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This study looks into the relation between the comic and anger. Specifically, the paper analyses how anger emerges as the flip side of the comic, by studying the theory of emotions as presented in Bharatamuni's Nāṭyaśāstra. The performative languages of the comic (hāsya) and anger (raudra) are closely examined. By analysing the features of hāsya and raudra the study attempts to prove the mutative tendency of the comic to anger. [ABSTRACT FROM AUTHOR]

Las biografías literarias gráficas son cómics centrados en la vida y obra de autoras y autores de distintas etapas literarias. Como recuperación histórica, son textos de no ficción que incluyen referencias a las obras de sus protagonistas. En esta investigación nos centramos en las posibilidades didácticas de estas historietas para trabajar la literatura en distintos niveles educativos. Se presenta un listado de 25 ejemplos de biografías literarias gráficas en español, para posteriormente centrarnos en dos poetas víctimas de la guerra civil española, Federico García Lorca y Miguel Hernández, y estudiar dos biografías de cada uno. Se analiza la veracidad de los hechos narrados a través de la documentación recogida por los autores o por las fuentes históricas utilizadas. Se describen sus posibilidades educativas para trabajar la poesía al incluir múltiples referencias literarias. Además, se clasifican estas cuatro obras en relación con la ficcionalidad o no del texto y el dibujo de cada uno, como partes indivisibles del relato. Se muestran estas biografías como cómics de no ficción para trabajar la memoria histórica en la clase de lengua y literatura.

Über Crescentia, genannt „Cenzi“ Flendrovsky ist wenig bekannt, außer dass sie 1872 in Wien geboren wurde und 1900 dort auch verstarb. Ein Nachruf und Fotos belegen, dass sie zu den ersten Radsportlerinnen Österreichs zählte und internationale Rennen bestritt. Die Wiener Journalistin Petra Sturm nahm ein Foto Cenzis zum Anlass, sich mit der Frau zu beschäftigen, ihre Geschichte nachzudichten und als „Bycicle Novel“ von Jorghi Poll nachzeichnen zu lassen. Anhand zeitgenössischer Quellen und auf historischem Bildmaterial aufbauender Illustrationen entsteht das Modellbild einer Frau, die früh ein Leben der Selbstbestimmtheit lebte.

A través del análisis de una muestra concreta de novelas gráficas de viaje publicadas en el panorama editorial español de los últimos años, pretendo reforzar la posición teórica que define la novela gráfica como una manifestación artística independiente, y no como un subgénero dentro de la narrativa. La novela gráfica es una forma artística capaz de representar el viaje, mediante un doble código verbal e icónico. La frecuente voz autoficcional, la autonomía significativa del elemento gráfico, así como la sucesión secuencial de las viñetas, que dota de temporalidad a los distintos desplazamientos, hacen de la narrativa de viajes ilustrada una modalidad dentro de la novela gráfica como arte icónico verbal. Para avalar esta teoría, hago un repaso a muestras significativas de viaje publicadas recientemente que demuestran que, aunque con indudables conexiones con el relato de viajes literario, la novela gráfica de viajes se alza como subgénero dentro de este arte independiente, con peculiares condiciones de composición, editoriales y receptivas, en cuya definición se debe tener en cuenta el proceso semiológico que comporta el uso del lenguaje y la ilustración.

El objetivo de este artículo es el análisis de las fuentes literarias del cómic Orfeo y Eurídice, entrega n.º 43 (publicado en julio de 1966) dentro de la colección mexicana “Joyas de la mitología”, con el propósito de comprobar la fiabilidad de esta publicación juvenil. Por ello, se revisan las particularidades de dicha colección y se compara la recreación de la historia mítica seleccionada con las fuentes literarias de la Antigüedad (Geórgicas de Virgilio y Metamorfosis de Ovidio). El resultado demuestra la pericia de los autores en la adaptación del mito grecolatino de Orfeo y Eurídice en formato cómic.

Empathy towards the physical suffering of the other seems to not be a common experience in 17th century. Mistreatments of the body, considered as a low topic in the culture of the time, were rather represented by comic literature. The comic tonality is also present in epistolary writings, whether by literary convention or the affirmation of a social posture of impassivity. It is therefore interesting to observe, in the letters in which Madame de Sévigné relates the various phases of the repression of the Breton revolt of the “bonnets rouges”, the ambivalent signs of empathy. Her comic style evolves throughout the chronicle, moving from derision to irony and humour, that induce the reader to read between the lines: he (or she) can hear indignation and compassion under the guise of a joke. This exemple may disturb a historical vision based on “objective documents” that would take for granted the insensitivity of Ancien Régime.

Unique among other rhetorical devices, wit can appear complex and banal simultaneously. The clever language can express thought equal to the weight of lengthy discourse in a few words, often with amusing effect. However, despite the complexity of the device, wit only offers a momentary chuckle or clarification of events, easily forgotten in a larger context. This dichotomy of wit operates the plot and theme in many literary texts. Intelligent protagonists employ the device to remedy their problems, believing that the complexity of the response ensures its effectiveness. However, because wit consists of only words, the device falls short of enacting change that action or direct discourse could more appropriately handle. This paper examines the role of wit in Hamlet and Catch-22 to determine how characters rely on wit to affront their problems but succeed only in amplifying them.

Der vorliegende Beitrag beschäftigt sich mit pragmatischen Funktionen von Diminutivsuffixen im argentinischen Comic Mafalda des Zeichners Joaquín Salvador Lavado Tejón (Quino). Als Zeichen der gesprochenen Umgangssprache finden sich Diminutive häufig in der Nähesprache bzw. im schriftsprachlichen Bereich in der sog. fingierten Mündlichkeit. Besonders in Comics begegnet man dieser besonderen Form der graphischen Realisierung konzeptioneller Mündlichkeit (Koch & Oesterreicher 22011). Aus Perspektive der Diminutivforschung sprechen zudem diverse soziolinguistische Aspekte für die Auswahl von Mafalda als Analysegegenstand. Hinzu kommt, dass bislang nur wenige Untersuchungen zur fingierten Mündlichkeit in spanischsprachigen Comics vorliegen. Aus diesem Grund befasst sich der vorliegende Beitrag eingehend mit der Analyse der einzelnen Lesarten der Suffixe. Die textnahe Interpretation der Diminutive zeigt eine Mehrzahl meliorativer Verwendungsweisen, was mit dem ausschließlichen Gebrauch des in Argentinien präferierten und vorwiegend positiv konnotierten Suffixes ‑ito im Einklang steht. I.d.R. besteht eine Kombination aus objektiv diminuierender und affektiver Lesart, was sich v.a. durch außersprachliche Faktoren ergibt. Zu einer typischen Sprechweise im Umgang mit Kindern fügt sich auch die Feststellung einer dominierenden Verwendung der Suffixe zum Ausdruck von Zuneigung bzw. Vertrautheit.

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Diana Salus Text cartas para ninguém (2019) verbindet Lyrik, Comic, Autobiografie und Skizzenbuch. Das transversale Kreuzen gesellschaftlicher Rahmungen steht in besonderer Weise mit der Identität der Autorin als lesbischer trans* Frau in Verbindung. Die vorliegende Untersuchung analysiert das Zusammenspiel zwischen Genre und Gender in Salus Text und stellt die These auf, dass dieser als ein Text im Werden zu verstehen ist, als ein unentwegtes Anschreiben gegen Zuschreibungsprozesse. Gerade die gezielte Verschiebung der Aufmerksamkeit auf die freien Flächen, die leeren Stellen und die Stille machen Salus Werk zu einem Werk des Dazwischen, das die Leser*innen dazu auffordert, sich einerseits mit den eigenen Sehgewohnheiten auseinanderzusetzen und andererseits in Beziehung zu treten und darüber handlungswirksam zu werden.

Introduction. The success and acceptance of the community towards The Librarian Season 1, comic indirectly show an interest in the librarian profession. Although the library and librarian described in the Librarian Season 1 are fictional settings, the values in the world of librarianship cannot be ignored. This study aims to examine the representation of librarians in The Librarian Season 1 comic. Research Methods. The method used was qualitative. Collecting data was conducted by document study by exploring the website? Data Analysis. This paper used Roland Barthes' semiotic analysis focusing on the denotative, connotative, and myth levels. Results and Discussion. In the comic The Librarian Season 1, there are 13 episodes out of a total of 15 episodes that have librarian representation scenes based on ideal characters in the Basic Framework for Indonesian Librarianship (KDKI). Conclusion and Suggestions. Miche is a representation of the ideal character of a librarian based on KDKI. Therefore, the paper suggests that comic artists are considered to reproduce story ideas about librarians in comics, content, or other pop culture products. Librarian representation in the comic The Librarian Season 1 can be an alternative educational media for both prospective librarians and public.

Draw-A-Scientist Test (DAST) has been one of the most used instruments to study conceptions of scientists and science. It has been especially useful for charting the conceptions of younger children who might lack the skills to express themselves in writing. However, recent studies suggest that instead of children's conceptions of the appearance of scientists, their conceptions about the activities are more crucial in shaping children's attitudes towards science. This study describes a new instrument, Draw-A-Science Comic (DASC), and examines the advantages and disadvantages of using a comic as a tool to collect data about children's conceptions of scientists and science. A total of 104 children aged 8 to 13 drew a comic while attending university's science camps during the summer of 2017 and 2018. Participants drew a comic about how science is made. The analysis of the drawings was based on four main categories: scientific activities, locations of research, appearance of scientists, and emotions and attitudes. Instances for each category were calculated by two researchers independently. Qualitative overviews of the categories and the methods used to convey information were formed. The children used sequential pictures to depict actions and processes, speech bubbles to depict dialogue between characters as well as text captions to provide additional details and clarifications. By drawing comics children were able to have more detailed illustrations of scientific activities than with a single picture. The sequential narratives were also used to depict emotions and attitudes related to science. In contrast to DAST, the DASC provides information about children's conceptions and stereotypes regarding scientific activities even without the use of additional or more explicit prompts. [ABSTRACT FROM AUTHOR]

There is a widely held view that visual representations (images) do not depict negation, for example, as expressed by the sentence, "the train is not coming." The present study focuses on the real‐world visual representations of photographs and comic (manga) illustrations and empirically challenges the question of whether humans and machines, that is, modern deep neural networks, can recognize visual representations as expressing negation. By collecting data on the captions humans gave to images and analyzing the occurrences of negation phrases, we show some evidence that humans recognize certain images as expressing negation. Furthermore, based on this finding, we examined whether or not humans and machines can classify novel images as expressing negation. The humans were able to correctly classify images to some extent, as expected from the analysis of the image captions. On the other hand, the machine learning model of image processing was only able to perform this classification at about the chance level, not at the same level of performance as the human. Based on these results, we discuss what makes humans capable of recognizing negation in visual representations, highlighting the role of the background commonsense knowledge that humans can exploit. Comparing human and machine learning performances suggests new ways to understand human cognitive abilities and to build artificial intelligence systems with more human‐like abilities to understand logical concepts. [ABSTRACT FROM AUTHOR]

Samarinda is the capital of East Kalimantan that is currently growing rapidly. However, the city of Samarinda still has a complex flood problem. This flood phenomenon occurs not only when it is the rainy season but also when it rains for 1-2 hours. This condition interferes with the activities of the community and the government in Samarinda in carrying out daily activities because it can immerse settlements and housing, damage public facilities, and cause casualties. Despite the frequent occurrence and inconvenience of the community, Samarinda's level of public awareness in preventing floods is still minimal. This can be seen from the large number of communities that still often throw garbage carelessly into rivers, especially residents living near rivers. The garbage thrown into the river hinders the flow of water to the point where it can create a high puddle. It is seen that there are many communities, especially young people who are open-minded about environmental issues. Therefore, it is necessary to design a flood prevention educational medium in Samarinda city that can start from oneself or a simple thing with the main target is Samarinda people itself, especially the youth with qualitative methods. [ABSTRACT FROM AUTHOR]

This study compared the effectiveness of comic-based with text-based concussion discharge instructions on improving caregiver knowledge. This study also examined the role of social determinants of health on comprehension instructions. This was an observational study of the caregivers of pediatric concussion patients. Caregivers' health literacy and demographics related socioeconomic factors were obtained. After the patients' evaluation in the emergency department, caregivers were given printed comic-based concussion discharge instructions. Caregivers were contacted 3 days later and tested overall knowledge of discharge instructions' content. These survey results were compared with historical controls who received text-based instructions. A total of 120 participants were recruited, and 86 participants completed follow-up procedures. When comparing the caregivers' recall ability with a comic-based vs traditional text-based instructions, caregivers with comic-based content were more likely to accurately recall overall discharge instructions (77.5% vs 44%, P <.001), particularly physical rest and activity restrictions (86.5% vs 63%, P <.001). Caregivers also were less likely to misidentify a red flag symptom (7.5% vs 19%, P <.04). Comic-based instructions did not increase recall of cognitive rest instructions or postconcussive symptoms. When examining demographic factors, caregivers who could not recall 3 postconcussive symptoms were more likely to be Hispanic or Black, less likely to be college educated, and more likely to have low health literacy. Novel methods should be explored to adequately prepare caregivers for continuing postconcussive care at home. Discharge instructions must be tailored to address caregivers' baseline health literacy and how caregivers digest and retain information. [ABSTRACT FROM AUTHOR]

The text captures various misunderstandings that arose when the living author, František Novák from Lomnice nad Popelkou, became the subject of Vladimír Borecký’s professional interest in 2002. While Borecký was a respected scholar in the field of cultural studies, Novák’s linguistic and historical theories remained mere scientific nonsense, amusing from a certain point of view, but completely unacceptable. Borecký, however, did not want to ridicule Novák; on the contrary, he was able to read his texts as an expression of playfulness, and he placed their effect in the highest degree of the comic, which he described as “absurdity”, questioning all the certainties of our knowledge. But Novák became convinced that his groundbreaking scientific theories were as yet misunderstood. [ABSTRACT FROM AUTHOR]

An analysis of literary adaptations into comics medium is proposed based on their appeal for promoting critical reading in the classroom, assuming that their multimodal and interdisciplinary language strengthen a paradigm of interpreting space which suggests readers that they complete the meaning of the text. For this reason, the inconvenience around introducing adaptations which serve as mere readings prior to the original ones is considered, since this kind of intermedial translations lack intrinsic artistic value so that they would not be productive; on the contrary, those adaptations constituted as revision acts potentially encourage students to establish decoding interventions given that they would find interpreting factors which would enrich the approach to the original book through a complex authorial vision. After meditating over the criteria for adaptation's optimal characterization, some analytical parameters are also provided to be briefly applied through a corpus of adaptations based on Tirant lo Blanc. Finally, it may be deduced that the conventional concept of what a reading text is can be extended beyond literature and that, likewise, analyzing the classics is an operation which may get benefits from attending their respective resignifications in other creative media. [ABSTRACT FROM AUTHOR]

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This research aims to: (1) develop a feasible Android-based comic media of Gajah Mungkur Dam, and (2) reveal the effectiveness of the developed comic media in improving mathematical representation and critical thinking abilities on the materials of work and energy. The research subjects are senior high school students, consisting of 262 students for the empirical testing, 36 students for the limited trial, and 72 students for the field trial. This research is research and development applying the 4D model, consisting the stages of definition, design, development, and dissemination. The research instrument includes a validation sheet, evaluation sheet, questionnaire, lesson plans, comic media, and mathematical representation and critical thinking ability tests. The developed comic media contains an introduction, comic's work and energy materials, users' manual, instructional video, and discussion column. The data analysis used the MANOVA test. The finding shows that the developed Android-based comic media of Gajah Mungkur Dam is feasible to use with the assessment score of 3.70 or in a very good category from the validator, and score of 3.10 or in a good category from students in the limited trial. The MANOVA test result shows that there is a significant difference between the control class and experimental class. The developed comic is effective in improving mathematical representation ability in the small effect category and in improving critical thinking skill in the medium effect category. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 Slavistična Revija is the property of Slavisticno Drustvo Slovenije 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.)

Comic performances might take a subversive form, especially in an autocratic regime where used as an instrument of expression by the oppressed, the silenced, the unseen, and the unheard, thereby offering a political critique of the state, economy, and systemic failures. This article discusses the ability of contemporary Indian stand-up comic performances to undermine hegemony. The article begins with a theoretical evaluation of the comic in the public sphere, moves to a brief survey of South Asian forms of comic performances, and links these concerns to performances by two contemporary comedy collectives, Aisi Taisi Democracy (ATD) and East India Comedy (EIC). The article then concludes with the possible complications of ATD and EIC's contribution to a robust public sphere. [ABSTRACT FROM AUTHOR]

Review of: Raymond Briggs: A Retrospective, Raymond Briggs, curated by Katie Currach and Nicolette Jones Cambridge University Library, Cambridge, 29 April–26 August 2023 Raymond Briggs: A Retrospective, a touring exhibition from the Quentin Blake Centre for Illustration, was installed at Cambridge University Library from 2 April to the 26 August in 2023. The collection, courtesy of the Raymond Briggs Archive and Penguin Random House, consists of annotated page designs and original illustrations selected from over sixty years of award-winning work. From fairytales to political satire, this exhibition showcases the intricate detail and deep emotional resonance of Briggs' work; a legacy of powerful storytelling which has moved so many readers, old and young alike, over the decades. [ABSTRACT FROM AUTHOR]

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

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

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The article is devoted to the analysis of the comic Renaissance literature through the prism of individual works in order to identify the main comic functions. The Renaissance laughter culture formation is one of the urgent and underdeveloped problems of modern humanities adressed to the study of the Renaissance. The purpose of our work and the tasks dictated by it – in the context of the «laughter word» of the Renaissance to reveal the main comic functions in the literature of this period that were formed by a new worldview and new relationships amoung people. The stated goal determines the need to use hermenegutic (analysis of literary texts), typological (comparison of various comic functions), historical (solution of a literary problem in the context of a historical epoch) research methods. The “discovery of the world and man” that was characteristic of the Renaissance also took place in fiction. Renaissance realism turned it’s face to the everyday life of a person, and literature willingly accepted a new theme for itself including comedy. The article highlights various social functions of laughter that were used in Renaissance literature. Recreational laughter function is the original and oldest one. Laughter is evidence of pleasure, relaxation, rest. This laughter’s function is necessary for the normal functioning of not only an individual, but society as a whole. Such works as fables, schwankis, facies, “Gargantua and Pantagruel” by Rabelais, “Don Quixote” by Cervantes, comedies by W. Shakespeare, their main task was entertaining first of all. Their laughter is a clear evidence of inner freedom and healthy vitality. Laughter is a social phenomenon, and therefore it must meet the well-known requirements of people livihg together. Therefore, one of the main of functions is social. Laughter should be a kind of social gesture; it frees society from mechanical rigidity. We single out this function in Luigi Pulci’s poem “Morgante”. Funny and serious, faith and disbelief, naivety and scientific coexist side by side in this work, defining its heroic-comic character. The ontological aspects of laugher are closely related to cognitive ones. The cognitive laughter function has a great importance in revealing social negative aspects, in bringing them to the point of absurdity and thereby revealing their inconsistency and the obligation to eliminate them. This laughter function is represented in Sebastian Brant`s poem “The Ship of Fools”, in Rotterdams satire “The Praise of Folly”, in F. Rabelais` novel “Gargantua and Pantagruel”. Laugh as an effective social sanction (the sanctioning function of laughter) is presented in Cervantes` novel. The main thing in Don Quixote is not so much a parody of chivalry as a realistic disclosure of new social conditions and worldview discoveries, which was a parody of a past life. At the end of the novel, realizing his madness, Don Quixote thereby frees himself from his comic. The novel takes on a pronounced tragic connotation. The title character recognizes his doom and ceases to be pathetic, he becomes a knight of the “sad image”, he dies not a pathetic madman, but a humble Christian. The various functions of laughter, presented in the Renaissance literature were an effective tool in the fight against the remnants of the Middle Ages and the establishment of a new worldview.

Instagram is one of the most popular social media for teenagers to get information through pictures and short videos. Instagram users often provide comments in response to the information obtained. Instagram can be used in online-based learning during the Covid 19 pandemic. This study aims to explore students' argumentation skills using Instagram-based learning and measure student satisfaction responses in using Instagram as a learning medium. The type of research used is descriptive quantitative. Respondents used in this study were 25 students of SMA Multazam IBS Semarang. The results of the study that obtained argumentation skills after learning to use Instagram were 56.13 with the indicator giving support getting the largest value of 82.00 and refutation having the smallest value of 44.00. The percentage of students who argue is 76%. Student responses to learning using Instagram 53% strongly agree, 40% agree, 6% disagree, the remaining 1% disagree.

En el aprendizaje del inglés como segunda lengua en la educación básica y media en Colombia, los Estándares Básicos de Competencias en Lenguas Extran-jeras y los Lineamientos Curriculares en el área de inglés proponen potencializar la adquisición de competencias comunicativas. El objetivo de esta investigación es fortalecer la adquisición de competencias comunicativas en inglés como segunda lengua, mediante la implementación de un modelo de intervención pedagógica con la historieta como recurso didáctico, en un grupo de estudiantes del grado décimo de la Institución Educativa Raquel Jaramillo en Bello (Antioquia), en noviembre de 2019. Se diseñó una estrategia metodológica cualitativa, con selección dirigida de una muestra de 16 estudiantes con edades entre 14 y 17 años. Con técnicas e instrumentos como el cuestionario y la observación directa y participante, se identificaron las dificultades para desarrollar dichas competencias, docentes y estudiantes se articularon para aplicar la historieta como recurso didáctico, luego compararon el diagnóstico inicial con los resultados finales y los socializaron para proponer mejoras al proceso. En los resulta-dos se concluye que la aplicación de la historieta como estrategia metodológica facilita la identificación, adquisición y fortalecimiento de competencias comunicativas en el aprendizaje del inglés, porque motiva los estudiantes a involucrarse de manera activa, participativa y lúdica en los procesos educativos mediante la creación de nuevos recursos propios para el aprendizaje. Considerando su aporte al fortalecimiento de competen-cias comunicativas, esta propuesta metodológica podría extender se a los grados en los cuales se orienta la asignatura del inglés e incluso transversalizarla con otras áreas.

This article discusses the perception of widows in the stand-up comedy presented by Mega Syalshabillah. In her performances, Mega Syalshabillah always uses a theme close to the life of a widow. The depiction she did was a form of answering the negative perception that existed in the public's mind about a widow. In this study, the researchers will examine how the perception of widows in stand-up comedy delivered by Mega Syalshabillah. Researchers use data sourced from YouTube shows, the process for selecting YouTube views is based on the most significant number of views. In practice, the researchers use the theory of perception proposed by Rudolf R. Verderber (1978). Perception is defined as the process of interpreting sensory information. The theory of perception that the researcher used aims to see the views and perspectives of a widow due to divorce. Personal branding theory is also used in this study as a supporting theory, and it aims to answer how a comedian promotes himself so that the wider community knows it. The findings obtained from this analysis are that people always have a negative perception of a widow due to divorce; the community first generalizes the bad things about widow status.

One crucial thing in environmental learning is how gender-based media is not yet used optimally to improve concept understanding in the classroom. Students will not develop pro-environmental concerns and behavior if they do not understand pollution and environmental issue. This study aims to prove the influence of learning media and gender on understanding environmental pollution concepts in a Secondary High School in Jakarta, Indonesia. The method used is an experiment with a 2 x 2 factorial design. The sample is taken based on the stratified random sampling technique that consists of 40 students with 20 males and 20 females from two Senior High Schools in Jakarta, Indonesia. The instrument used in this study was 32 multiple choice questions to measure students' understanding, consisting of translating, interpreting, and extrapolating dimensions. The data analysis interpretation shows an interaction effect between learning media and gender on understanding the environmental pollution concept. Therefore, this study recommends that teachers use various media such as caricatures and comics that are proven usable to accommodate gender differences and enhance conceptual understanding in the classroom.

This article is about the Swedish daily comic strip Rocky by Martin Kellerman. The article views Rocky as an example of autofiction due to Kellerman’s use of an anthropomorphic cartoon self and the daily comic strip’s narrative structure. One of the article’s goals is to show how the daily comic strip as a medium creates an original day-to-day space for exploring a life story. // Dieser Artikel befasst sich mit dem schwedischen Tagescomic Rocky des Autors Martin Kellerman. Rocky wird aufgrund Kellermans Verwendung eines anthropomorphen Cartoon-Ichs und der narrativen Struktur des täglichen Comics als ein Beispiel für Autofiktion betrachtet. Ein Ziel des Beitrags ist es zu zeigen, wie der tägliche Comic als Medium genutzt wird, um einen originellen Raum für die Erkundung einer Lebensgeschichte zu schaffen.

Современные СМИ активно используют в медиатекстах элементы комического, облекая их в такие виды, как сарказм, ирония и юмор, и реализуя в разнообразных речевых приемах с использованием всего арсенала экспрессивно-выразительных средств. В связи с этим возникает необходимость описания и типологизации жанровых особенностей печатных комических медиатекстов и выявления механизма восприятия комического в различных жанрах. Целью представленной статьи является анализ современных печатных медиатекстов с точки зрения реализации в них категории комического, определение их жанровой принадлежности и выявление воздействующего потенциала этих медиатекстов. Для достижения поставленной авторами цели был проведен контент-анализ наиболее популярных печатных средств массовой информации. Осмысление феномена комического и его средств воздействия базируется на использовании комплексного подхода к анализу печатных медатекстов, реализованного через методику лингвостилистического анализа текста.Анализ показывает, что тексты, насыщенные аттрактивными комическими элементами, вызывают эмоциональный отклик, становятся более понятными для аудитории и более демократичными. Внесение в медиатекст шутливого, ироничного или саркастического начала требует значительных интеллектуальных усилий как от автора текста, так и от потребителя, что является проявлением тенденции к интеллектуализации массмедиа. Использование элементов комического реализует воздействующую функцию публицистического медиатекста, значительно повышает привлекательность журналистского материала для аудитории и способствует конкурентоспособности издания на медиарынке. В современных СМИ сложившиеся правила и механизмы порождения смыслов активно меняются вследствие чрезвычайно быстрого проникновения современных информационно-коммуникационных технологий в глобальное коммуникативное пространство. В связи с этим перспективными направлениями для дальнейшего исследования являются механизмы воздействия медиатекста и его интерпретации с учетом форматных характеристик массмедиа, трансформация и появление новых медиажанров, культурно-специфические свойства комического в СМИ.

I focus on the manifold instances of words derived from the verb γελᾶν in Lucian’s Symposium in order to question their reflexive value concerning the comic purpose of the text. In the first section, I study the overrepresentation of this lexical family in order to show that laughter is thematized, so that we may assume that it is an indicator of reflexivity concerning the author’s comic project. However, the lexical field of laughter is problematized, therefore requiring further analysis. In the second section, I focus on instances where the narrator distances himself from laughter, which is attributed to the other guests only. He prefers to observe and condemn the rakish philosophers in silence, because such a laughter is inappropriate in the context of a symposium. Finally, in the third section, I tackle some occurrences where the narrator indulges in laughter, when related to speeches: the comparison with the prologue shows that the narrator encourages the readers to laugh not about the events, but about their being literary elaborated.Lucian, symposium, laughter, comic, reflexivity

Durante las últimas décadas, se ha considerado la lectura de cómic japonés en diferentes contextos de alfabetización lectora; y se han desarrollado estudios diversos que contemplan la potencialidad didáctica de este medio, en propuestas sobre creatividad artística a partir de las prácticas letradas de jóvenes lectores, o como recurso didáctico para la educación literaria. Mediante un análisis cualitativo, este trabajo pretende estudiar las posibilidades de Tomoji, de Jiro Taniguchi, como ejemplo paradigmático de manga para la formación de lectores, con perspectiva intercultural y atendiendo a las opciones de vinculación temática en torno a la diversidad que la lectura presenta. Así, se realiza una propuesta de motivación lectora basada en ciertas claves metodológicas propias de las secuencias didácticas, con el objetivo de proporcionar un modelo replicable de educación literaria que promueva, a partir del cómic nipón, la discusión alrededor de aspectos culturales como el papel social de la mujer, la apreciación de la naturaleza o el concepto de familia.

Partiendo de una concepción del cómic que se aleja de su tradicional definición monosensorial en favor de un acercamiento multisensorial, el objetivo de este artículo es examinar la capacidad del medio para representar la diversidad y los trastornos sensoriales, centrándose para ello en el ejemplo paradigmático de Diagnósticos (2013), de Diego Agrimbau y Lucas Varela. Este volumen de historias cortas independientes conectadas por la presencia de distintas alteraciones sensoriales hace uso de algunos recursos formales del cómic (como la visión holística o los diferentes grados de integración de texto e imagen) para ofrecer el punto de vista subjetivo interior de sus protagonistas, todas mujeres. La obra se analiza a luz de la medicina gráfica, aunque, pese a lo que sugiere su título, se trata de un cómic de ficción que no pretende ser un manual médico. Se examinan, pues, la potencialidad del cómic de ficción con representaciones estereotipadas para generar empatía y otros aspectos relacionados con la diversidad funcional como la identidad y el género. Se concluye así que, a pesar de algunas figuraciones estereotipadas, Diagnósticos constituye un ejemplo único de la representación de la diversidad sensorial en el cómic por su carácter experimental y autoconsciente.

Entre los cómics y la diversidad -al igual que entre diversidad, dibujos animados y películas cómicas- existe una corriente casi directa de concordancia y superposición o, también, de entrelazado inextricable. Existen bases de afirmación histórica del medio, desde finales del siglo XIX, que atestiguan la existencia de dicha corriente, pero también hay otras de carácter estructural a través de las cuales los cómics revelan el perímetro de diversidad tanto perceptiva como antropológica y cultural que designa la vida cotidiana y peculiar de la sociedad moderna, tecnológica, burguesa, capitalista (en los descartes o en los lazos de continuidad y ruptura -a veces pequeñas o grandes revoluciones- que enmarcan sus avances y cambios internos). Se presenta un análisis reflexivo de la diversidad del cómic desde diferentes variables de estudio.

El presente artículo se aproxima a un género poco estudiado en el ámbito académico como es el cómic y en particular el cómic histórico, es decir, el que utiliza la historia con mayúsculas como telón de fondo para explicar y difundir ideas. Observamos como las características del cómic favorecen la divulgación de conceptos como el de memoria histórica y es una herramienta idónea para establecer una ideología. En el caso que nos ocupa tratamos el cómic en lengua catalana que versa sobre la historia medieval de Catalunya con los objetivos de comprobar, por un lado, la intencionalidad ideológica que se esconde tras la narración y selección de unos hechos y unos personajes concretos de la historia catalana para divulgar una determinada idea de construcción territorial e identitaria; y. por el otro, proponer un modelo de análisis del cómic tanto desde el punto de vista literario, de las estructuras narrativas, como desde el punto de vista visual.