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The Marvel Cinematic Universe (MCU) has become the most popular film franchise in the world, setting box office records that are unlikely to ever be beaten. Due to the ongoing nature of the MCU, the superhero franchise has left an irreversible mark on society due to its transmedia storytelling abilities. Research has shown that the MCU’s depictions of race, gender, violence, and morality reveal something about the real world in terms of the social constructs that govern people’s way of life. Although the characters and events in the MCU are nothing more than speculative fiction, the influence these films have had on society couldn’t be any more real. In recent years, the MCU has seen a decline in popularity and Marvel Studios has made various efforts to reignite the excitement surrounding superhero culture. However, Marvel’s studio crisis may reveal something about the world that at first glance many might not recognize as a direct correlation between the societal issues today and the declining interest in the superhero genre. While the MCU has taken steps toward adapting to an ever changing world and political landscape, there is still much progress to be made before Marvel Studios can return to its golden days when superhero films were regarded as a worldwide phenomenon, cementing them in cinema history.

With the rise in narco activity, feminicidios, armed robberies, the disappearing of people, and State violence as daily occurrences, how can we begin to make sense of such an overwhelming amount of loss? Utilizing the graphic novel to its fullest extent, Augusto Mora’s Los fantasmas de mi ciudad (The Ghosts of My City) is a visually stunning (re)interpretation of the violence that plagues the urban cityscapes of contemporary Mexico. Forming part of a long literary tradition of fantastic stories based in Mexico’s most populated areas, Mora’s graphic novel follows the story of a teenage medium, Viridiana San Juan, and her friends as they attempt to record video evidence of the tormented souls that haunt their city, all the while navigating the violent reality that surrounds them daily. Through her desire to tell the stories of the souls that haunt her visions, Mora constructs a simultaneous and compelling critique of the historical, social, and political practice that has filled Mexico’s urban areas with ghosts and the nonchalant attitude that has made violence a normal part of everyday life. By making the unseen victims of violence become visible, the subjectivities of the city’s millions and millions of ghosts can be recognized and their narratives reclaimed.

Grafik roman, kelimeler ve görselleri bir araya getirerek bütüncül bir hikaye anlatan ve genellikle kitap formatında sunulan bir tür çizgi romandır. Bu çalışma, grafik romanların akademik literatürdeki yerini ve etkisini incelemeyi amaçlamaktadır. Çalışmada, 1990 ile 2024 yılları arasında grafik romanlar alanında yapılan akademik yayınlar analiz edilmiştir. Veri toplama sürecinde Scopus ve Web of Science (WoS) veritabanları kullanılmış ve "graphic novel" anahtar kelimesiyle yapılan aramalar sonucunda elde edilen çalışmalar bibliyometrik yöntemlerle değerlendirilmiştir. Bibliyometrik analizde atıf sayısı, makale başına düşen ortalama atıf sayısı, yazar işbirlikleri ve yayınların etki düzeyi gibi metrikler kullanılmıştır. Araştırma performansı analizi ve bilimsel alan haritalama teknikleri uygulanmış, atıf analizi, eş-atıf analizi, bibliyografik eşleşme analizi, eş-yazar analizi ve ortak kelime analizi gibi çeşitli bibliyometrik analiz yöntemleri kullanılmıştır. Bu çalışma, grafik romanlar alanındaki akademik üretkenlik ve etki üzerine nicel bir değerlendirme sunarak, bu alandaki çalışmaların uluslararası ölçekteki gelişimini ve değerlendirilmesini ortaya koymaktadır. Bulgular, gelecekteki araştırmalar için içgörüler sunmakta ve grafik romanlar alanındaki bilimsel çalışmaların iki veritabanı üzerinden karşılaştırmalı bir bibliyometrik analizini sağlayarak, bu alandaki bilimsel katkıların anlaşılmasını artırmaktadır.

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

The representation of the aesthetic and political dimensions of the city in the case of comics as a medium touches on a range of issues, from the relationship between comics and street art as well as the representation of urban space and popular culture as identity-shaping factors. Birgit Weyhe's graphic novel Madgermanes (2016) shows us a specific historical context: after the construction of the Berlin Wall in 1961, a labor force was also needed in East Berlin, as a result of which the leadership invited cheap manpower from communist-oriented countries such as Vietnam, Cuba, Angola, or Mozambique. A total of around 15,000 guest worker immigrants arrived from the latter country in East Berlin within a decade. Three of them are the protagonists of the examined graphic novel, where their stories of integration difficulties, coping practices about finding a home, and rootlessness are told. In the case of the process of acculturation narrated in the medium of comics, the visual representation focuses on the contrast between cultures and the crisis of identity. In this particular graphic novel, this cultural shock is present through the popular and urban culture of the 1970s and 1980s. In this paper, we examine how this graphic novel intersects representations of locality, everyday life, and urban space with the perceptions and experiences of interculturality and media culture. [ABSTRACT FROM AUTHOR]

Objective: To evaluate the effect of an educational comic book on indirectly supervised tooth brushing practices in early childhood education. Material and Methods: This is a quantitative action research aimed at evaluating the effect of a comic book on the necessary knowledge for indirectly supervised tooth brushing practices in early childhood education. Thirty-eight teachers from three daycare centers in the city of Porto Real, Brazil, participated in the year 2021, being carried out in three stages: 1: teachers answered a questionnaire for the identification of their sociodemographic and professional profile, in addition to prior knowledge about oral health. They also sent a photo of the toothbrush after applying the amount of toothpaste they used during the indirect supervised tooth brushing at the daycare center; 2: reception and 30 days to read the comic book; 3: answer to a new instrument on knowledge about oral health. Sending a new photo of the toothbrush with the toothpaste. Results: The amount of paste applied to toothbrushes decreased after reading the comic book from 58.1% to 27.8% of tufts, on average (p

In today’s ocular-centric era, vision and visuality play a significant role in representing ideas. This article analyses anthropomorphism as a communicative mode that helps readers comprehend a story’s underlying meaning, using a socio-semiotics metafunction as a lens. The study focuses on Samit Basu and Ashish Padlekar’s adaptation of the famous Panchatantra collection, The Tall Tales of Vishnu Sharma: Panchatantra (published in 2015), where creatures with the ability to speak are the central characters. This story emphasises a diverse group of characters from the world of Panchatantra who communicate their problems to Vishnu Sharma, their chosen guardian, through the transformation of animals into humans. Through the use of animated letters, mascots, and anthropomorphic parameters, barriers can be eliminated in a creative approach. The paper underscores the significance of studying signs and interpreting visually represented social phenomena in order to articulate culture, society, and historical context. The research is divided into two sections: the first section explores the function of images by analysing image artefacts that question the presence of anthropomorphism. In contrast, the second section introduces the four degrees of anthropomorphism and their characteristics. The hypothesis posits that anthropomorphism can effectively convey meaning, especially in stories aimed at children. This study seeks to contribute to a greater comprehension of the use of anthropomorphism as a creative mode of communication in contemporary literature.

In ihrer Graphic Novel Emmie Arbel. Die Farbe der Erinnerung erzählt die renommierte Comickünstlerin Barbara Yelin die Geschichte von Emmie Arbel, einer Überlebenden der Shoah. Entstanden im Zuge einer intensiven persönlichen Auseinandersetzung mit Arbel und ihrem Leben, gelingt es Yelin, die komplexen Zusammenhänge von Erinnern, Verdrängen und Gedenken in eine einfühlsame Geschichte zu gießen, die gerade auch durch die Lücken, die die Erzählstrategie zulässt, nachklingt.

In this digital graphic novel, a neurodivergent teenager’s underwater journey through Monterey Submarine Canyon reveals that sensory differences are powerful adaptations, exploring how her sensitivities to light, noise, and touch correspond to deep sea conditions such as darkness, quiet, and pressure. The graphic novel is hosted online as a website, which also includes a fully narrated, sound mixed, and captioned video version of the underwater journey.See media created for this project here: https://swimdown.neocities.org/

The objective of this study is to define the graphic novel adaptation as a distinct subgenre of the graphic novel and to develop a cohesive methodology for its examination. The research material comprises Franco- and Anglophone graphic novel adaptations published since the early 2000s. It is noted that this subgenre has become one of the most popular forms of mass literature, characteristic of the twenty-first century as an era of visual culture. Based on a review of theoretical studies, the fundamental characteristics of graphic novel adaptations are articulated. An analysis of works from the past decade demonstrates the evolution of the subgenre under consideration. Specifically, it is observed that (1) the original narrative line is modified through the incorporation of themes and issues relevant to twenty-first-century individuals; (2) there is an increased complexity in character development, structure, and chronotope; (3) a philosophical dimension is foregrounded. It is shown that graphic novel adaptations can be categorized into two types based on target audience: mass (“low brow”) and intellectual (“high brow”). The “low brow” type primarily aims to popularize the reading of classic texts, while the “high brow” type represents an authorial interpretation of a well-known literary work. The intellectual form (“high brow”) has become increasingly prevalent since the 2010s.

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 the following research we will examine the graphic novel Estrella distante by Roberto Bolaño, whose illustration was in the care of Fanny Marín and Javier Fernández, and which was published in 2018 by Alfaguara. We will do this analysis, mainly, in two senses: i) as a best seller, both for its level of production and distributive coverage and for its technical and aesthetic richness that illustrates the horror of the civil-military dictatorship in a format associated with a younger generation and an expansion of its distribution in terms of exploring new markets. ii) We will also examine this work as a product of a transmediality that problematizes the phenomenon of adaptation, since it can transform itself into a work by itself, autonomous. We will also reflect on the global character of this graphic novel and its critical power for readers unfamiliar with the horror of the Chilean military dictatorship. [ABSTRACT FROM AUTHOR]

In 2019, the Peruvian comic strip Selva Misteriosa was republished in the format of a graphic novel, reintroducing one of Peru’s most important comic referents to a contemporary audience. An icon of the early 70s, Selva Misteriosa is an adventure comic that follows Javico, an adventurer and family man making a living in the Peruvian Rainforest. The main focus of this article is tracing back the corporeal representation in the comic as a remnant of the anxieties the Spanish colonizers faced when confronted with the new environment of the Americas. This paper argues that, although the understanding of the body has changed dramatically, the underlying anxieties the Spanish conquistadors faced have remained with the Peruvian creole elite, and Selva Misteriosa shows a new expression of these anxieties in the, at the time, still unknown environment of the rainforest. In this regard, Javico’s idealized body and subjectivity is contrasted with the vulnerability the creole body still shows in the character of “El Finado”. As such, the ambivalent portrayal of the creole body shows the lack of resolution for the possibility of contaminating and changing the purity of the creole body and subjectivity. [ABSTRACT FROM AUTHOR]

Milton Hatoum’s devoted readership has become an economic asset for crossover audiences the last ten years, and nowhere is this more visible than with his “modern classic,” the Jabuti Prize-winning Dois Irmãos (2000), which has been adapted for television, theater, and comics. Identical twin Brazilian cartoonists Gabriel Bá and Fábio Moon’s graphic adaptation of the same name in 2015 not only won the prestigious Eisner Award, but it was also accompanied by a strong marketing campaign from Hatoum’s editorial press utilizing the brothers’ fraternal status and mass cultural appeal to expand readership bases. Drawing on Angela Landsberg’s “prosthetic memory,” Pointner and Boschenhoff’s exploration of spatial embodiment in graphic adaptations, and recent Latin American comic scholarship linking military dictatorships and the rise of memory discourses, this article demonstrates that Moon and Bá’s hauntingly beautiful rendition, far from being derivative or merely “faithful,” is able to apply medium-specific strategies to even more effectively render Hatoum’s association between individual history and national allegory, in the process introducing new generations of citizens increasingly alienated from Brazil’s darkest period. [ABSTRACT FROM AUTHOR]

The field of ecology in literature distorted the notion of humans being the centre of all living ecosystems, striving for an “environment that is neither solipsistically anthropocentric nor blatantly anti-humanitarian” (Lauer, 2018, p.13). This led to the emergence of ecocriticism, which dealt with environmental issues through literature. “To put it succinctly, eco criticism is the study of the relationship between literature and the physical environment… [As it] takes an earth-centred approach to literary studies” (Glotfelty & Fromm, 1996, p.18). Meanwhile, disregarding the societal norms constructed on sex, gender, and identity emerged queer theory, suggesting the fluidity of the human body. Despite their inherent differences, environmental criticism and queer theory have the opportunity to combine to produce a new dimension called queer ecology. This analysis aims to establish a connection between eco-criticism and queer theory, shedding light on the concept of queer ecology through the analysis of the literary text Kari. Kari, written by the first female graphic novelist, stands as a pioneering Indian lesbian graphic novel that effectively dismantles prevailing societal norms and challenges perspectives on genderqueer individuals. Further, the analysis narrows itself to an eco-conscious approach from a queer perspective, which claims to be the main argument of the article. In its graphical representation, this analysis also focuses on the meaning nature provides us through symbols defining eco-semiotics. The purpose of the study is to contribute to a greater understanding of environmental exploitation concerning the marginalisation experienced by the queer community. The eco-conscious attitude that is looked upon from a queer perspective serves to prove the mutual interdependence between eco-critical and queer sexual desires that are often negated, ignored, exploited and marginalised amidst the dominant ideological discourses.

Abstract Academic integrity is a crucial aspect of the educational process, often receiving insufficient attention until a violation occurs. Researchers emphasize the importance of students comprehending academic integrity to foster ethical professionalism. However, there is a lack of resources available to effectively support these conversations. This study aims to assess academic integrity efficacy and the multi-dimensional ethical scale (MES) through the use of a graphic novel mini-case study. The analysis reveals a significant relationship between academic integrity efficacy, MES dimensions (moral equity, relativism and contractualism), and the case studies among undergraduate participants. The combination of quantitative and qualitative findings provides valuable insights into how graphic novel mini-cases can engage in academic integrity discussions with undergraduate students. The graphic novel mini-cases, along with their limitations and potential for future research, are provided.

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

Academic integrity is a crucial aspect of the educational process, often receiving insufficient attention until a violation occurs. Researchers emphasize the importance of students comprehending academic integrity to foster ethical professionalism. However, there is a lack of resources available to effectively support these conversations. This study aims to assess academic integrity efficacy and the multi-dimensional ethical scale (MES) through the use of a graphic novel mini-case study. The analysis reveals a significant relationship between academic integrity efficacy, MES dimensions (moral equity, relativism and contractualism), and the case studies among undergraduate participants. The combination of quantitative and qualitative findings provides valuable insights into how graphic novel mini-cases can engage in academic integrity discussions with undergraduate students. The graphic novel mini-cases, along with their limitations and potential for future research, are provided. [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.)

Drawing on a larger project on teaching Swedish as a second language to migrant upper secondary school students in Sweden, this paper focuses on one teacher’s literature class and a book-group discussion about a graphic novel based on Selma Lagerlöf’s A Tale of a Manor. The aim was to contribute to further knowledge on the dialogic potential of teacher-led literary discussions on graphic novels with language learners, by focusing on the cumulative aspect of the interaction. We also analyzed the teacher’s role and how it affected the students’ responses and interpretations. Our findings show how the cumulative dialogue created new student insights relating to the novel’s protagonists, literary themes and the saga genre, which is central in Lagerlöf’s novels, and how literary concepts and visual cues were used as resources for interpretation. The discussion of the graphic novel included multifaceted and multimodal analyses, in which the teacher urged the students to formulate interpretations and responses anchored in both the written text and the images. This teacher-led dialogue holds great potential for encouraging students’ literary reading, as well as their confidence when it comes to giving responses to literature, which is of relevance to similar language and literature teaching contexts.

Роман Н. Геймана «Коралина» – это роман, в котором главенствующую роль занимает тема потока времени. История в романе описывает приключения главной героини Коралины Джонс. Сюжет разворачивается в новом доме, где она обнаруживает секретные двери, ведущие в параллельный мир.В мире, раскрытом в романе «Коралина», время обретает новый смысл и становится таинственной силой, которая играет по своим собственным правилам. Когда Коралина переступает порог одной из таинственных дверей, она входит в окрашенную синим зеркалом область нашего мира. В раскрытом в романе параллельном мире каждый объект и существо кажутся знакомыми, но у них есть уникальные характеристики и поведение, которые возникли из таинственного слоя этой парадоксальной реальности.

A number of contemporary authors/artists have chosen not to “write back” vehemently to what they find problematic in Joseph Conrad’s Heart of Darkness, but to resort to a different medium and “rewrite” or adapt the novella as a graphic novel, as if the power of images could clarify the text for 21st-century readers. Changing medium and associating text and image enables them to underline the historical context, tackle elements in the stories that would otherwise remain largely unnoticed, and therefore problematize its ambiguities, as is the case in Anyango and Mairowitz’s Heart of Darkness (2010) and Au cœur des ténèbres. Librement adapté du roman de Joseph Conrad (Miquel and Godart, 2014). Changing medium allowed them to revisit both the colonial past and the meaning of a novella like Heart of Darkness since both graphic novels perform an implicit criticism of the source text and serve to reexamine its controversial aspects in the 21st century. Interestingly, in one case it implies the spectral presence of the novelist, Joseph Conrad as if, in a postcolonial context, a text could not be separated from the figure of its author.

The paper explores the use and impact of conceptual metaphors in the graphic novel City of Glass published by Paul Auster as a free-standing story in 1985. Two years later Auster turned it into the first part of The New York Trilogy, which has since become one of the most iconic works of postmodern fiction. Artists Paul Karasik and David Mazzucchelli have adapted Auster’s novella into a graphic novel and their version figures on the list of the best comic books in the 20th century. The aim of this paper is to examine how the two artists’ use of conceptual metaphors has elicited the visual dimension of Auster’s novel, conveyed its philosophical ideas and enriched its emotional effect.

The social construction of disability is an issue that needs to be analysed and examined in order to arrive at a proper understanding of the discipline. Disability studies from the beginning of its journey has undergone many changes of perspectives, from a medically determined categorisation to a social model of disability, thereby leading to a distinction between impairment and disability. In spite of these transitions, society still fails to possess a more sensitive attitude. Among different categories of reservation among government policies, we come across a category called “PWD” which means Persons with Disabilities. Although this categorisation is supposed to provide more opportunities to differently abled people but the nomenclature itself is derogatory. The objective of this paper is to analyse a Graphic novel Mai by Sriram Jagannath to find out how the issue of disability is received by the society and the efficacy of the graphic medium to bring about a change in perspective regarding people with disabilities.

This article examines the visualization of violence experienced by the Palestinian people against Israeli occupation in the Graphic Novel by Joe Sacco. This study is literature research using David Wasterfors' social theory of "Violence as a story". The primary data sources in this study are the graphic novels Palestine (2002) and Footnotes in Gaza (2010). This study uses a historical approach with the method of reading comic studies (science) to describe visually (images) and narratively based on the experiences of documentary studies (memorials) of the Palestinian people's struggle for independence. Through the "Violence as a Story" approach, this study found Joe Sacco's skill in telling the story of violence experienced by the Palestinian people against Israeli occupation from the beginning of the war in 1948 to the events that occurred in the graphic novel by combining images (visuals) and appropriate narratives as panels in the graphic novel. Readers are made to feel as if they are entering and feeling what the Palestinians feel.

The article discusses the key translation solutions that have been applied by translators in the binary and intersemiotic translation (film adaptation) of a graphic novel about the Marvel universe. The object of the study includes occasionalisms, substandard lexis and onomatopoeia in the graphic novel “X-Men: Battle of the Atom” as one of the most popular within the analyzed universe. Within the framework of the research, such linguistic methods as the continuous selection method, the contextual analysis method, the structural and semantic analysis method, the descriptive method, the comparative analysis method, the contrastive analysis method, as well as quantitative calculation methods are used. The authors conduct a comparative translation analysis of the translation and the original of the comics “X-Men: Battle of the Atom”, during which they identify occasionalisms and distribute them into certain thematic groups. The study highlights the main types of onomatopoeia typical of the English-language graphic novels. The calculation and analysis of translation solutions used in the transfer of onomatopes used in the comics into the Russian language are carried out. Attention is paid to the main types of stylistically substandard lexis – vulgarisms and swear words, which are also considered in terms of translation from English into Russian. When analyzing the transformations of the verbal component of a graphic novel in its intersemiotic translation (film adaptation), the authors focus on the occasional lexis, since in this type of translation only occasionalisms can have correspondences. The substandard lexis in the film adaptation is omitted, and when translating onomatopoeia, the verbal component is converted into the sound component of the film text. In the intersemiotic translation, only a part of the occasionalisms is preserved, which is conditioned by the reduction in the number of characters and significant locations.

The utilization of graphic novels in the realm of clinical medicine is an infrequent occurrence. However, there is a burgeoning interest in their application across a spectrum of pathological conditions with the ultimate aim of enhancing patient care. This study is a prospective pilot designed to assess the influence of graphic novels on the stress levels and behavioral responses of patients diagnosed with pancreatic lesions and who are to undergo endoscopic ultrasound-guided fine needle biopsy (EUS-FNB). Patients exhibiting radiological and clinical pancreatic lesions needing biopsy will be evaluated consecutively. The inclusion criteria encompass the presence of a solid pancreatic mass or a partially solid mass in the event of a cystic component. The exclusion criteria include patients with cognitive impairments, those currently on benzodiazepines or other psychotropic medications, and those with a prior diagnosis of cancer. The authors have developed a comic panel comprising a sequence of six vibrant vignettes, which delineate the standard procedure of EUS-FNB to the patient. Following hospital admission, patients who meet the enrolment criteria and consent to participate in the study will be randomly assigned to either the test or the control group. A graphic novel will be distributed to all patients in the test group, who will have the opportunity to peruse it while awaiting the procedure. Subsequent to the EUS-FNB, all enrolled patients will complete the Beck Anxiety Inventory (BAI) and a modified version of the Depression Anxiety Stress Scales-21 (termed mDASS-21 or mASS-14). The BAI, a 21-item self-report inventory, is employed to gauge the severity of anxiety in adults. The other questionnaire is a modified rendition of the DASS-21, which originally comprised 21 items segregated into three subscales (anxiety, stress, and depression) with seven items each. The anxiety subscale measures physiological arousal, situational anxiety, and the subjective experience of the effects of anxiety, while the stress subscale assesses chronic non-specific arousal, difficulty relaxing, nervous tension, irritability, agitation, and impatience.

ABSTRACT Objectives: to report an educational technology construction on nursing professionals’ rights. Methods: an experience report on educational technology construction during the crediting of university extension hours in an undergraduate nursing course at a Brazilian public university, between March and June 2023. The Deming cycle was used as a procedural method. Results: four meetings were held between students and extension workers. Eight comic books were produced based on the Code of Ethics for Nurses, addressing professional autonomy, fair remuneration, risk-free work, denial of exposure in the media and others. The Deming cycle proved to be an important strategy for constructing products. Conclusions: nursing professionals’ rights must be discussed and improved. Educational technologies, such as comic books, provide playful and reflective learning.

Copyright of Revista de Filología de la Universidad de La Laguna (RFULL) is the property of Servicio de Publicaciones de la Universidad de La Laguna 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 Creneida is the property of Creneida 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 Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Norba: Revista de Arte is the property of Servicio de Publicaciones de la Universidad de Extremadura 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 Alternative Francophone is the property of Alternative Francophone 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.)

Reconstructions of the Brontë sisters as exceptional women, worthy of empathy and admiration by twenty-first-century readers, increasingly rely on the entanglements of the sisters' literary ambitions and limiting contemporary gender roles. By relying on visual and topical appeals in the form of graphic novels and detective stories, neo-Victorian adaptations of the Brontës further broaden the dimension of biofiction (and vice versa). As instances of popular literature, Isabel Greenberg's graphic novel Glass Town (2020) and Bella Ellis's (aka Rowan Coleman's) Brontë Sisters Mystery Series (2019-) present creative approaches to and engagements with the Brontës, indicating that for a contemporary readership, interest in the authors as protofeminist characters proves to be just as important as interest in their literary oeuvre. [ABSTRACT FROM AUTHOR]

In the graphic novel Heimat. Ein deutsches Familienalbum (2018), the German author Nora Krug documents the analysis of her family’s history. As a member of the third generation after the Holocaust, Krug wants to find out if and in which way her grandparents were involved in the Holocaust. In addition, her research shows whether her own family’s history corresponds to Germany’s cultural history. Krug seeks to improve her understanding of her family’s relations and her ‘Heimat’. The archive is the starting point of her investigations and defines the design of the story. Heimat connects information from the archives with testimonies and memorabilia. In this fashion, Krug creates a creative treatment of the family history. Not only the archive, but also photography is significant in the design of the graphic novel. Hirsch’ theory on postmemory explains the self-representation of the family in photographs. Krugs plurimedial design of the story creates a multilayered narrative that processes the complex themes of Heimat in a sensible way.

Numerous scholars have debated the transmediality of Gomorrah - The Series, offering varying opinions. The thesis we aim to support is that this is a case of incomplete transmediality, primarily due to gaps in Sky Italia's promotional strategies, especially concerning social media. Even a spin-off like L'Immortale (2019) can be considered a makeshift and limited attempt. Simultaneously, it is possible to identify a «Saviano style» to describe the approach of the Campanian author to all his productions, creating a strong bond that connects them all, including his graphic novel Sono ancora vivo. However, in confirmation of the lack of transmediality of Gomorrah - The Series, are the social media activities of its two main protagonists, Salvatore Esposito (Genny Savastano) and Marco D'Amore (Ciro Di Marzio), which focus more on the actor's persona than on their acting performances in the series. Weak transmediality is also confirmed by the activities of the fans that revolve around this product, but are hindered by the production, which, in two Facebook groups, has gone as far as banning clips from Gomorrah - The Series not belonging to official channels.

ABSTRACT Objectives: to construct and validate an educational technology in comic book format about the human papillomavirus vaccine aimed at adolescents. Methods: a methodological study, with a quantitative approach, through the agreement method. It was carried out in two phases: educational technology construction and content validity. Participants are expert judges in the health field. Data collection took place in a virtual environment, through a questionnaire. Data analysis was performed by calculating the Content Validity Index. A Content Validity Index of at least 80% was accepted. Results: the comic book’s overall Content Validity Index was 82%, reaching the minimum limit established to be validated. Conclusions: comics are fundamental in the teaching-learning process, aiming to catch adolescents’ attention. Therefore, it is characterized as a valid tool to inform, in a playful manner, about the human papillomavirus vaccine.

Nell’attuale panorama letterario, molti autori si muovono con disinvoltura tra media e generi di largo consumo per diffondere ricostruzioni critiche dell’Italia contemporanea presso il pubblico ampio, com’è richiesto dall’impegno civile. Lo scrittore può ancora trovare uno spazio per fornire – anche a costo della propria esposizione mediatica, di molti compromessi e accuse – una interpretazione critica di ciò che apprendiamo da altre fonti di informazione? Questa la domanda alla quale il contributo intende rispondere attraverso l’analisi di due testi di Roberto Saviano: Gomorra (2006) e il graphic novel, firmato con Asaf Hanuka, Sono ancora vivo (2021).

In this paper we have analysed a graphic novel “Maus. A survivor tale” by Art Spiegelman as well as some variants of its translations in the framework of theory of multimodal discourse analysis (ADM) (O`Halloran). The article focuses on analysing the corpus of investigation on its language and nonlanguage level. The aim of the research is to explain in terms of the multimodal discourse analysis theory of main principles of graphic novel translation while observing the way of source language graphic novel transmutation and reconstructing its architecture in the target novel. The methods having been applied in the present paper are those of linguistic observation and description, empiric comparison of translation variants and translation results analysis using ADM tools. Applying methods of ADM in the process of analysing graphic novel results from the necessity to respond to the main challenges of ADM theory for the studies in theory and practice of translation, as well as semiotics and general linguistics. The objectives of the article are to outline the iconic-textual structure of the graphic novel under the analysis, to characterise the visual level of the investigated graphic novel, to generalise arising problems to the translator. The concept of multimodality derived from semiotics is being studied in the article explaining the reason for applying the multimodal approach in the study of the graphic novel. Modalities represented in the graphic novel on non-language level are systematised through different types of multimodal phenomena and their relevance for target text meanings transcreation is described. Both visual and language modalities, which are important for the construction of the meaning, are focused attention to and the multimodal phenomena are piled and systematised in the article. The relationship between the visual and written modalities are discussed and the role and importance for the translation process are explained. Until now there are different investigations of the Maus, but there is no investigation from the multimodal perspective. The investigators focuse on the discursive and pragmatic part, as well as on the expressive value of the work, compare the characteristics of the translation; draw attention to the problems of the literary style of the work Maus; study the role of images in the creation of the work. However, there is still no study of graphic novels from the perspective of multimodal discourse analysis. By means of a series of operations of translation techniques the original text is reconstructed in the translation variant. It involves compressing or widening of the original text, removing inconsistencies between different modalities, reinterpreting “language shell” so that a semiotic content could be preserved and the author’s message transmitted without corruption, for that redrawing some characters or chapters, removing, or replacing some visual symbols with different ones. Illustrative material shows a certain logic scheme to follow the process of translation taking into consideration different multimodal phenomena, as well as the absence of some of its constituents. On the one hand, extralinguistic objects engraved in pictures of the graphic novel may present the reason for the translation technique of addition, and on the other hand the absence of some details in the pictures may justify the translation technique of omission. Evaluating functional types of multimodal phenomena also may lead one to adequate selection of synonyms or a phrase to choose in a process of translation having as a “guide” visual image supporting language level of a graphic novel. The term “graphic novel” is specified as well as the difference between terms “comic” and “graphic novel” is outlined. Graphic novel format is proved to assimilate to the literary novel with the content of memoirs, autobiography, history, documentary reports etc. Maus is the first graphic novel dealing with Holocaust theme aimed at the adult audience. According to the definition of the graphic novel, Maus is seen to share discursive mechanisms with visual narrative instruments, embedded in multimodal phenomena. The types of multimodal phenomena are selected in the present investigation and grouped with illustrative examples taken from the corpus. In the framework of ADM theory, the selection of translation techniques and operations are justified, and the reasons for certain translation variants are explained. As it is shown in the paper, graphic novel translation differs from literal one. The most important characteristics of graphic novel translation distinguishing this genre of literature have been outlined: 1) the graphic novel translation unit obligatory consists of both verbal and visual parts; 2) the intonation of the characters of the graphic novel is a part of a style and is taken into consideration in the course of translation; 3) visual part of the graphic novel is presented by multimodal phenomena that influence the strategies of translation. General recommendations for the translation of the historic graphic novel have been given, mainly: 1) for the purpose of collecting information from the visual part. It is recommended to read and discover the entire content of the novel before starting the translation, paying attention to the multimodal phenomena and their types mentioned in this article. Attention is paid to past events, other extralinguistic meaningful objects. An individual language style is translated with the same style and is maintained throughout the text; 2) on the language level, it is recommended to choose at least the sentence as the minimum translation unit of the graphic novel using substitution techniques within the unit as long as the final sentence reflects the same message. However, the largest translation unit can be chosen. Appropriate options are a speech bubble (speech bubbles) or the entire page. Bubbles (speech balloons) often contain colloquial speech, which differs much more between languages than literal text of a book. The ease of colloquial speech is nearly impossible to achieve without the freedom to change the order, composition, and number of sentences. Often, it is not the character-specific phrases that need to be translated, but rather the emotion of outrage or joy, recreating it using the character’s language (such as the speech of the immigrant, the main character, Vladek, or his wife); 3) the use of bold. It is understood that it is not necessary to use bold type in the same units that appear in the original. The most important thing is to convey the same meaning and intonation in the translation avoiding the “word for word” translation; 4) the language style of the author and the characters. The author and the characters of the graphic novel have their own language style, which is part of the meaning. Characters may have their own characteristic expressions and circumstances that explain the choice of phrase translations. After reading the text and visualising the novel, it becomes clearer what type of the target text of the protagonist should be created to remain truthful and sound natural; 5) “Litmus paper”. It is recommended to read the translation after a couple of days without looking at the original text thinking about whether or not the author would choose the same words, style, intonation; 6) Culture references create a certain atmosphere and are translated (6.1) literally as in the example of gefiltefish translation or (6.2) simplification is used the culture in case of translation of the same unit into Russian рыбафиш; 7) translation of anthroponyms and proper names. It is not recommended to translate the proper names of the historical graphic novel taking into account the documentary part of the novel. The same variants of anthroponyms are maintained throughout the text; 8) accuracy is the second priority after avoiding meaning corruption. One should try to preserve accuracy if it is possible, respecting the condition of preserving the meaning without corrupting it. To achieve the effect of equal perception of the novel by the reader both in the original language and in the translation language, two things are needed: understanding what is said in the original text and reconstructing it in the target text. The ADM theory, in this respect, is the tool to achieve the most adequacy and the most accuracy at the same time.

L’article se consacre à l’analyse du roman graphique Notes pour une histoire de guerre (2004) de Gipi, l’un des plus importants auteurs italiens de nos jours. Deux objectifs ont été poursuivis : 1) mettre en évidence les spécificités médiatiques de la littérature graphique consacrée à la mémoire des espaces biographiques ; 2) étudier l’interaction entre les aspects générationnels et historiques qui caractérisent l’invention hétérochronique au centre du livre. En particulier, le thème fantastique, métaphorique et géopolitique de la guerre permet à Gipi d’aborder, à partir de son territoire d’origine, près de Pise, quelques nœuds décisifs de la réalité socio-culturelle de l’Italie d’aujourd’hui.

Richard McGuire’s Here, an “artist book disguised as a graphic novel”, follows a single viewpoint over a multimillenial timespan. Pursuing potential storylines on several apparently incompatible levels (gestural, historical, evolutionary, cosmic), this ostensibly simple concept provides a broad template for exploring non-linear narrative capacities of printed media: it could be examined as a non-anthropocentric visualization of a chronotope (Bakhtin), an SF staging of espacement (Derrida), an exemplary ergodic text (Aarseth), an exercise in tactile multimodality or collage fiction (Gibbons). The common ground of these perspectives is the material framework of a codex: the corner of a room depicted in the majority of Here’s pages structurally limits the potentially endless diversity of content, while also metonymically playing upon its own isomorphic relation to the book as a three-dimensional object. This disrupts the temporality of reading and storytelling in a variety of ways, and the article focuses on Here’s ambivalent position regarding the factors of sequence and simultaneity, narrative and spatiality.

One of the prominent theories of cultural studies is cultural materialism, which has its base on the theory of Marxism. Much of the research work done regarding cultural materialism is on Renaissance literature; the development of the theory itself is through the studies conducted on the plays of William Shakespeare, who is one of the epitomes of Renaissance literature. This paper aims to be a unique cultural materialist reading done on a graphic novel based on Kashmir, Indian subcontinent. Kashmir is one of the most desired lands on Earth; it has also been a land of contest right from 1947. This article attempts to explore Malik Sajad’s reflection of the Kashmiri society by analyzing and discussing graphic panels from Munnu: A Boy from Kashmir (originally published in 2015) in the light of cultural materialism. Since cultural materialism admits that a text mirrors the socio-cultural and political life of a society; it has been used for interpreting this Kashmir-based graphic novel which is a blend of image and words. This graphic memoir offers a unique narration of the political and societal lives of Kashmiris through the creative deployment of an anthropomorphic metaphor. This study shows how Sajad graphically reflects the dominant ideology and dissident discourses in these panels.

This article examines Kate Chopin’s second novel, The Awakening, in conjunction with a graphic novel of this work developed by Rebecca Migdal in The Graphic Canon, Vol. 3 and aims to study the use of silences in Chopin’s novel and the graphic version. This analysis examines non-linguistic communication presented in Chopin’s novel in the figure of her literary alter ego, Edna Pontellier. The methodological framework of this investigation draws on intermedial semiotics with the aim of discussing the use of the literary resource of silence as a visual communicating device in Chopin’s cornerstone of feminist literature The Awakening.