Pub Date : 2020-08-14DOI: 10.36019/9780813591452-020
{"title":"Acknowledgments","authors":"","doi":"10.36019/9780813591452-020","DOIUrl":"https://doi.org/10.36019/9780813591452-020","url":null,"abstract":"","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"423 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78172941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-14DOI: 10.36019/9780813591452-023
{"title":"Index","authors":"","doi":"10.36019/9780813591452-023","DOIUrl":"https://doi.org/10.36019/9780813591452-023","url":null,"abstract":"","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"67 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91117276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the history of educational and public information comics and the emergence of scholarship that investigates the educational potential of the medium. There is a particular focus on American comics, but also reference to comics from other countries, notably the United Kingdom. Early comics scholarship, such as that published in the 1944 special issue of The Journal of Educational Sociology, is put in dialogue with later scholarship on comics. The article considers how the pedagogical power of comics is expressed not only at the level of content but also through formal and stylistic elements.
{"title":"Educational and public information comics, 1940s–present","authors":"Christopher Murray, Golnar Nabizadeh","doi":"10.1386/stic_00013_1","DOIUrl":"https://doi.org/10.1386/stic_00013_1","url":null,"abstract":"This article examines the history of educational and public information comics and the emergence of scholarship that investigates the educational potential of the medium. There is a particular focus on American comics, but also reference to comics from other countries, notably the United Kingdom. Early comics scholarship, such as that published in the 1944 special issue of The Journal of Educational Sociology, is put in dialogue with later scholarship on comics. The article considers how the pedagogical power of comics is expressed not only at the level of content but also through formal and stylistic elements.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"11 1","pages":"7-35"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48228569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses how the comics form is peculiarly suited to deliver affecting, inclusive sex education. Through analysing the comics anthologies Not Your Mother’s Meatloaf, compiled by Saiya Miller and Liza Bley, and Graphic Reproduction, edited by Jenell Johnson as part of the Graphic Medicine series, this article addresses several specific ways in which these anthologies – and the autobiographical comics they include – demonstrate unconventional and effecting methods of conducting sex education. Comparing these collections to sex education film shows how comics are particularly suited to this goal. These comics anthologies demonstrate the importance of inclusive community-building as a central project of sex education, as well as the need to challenge the teacher–student methodology. Specific comics within these anthologies by Eli Brown and Paula Knight demonstrate how comics allow for radical expressions of how bodies relate to sex and sexuality. Other comics, including those by Alison Bechdel and Alex Barrett, reveal how the pauses and ambiguities fostered by comics heighten their emotional impact and educational value. The overarching power of these narrative comics comes from the self-awareness of the form itself, especially the vulnerability of drawing oneself in relation to sexual experiences. This article concludes that these distinct characteristics of comics allow both a healthy way for creators to look back on their own experiences with sex and, in turn, encourage readers to effectively learn from these depicted experiences.
{"title":"‘Maybe I’ll make something with it’: Comics as alternative sex education","authors":"Sam Boer","doi":"10.1386/STIC_00016_1","DOIUrl":"https://doi.org/10.1386/STIC_00016_1","url":null,"abstract":"This article discusses how the comics form is peculiarly suited to deliver affecting, inclusive sex education. Through analysing the comics anthologies Not Your Mother’s Meatloaf, compiled by Saiya Miller and Liza Bley, and Graphic Reproduction, edited by Jenell Johnson as part of the Graphic Medicine series, this article addresses several specific ways in which these anthologies – and the autobiographical comics they include – demonstrate unconventional and effecting methods of conducting sex education. Comparing these collections to sex education film shows how comics are particularly suited to this goal. These comics anthologies demonstrate the importance of inclusive community-building as a central project of sex education, as well as the need to challenge the teacher–student methodology. Specific comics within these anthologies by Eli Brown and Paula Knight demonstrate how comics allow for radical expressions of how bodies relate to sex and sexuality. Other comics, including those by Alison Bechdel and Alex Barrett, reveal how the pauses and ambiguities fostered by comics heighten their emotional impact and educational value. The overarching power of these narrative comics comes from the self-awareness of the form itself, especially the vulnerability of drawing oneself in relation to sexual experiences. This article concludes that these distinct characteristics of comics allow both a healthy way for creators to look back on their own experiences with sex and, in turn, encourage readers to effectively learn from these depicted experiences.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"11 1","pages":"87-107"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49652514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.
漫画形式的关于历史暴力和创伤的自传作为有价值的教学工具得到了广泛认可，尤其是在阿特·斯皮格尔曼开创性的《毛斯》（1980–91）之后。这些漫画通常借鉴基于文本的自传的惯例，提供历史事件的第一人称非虚构叙事，有助于它们被视为值得纳入课堂的“严肃”文本的合法性。然而，这种对自传体漫画作为真实历史窗口的狭隘关注，导致教育工作者在很大程度上忽视了历史小说漫画所提供的独特教学可能性，它可以利用他们的虚构性和漫画媒介，教会年轻读者以不同于传统历史教科书和单叙事自传体漫画的更深入的方式批判性地参与历史。本文通过分析内森·黑尔（Nathan Hale）的中学历史小说漫画《一个死间谍》（One Dead Spy）如何制定一种批判性的教育方法，教孩子们挑战霸权的历史话语和思维方式，来弥补这一差距。漫画以革命间谍内森·黑尔（与漫画创作者没有关系）为中心，他试图通过向刽子手讲述美国革命来推迟绞刑。Nathan所谓的真实叙述阻碍了儿童对历史的批判性参与，因为它延续了占主导地位的历史话语，为读者提供了一种粉饰过的、以男性为中心的革命叙事。相比之下，背景使内森对历史的片面描述变得复杂，他以前奴隶克里斯普斯·阿塔克斯讲述的一部迷你漫画为特色，并将漫画的非小说参考书目归因于虚构的《研究婴儿》。这种学术引用实践与荒谬的元小说的融合，以及边缘化的反叙事者的引入，教会了中级读者质疑历史作家的权威，并破坏了所有作为人为建构的历史叙事的稳定。然而，副文本也强化了种族主义和性别歧视的范式，将黑人和女性的声音转移到漫画的补充尾页中，支持漫画善意地试图教育读者了解被排除在以白人为中心的叙事之外的重要声音。因此，尽管《一个死间谍》展示了历史小说漫画如何引发人们对主流历史话语固有偏见和抹杀的迫切讨论，但它也揭示了将儿童学习历史中边缘化观点的机会置于文字边缘的危险。
{"title":"Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy","authors":"B. Anderson","doi":"10.1386/stic_00018_1","DOIUrl":"https://doi.org/10.1386/stic_00018_1","url":null,"abstract":"Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"11 1","pages":"127-146"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46000831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Life Beats of Dr Diana G., as Told to Nelly Rosario","authors":"Nelly Rosario","doi":"10.1386/stic_00023_7","DOIUrl":"https://doi.org/10.1386/stic_00023_7","url":null,"abstract":"","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"11 1","pages":"215-222"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43664590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recent trends in history education have emphasized the study of primary sources as an important conduit for fostering critical and historical thinking skills and for allowing students to assume the role of historians. In the following article, I examine the ways that Nora Krug’s Belonging, Ari Folman and David Polonsky’s Anne Frank’s Diary and Will Eisner’s The Plot, all meaningfully engage with primary sources as a central feature of the graphic novel. Each of the texts addresses a different aspect of historical anti-Semitism but through the use of visual and textual devices that are woven into the primary sources, connections to contemporary society abound. Furthermore, what also emerges with these three texts is an active engagement with the reader wherein the primary sources are used to demand that the reader thinks about historical and contemporary anti-Semitism. Therefore, these three texts do not simply include primary sources but, like effective history educators, they model and foster critical and historical thinking through the visual and textual prompts. Their inclusion turns the reader into an active historian who participates in the process of discovery and arrives at their own understanding of the perniciousness of anti-Semitism throughout history and its continued presence in their own communities.
{"title":"Studying anti-Semitism using primary sources in graphic novels","authors":"M. Reingold","doi":"10.1386/stic_00017_1","DOIUrl":"https://doi.org/10.1386/stic_00017_1","url":null,"abstract":"Recent trends in history education have emphasized the study of primary sources as an important conduit for fostering critical and historical thinking skills and for allowing students to assume the role of historians. In the following article, I examine the ways that Nora Krug’s Belonging, Ari Folman and David Polonsky’s Anne Frank’s Diary and Will Eisner’s The Plot, all meaningfully engage with primary sources as a central feature of the graphic novel. Each of the texts addresses a different aspect of historical anti-Semitism but through the use of visual and textual devices that are woven into the primary sources, connections to contemporary society abound. Furthermore, what also emerges with these three texts is an active engagement with the reader wherein the primary sources are used to demand that the reader thinks about historical and contemporary anti-Semitism. Therefore, these three texts do not simply include primary sources but, like effective history educators, they model and foster critical and historical thinking through the visual and textual prompts. Their inclusion turns the reader into an active historian who participates in the process of discovery and arrives at their own understanding of the perniciousness of anti-Semitism throughout history and its continued presence in their own communities.","PeriodicalId":41167,"journal":{"name":"Studies in Comics","volume":"11 1","pages":"109-126"},"PeriodicalIF":0.3,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41416612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：