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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.)

With their increasing popularity, there is a need for more research clarifying the potential strengths and weaknesses of the comic format for education. The panelled comic format may be particularly effective for educating adults on the scientific aspects of processes (sequences of events, occurring over time, in a series of discrete steps). We tested change in performance in adults (n = 879) in correctly ordering the stages in four processes before and after being exposed to educational material about these processes. The material was presented in a random selection of one of seven experimentally manipulated formats based on characteristics of comic books. Overall, participant performance improved after seeing the educational material. There were significant differences in learning between the processes, suggesting that the benefits, or detriments, of the comic format may be subject-specific. Performance was significantly better when images were subdivided into panels, and worse when an explanatory agent (character) was included, though these differences in performance did not survive adjustment for multiple comparisons. This study presents some evidence that the panelled nature of the comic format supports learning about scientific processes in adults. Given results differed notably between the specific topics to be learned, there is substantial scope for further investigation. [ABSTRACT FROM AUTHOR]

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]

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

In this article, the results of a didactic experiment are presented whose objective was to analyze the potential of Comics in promoting learning in Higher Education, especially in the Differential Calculus I component, during the remote period resulting from the COVID health emergency - 19. The study was based on notions of intuition and formalization, in addition to assumptions from the Anthropological Theory of Didactics, particularly mathematical praxeology and praxeological analysis. A praxeological analysis of the comics produced was carried out, identifying the predominant epistemological model in this experimentation. The application of derivative concepts to problems related to real situations resulted in an improvement in the student's relationship with knowledge, contributing to the construction of meaning in learning. Aspects inherent to the process that occurs between intuition and the formalization of a concept were highlighted. A paradigm shift was observed in the teaching of Calculus by focusing on the proposition of creative situations. The implications of this research for the training of Higher Education teachers are also highlighted. [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.

Education is one aspect that is influenced by developments in technology, information and communication. For example, a shift in learning paradigms to accommodate advances in science and technology to increase efficiency and optimize learning. The development of the educational era indirectly requires teachers to be able to utilize technology, information and communication as media and teaching materials for learning activities. The aim of developing digital-based comic learning media is that it is considered to be able to help students understand learning material because the advantage of digital-based comic media is that it is able to present images that can arouse students' interest in learning. This type of development research uses the 4D model which was initiated by Thiagarajan (1974). This 4D development model has four stages, namely define, design, develop and desseminate, but in development research it only reaches the develop stage. The product that has been developed by this researcher has been validated by material experts getting 81.66% percentage with the criteria "very feasible", media expert validation gets 93.33% percentage with the criteria "very feasible", and language validation gets 100% percentage with the criteria " very worthy.” Based on the results of expert validation, the product that has been developed in the form of digital-based comics is suitable for students to use during the learning process. [ABSTRACT FROM AUTHOR]

Dans les Aventures de Tintin , Hergé n'a pas manqué de tisser psychologie et psychiatrie dans la trame de fond de son récit. Étant donné la richesse de ses planches en matière de santé et de maladie mentales, nous proposons une revue systématique des albums ainsi que de la littérature médicale aboutissant à une lecture de la sémiologie et de la phénoménologie psychiatriques dans l'œuvre d'Hergé. Les thèmes les plus récurrents sont les délires et les psychoses, les troubles de la personnalité ainsi que les troubles liés à l'usage de l'alcool et d'autres substances psychoactives. Par la suite, nous avons procédé à une analyse de l'évolution de la représentation des asiles et des hôpitaux psychiatriques, des psychiatres et du « fou » au fil des albums. Finalement, nous nous sommes attardés sur l'analyse psychanalytique des « Aventures de Tintin », entreprise par Serge Tisseron, à la recherche d'un secret familial qu'il eut l'impression de déceler en parcourant l'œuvre d'Hergé. Hergé's "Adventures of Tintin" is a renowned Belgian comic book series. The twenty-four albums are rich in psychological and psychiatric elements, intricately woven into a smartly written and complex storyline. These elements have, however, seldom been studied systematically from a psychiatric point of view. In the current paper, we propose a systematic review of the series and of the medical literature concerning the psychiatric semiology and phenomenology found in the work of Hergé. The search terms used in the Pubmed database were "Tintin", "medicine", "medical", "health", "mental", and "psychiatry". Upon reading the integrality of the twenty-four albums, the most recurrent themes found were delusions and psychosis, personality disorders, and alcohol and other psychoactive substance use disorders. We then conduct a chronological analysis of the evolution of the representations of asylums and psychiatric hospitals, psychiatrists and the "mad man" throughout the albums. Finally, we present the psychoanalysis of the "Adventures of Tintin", as developed by the psychiatrist and psychoanalyst Serge Tisseron, who, upon reading Hergé's work, suspected the existence of a family secret that the author might have concealed in his albums. [ABSTRACT FROM AUTHOR]

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]

The purpose of the article is to examine the innovation of comics in the real space of spectacular forms, in particular the impact of comics and graphic stories on cinema, anime, and video games as a global component of contemporary screen spectacle culture. The research methodology is based on the use of semiotic, analytical and cultural methods in revealing the peculiarities of the innovative influence of comics on various types of media in the space of modern spectacular forms. The scientific novelty of the study consists in carrying out an analysis of the evolution of the influence of comics on the development of modern screen spectacular forms, as well as the first cultural research of the innovative features of the synergy of comics and modern forms of screen spectacular culture. Conclusions. Comics provide a wide range of visual and narrative models that can be successfully used in the culture of screen forms of entertainment. Comics are capable of creating multimedia universes that open wide perspectives for the creation of cinematic universes that expand into various media formats. Such universes can become the basis for the creation of franchises, series and video games, expanding the audience and creating new opportunities for media convergence. In addition, the innovation of comics in the culture of screen spectacle forms is manifested in their influence on visual practices, aesthetics and experiments with structure and genres. This makes it possible for sketching to be the very medium that is able to create completely new and unique strategies of narrative constructions, which allows the creators of screen spectacular forms to experiment with many aspects of the composition of the work. [ABSTRACT FROM AUTHOR]

Stand-up comedy in Kenya before COVID-19 relied on close proximity between comedians and their audiences. However, COVID-19 disrupted this arrangement and subverted the performance space of 'traditional theatre.' This article examines alternative comic spaces embraced by selected Kenyan stand-up comedians during COVID-19. The article seeks to answer two fundamental questions: (1) What was the nature of the alternative spaces where the stand-up comedians performed during COVID-19? (2) How did the alternative sites of comic performances redefine how stand-up comedians engage with their audiences? To answer these questions, we conducted research on major stand-up comedians on Facebook, Instagram, TikTok, YouTube and Twitter to obtain primary data, which we analysed and interpreted drawing on theories of humour and of social performance. We argue that the comedians, motivated by the need to maintain the relevance of their work and their audiences, used the digital ecosystem and devised variant alternative comic spaces innovatively to push the threshold of poetics of comedic performances individually and collectively. [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 article "Valor y al toro!: a cultural contrastive study of Spanish-German comics" analyzes the translation of comics and its importance in the dissemination and internationalization of this cultural genre. It focuses on the German translation of the comic Aius. El destino de Numancia and on a contrastive analysis of Spanish-German comics, using a Mortadelo y Filemón comic strip as an example. It highlights that both comics, aimed at young people, have different characteristics that influence translation. The translation of Spanish comics into German is mentioned, as well as changes in character names and plot, and the adaptation of idioms and onomatopoeias. The importance of images in comics and the relationship between Spain and Germany in the comic market are also emphasized. [Extracted from the article]

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]

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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.)

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