a dataset construction method to avoid ambiguity in the definition of spoilers. Furthermore, we construct a dataset and compare our dataset with the spoilers used in previous studies to clarify the characteristics of spoilers. Then, we found that the newly constructed dataset not only covered the previous dataset but also detected important spoiler scenes that were not included in the previous dataset, such as goal scenes and scenes that reveal the killer's motive and so on, as spoilers. [ABSTRACT FROM AUTHOR]

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. Plain English summary: A national screening programme for bowel cancer was set up in 2006. This is offered every two years to people aged 60–74 in England and 50–74 in Scotland. Bowel cancer is the fourth most common cancer in the UK and the risk of developing bowel cancer increases with age. Smoking, alcohol, diet and lack of exercise also increase the risk. An individual can change their lifestyle to reduce their risk. But if someone has a history of bowel cancer in their family, or has had another type of cancer themselves, they are still more likely to develop bowel cancer. Certain ethnic groups are also at higher risk. There are calls to tailor the bowel cancer screening programme to each person's level of risk. This needs to be acceptable to those who are offered screening. In our study, we spoke to members of the public and healthcare professionals to find out their views on this. This is a complex topic, and we decided to create a comic book to help people understand the issues and encourage discussion. We worked with an artist and ten public contributors to create the comic book. We held two online workshops and presented the comic book at a network for different ethnic groups in our region. Here we discuss what we learned from this creative process. We focus on: diversity in the workshops; the purpose of the comic book; language and humour; visual style; developing the characters; the setting for the story; cultural sensitivity and stigma. [ABSTRACT FROM AUTHOR]