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Angela Becerra Vidergar

Reason for Higher Education :: Comic Books 101 | The Contemplation - 0 views

  • Anthony Enns, cultural theorist
  • “There are many different ways to teach (this course),” says Prof. Enns. “One obvious (way) would be to take a strict literary approach—read more highbrow comic books and make an argument for comic books as literature… If you were going to teach the course that way, I think you would probably not bother to teach superheroes. I think that would be a mistake. “So much of graphic material is made up of the superhero genre. It would be wrong to just ignore it.”
  • “Is Wonder Woman a strong feminist figure, or is she a kind of a sex kitten? … (William Moulton) Marston, the creator, was really into S and M, he loved being tied up … there’s some aspect of sexual titillation to the Wonder Woman character.”
  • ...4 more annotations...
  • He is bemused by the Robin-less state of most modern Batman literature; the Boy Wonder was conspicuously absent from blockbusters Batman Begins and The Dark Knight. “(Frank) Miller’s Dark Knight Returns turns Robin into a woman… (Miller) really tries to avoid the whole Batman/Robin relationship.”
  • a possible unit on Donald Duck. The problem isn’t Donald’s lack of pants; rather, it’s the imperialist ideology he presents. “Babar is often read as a parable about colonialism,” Prof. Enns explains. “Babar is educated in Europe and that’s the reason why he’s the king of the elephants.” Art Spiegelman’s Pulitzer-winner Maus, a Holocaust fable told, like Orwell’s Animal Farm, through the use of animals-as-people. “I’m going to look at it through this question of racial representation. The choice to represent Jews as mice and Nazis as cats… It’s offensive, but in an intentional way… it’s impossible to accuse Maus of being Nazi propaganda. That’s silly… but (Art Spiegelman) is definitely playing on the history of Nazi propaganda.”
  • It’s really going to be more like sociology or anthropology. Cultural studies ask the question of ‘what do comic books reveal about the culture that produced them?
  • “Pop culture says more about us than our highbrow culture,” he continues. “If you go back to the 18th century, the tools that dentists use say more about class differences than any of the great works of literature the culture produced.”
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    Prof discusses a new course on Comics and Graphic Novels. Focus is on history and cultural background.
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    Interesting comment about whether or not superhero comics qualify as literature.
Angela Becerra Vidergar

Comics as Literature? Reading Graphic Narrative - 0 views

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    Comics as Literature? Reading Graphic Narrative Author: Hillary Chute Source: PMLA, Volume 123, Number 2, March 2008, pp. 452-465 (14)
Mark Vega

CFP: "Teaching Graphic Narrative in the Literature Classroom" (M/MLA 4-7 November 2010,... - 1 views

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    Increasingly comic books and graphic narratives/novels find their way onto literature syllabi. Recent anthologies such as _Teaching Visual Literacy: Using Comic Books, Graphic Novels, Anime, Cartoons, and More to Develop Comprehension and Thinking Skills_, edited by Nancy Frey and Douglas Fisher, and _Building Literacy Connections with Graphic Novels: Page by Page, Panel by Panel,_ edited by James Bucky Carter, emphasize the use for such texts in secondary schools. But what are the benefits of teaching comic books and graphic narratives/novels in college? And how do we best go about doing it? This panel seeks papers that discuss the benefits of teaching these new genres in the Literature classroom. Papers may address pedagogical issues and concerns as well as sample lesson plans and/or anecdotes from experience.
Angela Becerra Vidergar

drawn and quarterly - 0 views

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    With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen
Angela Becerra Vidergar

WONDER WOMAN MUSEUM - 0 views

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    WELCOME TO A SENSATIONAL WEBSITE DEDICATED TO ARCHIVING THE ART, LITERATURE, AND MEMORABILIA OF WONDER WOMAN
Angela Becerra Vidergar

drawn and quarterly - 0 views

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    With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen
Angela Becerra Vidergar

GNARP! Graphic Narrative Academic Reference Project - 0 views

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    Home of the work-group building GNARP, based currently in an online Collaboratory of the Department of Comparative Literature at Stanford University. Features posts for discussion on various topics relating to graphic narratives such as graphic novels, manga and comics, as well as tools for interaction between members of the collaboratory. Contact the founder of this Diigo group for more information or to join the effort to pool the exciting scholarship being done on graphic narratives and its explosion in current pop culture.
Angela Becerra Vidergar

Finding Scholarly Literature on Graphic Novels - 0 views

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    From Columbia University
Angela Becerra Vidergar

Graphic Narrative Course at UMich - 0 views

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    Syllabus for a course at the University of Michigan taught by Eric Rabkin, listing some useful resources.
Angela Becerra Vidergar

The Gatehouse | Steampunk | "The origins of steampunk, Part I" - 0 views

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    By N. Ottens (11 June 2008)
Angela Becerra Vidergar

The Graphic Narrative Project Official Site - 1 views

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    Home of The Graphic Narrative Project at Stanford University, to which the Diigo group is affiliated. 
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