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El cambio climático no es un tema baladí, y su trascendencia y actual preocupación hacen que sea un tema serio y delicado. Aun así, es un tema que también tiene cabida en el cómic, pues se puede utilizar este para divulgar y concienciar sobre la importancia de dicho problema. Así, analizamos la presencia de esta temática en el cómic en castellano para finalmente centrarnos en dos ejemplos de Mortadelo y Filemón y Superlópez, respectivamente. En ellos, aunque la presencia del cambio climático es palpable, se echa en falta una mayor implicación que permita una concienciación del lector sobre el problema., Climate change is not a trivial issue, and its importance and current concern make it a serious and a sensitive issue. Even so, it is a topic that also has a place in comics, since it can be used to disseminate and raise awareness about the importance of this problem. Thus, we analyze the presence of this topic in Spanish comics to finally focus on two examples of Mortadelo and Filemón and Superlópez, respectively. In these items, although the presence of climate change is palpable, there is a need for greater involvement that allows the reader to become aware of the problem.

The quality of education can be improved by developing learning methods, curriculum development, and learning media development. One of them is learning media in the form of comics. This research aims to develop physics comics and analyze the validity of learning media of physics comics on the historical material of atomic development. The research was conducted using the R&D research model (Research and Development) with the 4-D model (Define-Design-Develop-Disseminate). Based on the stages, obtained learning media products that were declared eligible after validation by two high school physics teachers and an expert lecturer gained the average validity in the media component of 90.0%, the display of 89.2%, the material by 90.7%, and the language by 95.4%. In general, the student's responses to the use of physical comic learning media include comic physics can increase motivation in learning (88.6%), students prefer that physics learning uses comic media (88.9%), through comic media, students are introduced to atomic inventors (88.9%), and physics comics can help to understand the historical material of atomic development (83.3%). Based on the study results, learning media of physics comics on the historical material of atomic development deserves to be used in physics. The implication of this study can help other researchers as a reference related to the development of comic physics learning media.

The purpose of the article is to identify the originality of the author’s strategy of the Russian-speaking Kazakh poet B. Kanapyanov as an integral element of the conceptual picture of the world. The scientific novelty of the work is determined by a systematic approach to the studied material, as well as by the fact that for the first time the author of the article considers the novels of a prose writer in the stated perspective. “Tales of the Old Combiner” are written in a comic vein, and the genre definition is already given by the title itself. The plots of small chapters demonstrate the ethical “difference” between ideological slogans and everyday reality in which rural workers are immersed. The figure of the narrator here is quite remarkable: this is a young man, on the one hand, who is a product of the Soviet era, and on the other, who has just graduated from an agricultural technical school in the city and has arrived at a state farm, who does not have much life experience, whose consciousness is not yet clouded by ideology, and therefore looking at the world ironically and objectively. The Kazakh author seeks to convey the peculiarities of the laughter outlook of the 1970s–1980s through the use of speech clichés of the Soviet era. He clearly demonstrates Soviet ideologemes, bordering in meaning, with “carnival misalliance”. The results of the study showed that the author’s preface, a kind of communication between the author and the reader through the author’s mask and fairy tale narration, etc., become elements of the author’s strategy of B. Kanapyanov, placed in a comic narrative discourse. The latter unfolds in the description of the ironic impressions of the protagonist, his dreams, the description of the harvesting of bread, the actions of the labor mentor. Prospects for further research can be associated with identifying the features of the author’s strategy of B. Kanapyanov in the story Spray of Champagne, understanding the functional role of comic elements in its construction.

Resumen: Frente a la distorsionada imagen que de la diversidad funcional desde la literatura infantil y juvenil se ha transmitido, la autora investiga sobre su representación en el cómic contemporáneo como espacio clave para el diálogo con el lector. A través de una tríada de cómics protagonizados por personajes femeninos infantiles y juveniles con diversidad funcional, la investigadora incide en la erradicación de restrictivas concepciones de la diferencia como problema que debe ser neutralizado y profundiza en las posibilidades de la historieta para la educación literaria e inclusiva y la renovación del canon de aula. Abstract: Faced with the distorted image of functional diversity that has been transmitted from children's and young people's literature, the author investigates its representation in contemporary comics as a key space for dialogue with the reader. Through a triad of comics starring female child and youth characters with functional diversity, the researcher emphasizes the eradication of restrictive conceptions of difference as a problem that must be neutralized and delves into the possibilities of the comic for literary and inclusive education and the renewal of the classroom canon.

For several years, Information and Communication Technologies (ICT) have made inroads in education in a systematic way. However, not all educational institutions make pedagogical and didactic use of them. Such was the case at a district educational institution (the Juana Escobar School) in the city of Bogotá, in which, despite having sufficient technological resources, these were not integrated into the teaching-learning processes. This article describes an investigation carried out in said institution in which it was proposed to make use of technology. In particular, an ICT- mediated teaching strategy was designed, aimed at developing students' narrative competence through digital comics. The methodology had two phases: initial diagnosis, in which mixed resources were used, such as statistics and ethnography; and development, in which the proposed strategy was implemented using the educational hermeneutical approach. As a result, it was possible to show that quality education mediated by ICTs generates motivation and pleasure in students to learn and create. In this case, that was evidenced by his enthusiasm to learn about the essential elements of a narrative, and thus be able to design and create a digital comic. In addition, this exercise was useful to develop the skills in the language area and strengthen the technological and collaborative skills that today's society demands. Desde hace varios años, las Tecnologías de la Información y las Comunicaciones (tic) han incursionado en la educación de manera sistemática. Sin embargo, no en todas las instituciones educativas se realiza un aprovechamiento pedagógico y didáctico de ellas. Tal era el caso de una institución educativa distrital (Colegio Juana Escobar) de Bogotá, en la que, a pesar de contar con recursos tecnológicos suficientes, estos no eran integrados a los procesos de enseñanza-aprendizaje. Este artículo describe una investigación realizada en esa institución que se propuso hacer uso de la tecnología. Particularmente, se diseñó una estrategia didáctica mediada por las tic, orientada a desarrollar la competencia narrativa de los estudiantes por medio del cómic digital. La metodología tuvo dos momentos: diagnóstico inicial, en el que se emplearon recursos mixtos, como la estadística y la etnografía; y desarrollo, en el que se implementó la estrategia propuesta desde el enfoque hermenéutico educativo. Como resultado, se logró evidenciar que la educación de calidad mediada por las tic genera motivación y gusto en los estudiantes por aprender y crear. En este caso, eso se evidenció mediante su entusiasmo por conocer sobre los elementos esenciales de una narración, para diseñar y elaborar un cómic digital. Además, este ejercicio sirvió para desarrollar las compe- tencias propias del área del lenguaje, y fortalecer las habilidades tecnológicas y colaborativas que la sociedad actual exige. Alguns anos atrás, as Tecnologias da Informação e as Comunicações (TIC) tem incursionado na educação de maneira sistemática. Entretanto, nem em todas as instituições educativas se realiza um aproveitamento pedagógico e didático delas. Como era o caso de uma instituição educativa distrital (Colégio Juana Escobar) de Bogotá, na que, apesar de contar com recursos tecnológicos suficientes, eles não eram integrados aos processos de ensino-aprendizagem. Este artigo descreve uma pesquisa realizada nessa instituição que propôs realizar o uso da tecnologia. Particularmente, foi desenhada uma estratégia didática mediada pelas TIC, orientada para desenvolver a competên- cia narrativa dos estudantes por meio das revistas em quadrinhos digital. A metodologia teve dois momentos: diagnóstico inicial, que foram empregados recursos mistos, como a estadística e a etno- grafia; e desenvolvimento, na qual foi implementado a estratégia proposta desde o enfoque herme- nêutico educativo. Como resultado, conseguiram evidenciar que a educação de qualidade mediada pelas TIC, gera motivação e prazer nos estudantes para aprender e criar. Neste caso, isso foi eviden- ciado mediante seu entusiasmo por conhecer sobre os elementos essenciais de uma narração. Para desenhar e elaborar uma revista de quadrinhos digital. Além disso, este exercício foi muito útil para desenvolver as competências próprias da área da linguagem, e fortalecer as habilidades tecnológi- cas e colaborativas que a sociedade atual exige.

Juan Buscamares, historieta con dibujos y guion de Félix Vega (Santiago de Chile, 1971), se desarrolla en un mundo asolado por la catástrofe climática, bandos militares y el fanatismo religioso. En esa dimensión, la colonización europea de la América indígena es el fantasma que persigue a personajes sumidos en un constante nomadismo. Héroe errante, Juan deambula por ese mundo, cuya imaginería retoma las creencias prehispánicas y la tradición judeocristiana. Con tales elementos y desde su lenguaje híbrido, este cómic invita a reflexionar sobre la potencia crítica del apocalipsismo, sobre el rol del mito y sobre las complejas identidades de un continente fragmentario cuya regeneración sería accesible solamente tras la abolición del mundo como lo comprendemos. La progresión del personaje da cuenta de una proyección postapocalíptica que paradójicamente propone el retorno al origen como posibilidad de salvación, de esta forma interroga la linealidad del tiempo histórico, proponiendo un diálogo con el pensamiento mítico y tendiendo un puente entre ficción de apocalipsis e imaginario postapocalíptico. Juan Buscamares, a comic with drawings and script by Félix Vega (Santiago de Chile, 1971), is set in a world ravaged by climatic catastrophe, military factions and religious fanaticism. In this dimension, the European colonization of indigenous America is the ghost that haunts characters immersed in a constant nomadism. An itinerant hero, Juan wanders through this world, whose imagery takes up pre-Hispanic beliefs and Judeo-Christian tradition. With such elements and from its hybrid language, this comic invites us to reflect on the critical power of apocalypticism, on the role of myth and on the complex identities of a fragmented continent whose regeneration would be accessible only after the abolition of the world as we understand it. The progression of the character shows a post-apocalyptic projection that paradoxically proposes the return to the origin as a possibility of salvation, thus questioning the linearity of historical time, proposing a dialogue with mythical thought and bridging the gap between apocalyptic fiction and post-apocalyptic imaginary. Juan Buscamares, une bande dessinée avec des dessins et un scénario de Félix Vega (Santiago du Chili, 1971), se déroule dans un monde ravagé par une catastrophe climatique, des factions militaires et le fanatisme religieux. Dans cette dimension, la colonisation européenne de l’Amérique indigène est le fantôme qui hante les personnages plongés dans un nomadisme constant. Héros errant, Juan déambule dans ce monde dont l’imagerie reprend les croyances préhispaniques et la tradition judéo-chrétienne. Avec de tels éléments et à partir de son langage hybride, cette BD nous invite à réfléchir sur le pouvoir critique de l’apocalypse, sur le rôle du mythe et sur les identités complexes d’un continent fragmenté dont la régénération ne serait accessible qu’après l’abolition du monde tel que nous le comprenons. La progression du personnage montre une projection post-apocalyptique qui propose paradoxalement le retour à l’origine comme une possibilité de salut, remettant ainsi en question la linéarité du temps historique, proposant un dialogue avec la pensée mythique et comblant le fossé entre la fiction apocalyptique et l’imaginaire post-apocalyptique.

O estímulo à leitura e ao conhecimento científico podem ser trabalhados de forma conjunta em processos de aprendizagem através da divulgação científica. Este tipo de abordagem possibilita uma melhor compreensão de como surgem os conceitos e fenômenos da natureza através do recurso à História da Ciência em sala de aula. O presente trabalho visa a divulgação e apropriação da história da invenção do fotofone, no ensino de física, através da utilização de extratos de um artigo histórico sobre a mesma e o recurso à produção de uma história em quadrinhos, aplicando uma oficina sobre o uso desta técnica gráfica. O trabalho foi desenvolvido em quatro turmas do Colégio Kennedy, nos meses de fevereiro e março de 2021, via sistema remoto, sendo 2 turmas do 9º ano do ensino fundamental e 2 turmas do 1º ano do ensino médio. Após a realização da oficina, os alunos construíram histórias em quadrinhos sobre a história e o funcionamento do fotofone. A análise das histórias em quadrinhos, bem como dos resultados do questionário aplicado, permitiu conhecer o grau de compreensão da leitura adquirido pelos alunos mediado pelo uso das linguagens gráfica e escrita produzidos por estes. Sendo assim, foi possível destacar que o emprego do tema, em sala de aula, envolvendo História da Ciência e a utilização da ferramenta de construção de histórias em quadrinhos teve um efeito motivador sobre os alunos e permitiu verificar apropriação por parte destes de aspetos importantes da compreensão científica da questão em jogo. The stimulus to reading and scientific knowledge can be worked together in learning processes through scientific dissemination. This type of approach enables a better understanding of how the concepts and phenomena of nature arise using the History of Science in the classroom. The present work aims at the dissemination and appropriation of the history of the invention of the photophone, in the teaching of physics, using extracts from a historical article about it and the use of the production of a comic book, applying a workshop on the use of this graphic technique. The study was developed with four classes at Kennedy High School, in February and March 2021, via remote system, being 2 classes from the 9th year of elementary school and 2 classes from the 1st year of high school. After the workshop, the students built comics about the history and functioning of the photophone. The analysis of the comics, as well as the results of the applied questionnaire, enabled to know the degree of reading comprehension the students acquired mediated by the graphic and written languages they produced. Therefore, it was possible to highlight that the use of the theme, in classroom, involving History of Science and the use of the comic book construction tool had a motivating effect on the students and allowed them to verify their appropriation of important aspects of the scientific understanding of the issue at stake. El estímulo a la lectura y el conocimiento científico pueden trabajarse en conjunto en los procesos de aprendizaje a través de la divulgación científica. Este tipo de enfoque permite una mejor comprensión de cómo surgen los conceptos y fenómenos de la naturaleza a través del uso de la Historia de la Ciencia en el aula. El presente trabajo tiene como objetivo la difusión y apropiación de la historia de la invención del fotófono, en la enseñanza de la física, mediante el uso de extractos de un artículo histórico sobre el mismo y el aprovechamiento de la producción de una historieta, aplicando un taller sobre el uso de esta técnica gráfica. El trabajo se llevó a cabo en cuatro clases en el Colégio Kennedy, en febrero y marzo de 2021, a través de un sistema remoto, con 2 clases en el 9º año de la escuela primaria y 2 clases en el 1º año de la escuela secundaria. Después del taller, los alumnos construyeron historietas sobre la historia y el funcionamiento del fotófono. El análisis de las historietas, así como los resultados del cuestionario aplicado, permitió conocer el grado de comprensión lectora adquirido por los estudiantes mediado por el uso de lenguajes gráficos y escritos producidos por ellos. Por lo tanto, fue posible destacar que el uso del tema, en el aula, que involucra Historia de la Ciencia y el uso de la herramienta de construcción de historietas tuvo un efecto motivador en los estudiantes y permitió verificar su apropiación de aspectos importantes de la ciencia. comprensión del problema en juego.

[EN] This paper addreses the historical genealogy of the relationship between comics and photography, with case studies ranging from comic pioneers of the late nineteenth century to the photo-novel as a commercial genre, during its heyday between the 40s and 60s, and its subsequent "appropriation" by visual artists and comic authors for satirical and ironic purposes. More recent cases within the graphic novel tradition are also studied, in which the use of photography is used with documentary and testimonial, humorous or self-referential and self-fiction intent. Among them some works of the author of this paper., [ES] En esta comunicación abordamos brevemente la genealogía histórica de las relaciones entre cómic y fotografía, con casos de estudio que van desde pioneros del cómic de finales del siglo XIX a la fotonovela como género comercial, durante su apogeo entre los años 40 y 60, y su posterior “apropiación” por artistas visuales y autores de cómic con fines satíricos e irónicos. Se estudian asimismo casos más recientes dentro de la tradición de novela gráfica, en los que se acude al uso de la fotografía con intención documental y testimonial, humorístico, autorreferencial o de autoficción. Entre ellos algunas obras del autor de la comunicación.

En este proyecto se ha hecho un detenido análisis de cómo plantear la producción de un capítulo de un cómic donde el problema reside en crear un diseño de personajes que encaje en una narrativa pensada para llegar a un target. Además, se debe de encontrar una manera de maquetar el cómic para ser publicado online además de poder dejarlo listo para la impresión. El abasto de la investigación incluye el estudio de mercado tanto como de referentes visuales con obras y artistas, además de referentes respecto a la narrativa como el género, los temas o el tratamiento de los personajes. Habiendo entendido los referentes, se ha empleado la metodología de preproducción, producción y postproducción donde se ha planificado el primer capítulo, prólogo y su correspondiente portada. El resultado ha concluido en la producción de un total de 15 páginas de cómic y de 56 ilustraciones además del diseño de los personajes y de la portada. A pesar de haber cumplido con las expectativas del proyecto, hay aspectos que han resultado menos satisfactorios que otros debido a la carga de trabajo que ha supuesto el proyecto como poder hacer el render de más capítulos, ya que inicialmente iba a ser una historia cerrada, pero que se ha acabado convirtiendo en una temporada de 15 capítulos. Debido a esto, las líneas de futuro incluyen la finalización de la producción del resto de capítulos, la publicación de un kickstarter para financiar el proyecto y la escritura de la segunda temporada a largo plazo.

[EN] : The language of the comic is increasingly present in architecture as we can see in the illustrative strips or diagrams present in projects by leading architects such as Bjarke Ingels (BIG), MVRDV or Neutelings & Riedijk, among others. And at the same time, architecture is represented in the comics by sketchers such as Chris Ware or Richard McGuire. Thus, the two arts have their own narrative and are conceived in a remarkably similar way. Koldo Lus Arana, under the pseudonym Klaus, is another architect and university professor who, since 2005, shares his professional and academic activity with that of a comic artist. Through an unpublished interview carried out by the authors, their graphic and cartoon narrative is presented in which the interactions between comics, fiction and architecture are analyzed; without forgetting the reference authors who have used the vignette as a graphic tool to interpret architectural themes from critique and creative philosophy to pedagogy service., [ES] El lenguaje del cómic está cada vez más presente en la arquitectura, como podemos apreciar en las viñetas ilustrativas o diagramas presentes en proyectos de destacados arquitectos como Bjarke Ingels (BIG), MVRDV o Neutelings & Riedijk, entre otros. Al mismo tiempo, la arquitectura está representada en los cómics por dibujantes como Chris Ware o Richard McGuire. Así, las dos artes cuentan con su propia narrativa y se conciben de forma muy parecida. Koldo Lus Arana, bajo el seudónimo de Klaus, es otro arquitecto y docente universitario que, desde 2005, comparte su actividad profesional y académica con la de dibujante de cómic. A través de una entrevista inédita realizada por las autoras, se presenta su narrativa gráfica y caricaturesca, en la que se analizan las interacciones entre cómic, ficción y arquitectura; sin olvidar a los autores de referencia que han utilizado la viñeta como un medio gráfico para interpretar temas arquitectónicos desde la crítica y desde la filosofía creativa.

Las relaciones que el escritor argentino Ricardo Piglia mantuvo con los medios de comunicación y la cultura de masas han sido parcialmente documentadas pero siempre han sido visibles: desde sus clases sobre la novela argentina y Borges en la televisión cultural, sus guiones de cine y su narrativa, en la que ha creado obras a caballo entre el género policial, la ciencia ficción y el fantástico, pasando por sus experimentos con diversas formas –como la novela gráfica y la historieta que aún siguen siendo consideradas extraliterarias–, ha abierto nuevos caminos de recepción de su obra y la de los autores de la tradición literaria que ha analizado en sus novelas, ensayos y notas de diario. Así, y a pesar de la complejidad que supone la lectura atenta de su narrativa, sus intervenciones en los circuitos masivos no hacen concesiones a un público no especializado con los estudios literarios pero al mismo tiempo lo acerca a la lectura de Borges, Leopoldo Marechal, Manuel Puig o Roberto Artl, por ejemplo. El presente artículo analiza la relación de Piglia con La Argentina en pedazos (1993a), obra publicada de manera fragmentaria en la revista Fierro a partir de 1984, y se detiene, en particular, en las adaptaciones de algunas obras centrales de la literatura argentina: “El matadero” de Esteban Echeverría, “Las puertas del cielo” de Julio Cortázar y Los lanzallamas de Arlt. Los textos estudiados por Piglia para La Argentina en pedazos sugieren, indirectamente, una nueva revisión de la tradición literaria; simultáneamente, el encuentro entre dos manifestaciones culturales aparentemente antagónicas forma parte de una operación estética y política que fomenta la renovación artística y denuncia la violencia de Estado producida en la Argentina desde sus inicios como nación independiente. The relations that argentine writer Ricardo Piglia maintained with the media and mass culture have been partially documented but have always been visible: from his classes on the Argentine novel and Borges on cultural television, film scripts and his narrative work in which he has created works between the police genre, science fiction and fantasy, passing by its proximity to other forms considered extraliterary, such as graphic novel and comic, has opened new ways of receiving his own work and that of the authors of the literary tradition that he has analyzed in his novels, essays and journal notes. Thus, and despite the enormous complexity of attentive reading of his narrative, his interventions in the mass circuits do not make concessions to a non-specialized public with literary studies but at the same time brings him closer to reading Borges, Leopoldo Marechal, Manuel Puig o Roberto Artl, for example. This paper analyzes Piglia’s relationship with the volume La Argentina en pedazos (1993a), a work that was published in a fragmentary and periodic way in Fierro magazine since 1984, and stops in particular in the cartoon versions of some works centrals of argentine literature, such as Esteban Echeverría’s “El matadero”, Cortázar’s “Las puertas del cielo” and Arlt’s Los lanzallamas. The texts selected and studied by Piglia for La Argentina en pedazos suggest, indirectly, the review that the argentine writer makes of his literary tradition; simultaneously, the encounter between two seemingly antagonistic cultural manifestations is part of an aesthetic and political operation that encourages artistic renewal and denounces the violence of the State produced in Argentina since its foundation as an independent nation.

This study aims to develop, study the feasibility and effectiveness of mathematics comic media based on mind mapping for fifth-grade students of public elementary schools in Demak. The method used is the Sugiyono Research and Development model consisting of 7 steps. The data analysis technique used descriptive statistics, t-test, z-test and n-gain. The results showed the development process of mathematical comic media based on mind mapping on speed and discharge topics with the local cultural background of Demak city. Media was assessed by material, media, and language experts, and It showed valid results and very feasible to be implemented. This media's effectiveness is indicated by the improvement of the Students’ learning outcomes and learning achievement. Students and teachers' response about this media shows positive responses because the comic media are practical and complete content, such as (material, question, assignment, solution, and evaluation). The conclusion is learning media has been successfully developed. Mathematics comic media based on mind mapping is very feasible and practical used in learning mathematics, and it is efeffectively improvements’ learning.

This study aims to produce appropriate learning media in supporting the implementation of learning about disaster mitigation. The type of research used is Research and Development (R&D) and uses the 4D development model namely Define, Design, Develop and Disseminate. After becoming a product, it is then validated by material experts and media experts. The results of the material expert validation obtained an average score of 3,13 in the "good" category and the media expert validation obtained an average score of 3,50 with the "very good" category. The comic that has been validated by several experts is then revised by the researcher by referring to the advice given by the validator. To make this comic, researchers used the CorelDRAW X8 application. The subjects of this comic mitigation feasibility trial were class VIII students of SMP Negeri 10 Palu. The average score obtained is 3,56 with the category "strongly agree". The conclusion in this study is that the mitigation comics developed can be used as a media to support disaster learning integrated in physics learning.

The research is aimed to find the expressive of illocutionary acts found in the comic and analyze the technique of translation implemented by the translator while translating comic ‘True Beauty’. The data used to support all the analysis for this study were taken from the Webtoon comic entitled ‘True Beauty’ with its translation into Indonesian ‘Secret of Angel’ of season 1. Even though the title in Indonesian is in English, but all conversation in the comic is in Indonesian. Documentation method was used in this study by reading the data source attentively and doing note-taking. This research was designed using qualitative method, and the result of analysis was descriptively explained. The theory supporting this study was proposed by Leech (1993) illocutionary speech act, theory of translation technique written by Molinda and Albir, and ethnography of SPEAKING proposed by Hymes (2009). The results of this study showed that there were 47 expressive illocutionary acts found in the comic. the expressive illocutionary act forms found were: thanking with 23 data, apologizing with 13 data, surprising with 5 data, dislike with 2 data, congratulating with 4 data. the translation technique employed by the translator were; literal translation (37), particularization (6), modulation (3), and discursive creation (1).

The Covid-19 pandemic having been spreading throughout the world has resulted in the emergence of various literary works with the aim of educating the wider community on how to anticipate it. One form of literary work helping educate and is well responded to by the community, especially school-aged children, is comics. Comics are very effective in attracting people to listen and read since the information is conveyed in attractive pictures and in easily digestible language. The comics written are translated into various languages ​​so that people in the regions and speakers of other languages ​​can receive the messages conveyed through the comics in question. Identifying the advantages of comics in educating the prevention of Covid-19 around the world, this research focuses on examining the process of translating a comic by Weiman Kou into Balinese. Translation is an effective way to develop learning, not only in college but also in the wider community environment. This study examines the procedure for translating comics by graduate students of linguistics. The results showed that the comic was translated by literal, calque, and borrowing procedures. In order to achieve quality translation results, it is suggested that translating does not only apply three types of procedures but also many other types of procedures, including communicative and idiomatic procedures. By applying these procedures, the message conveyed is perceived the same to both the source language reader and the target language reader.

espanolEn este articulo se muestran resultados sobre la actitud y disposicion que los docentes de bachillerato tienen al incorporar el comic como recurso de ensenanza-aprendizaje de la narrativa desde la didactica de la lengua y la literatura. Nuestra investigacion (Hermosillo, Sonora, Mexico, 2019) es cuantitativa, no experimental, transaccional, de tipo exploratorio-descriptivo, en la que se aplico un cuestionario dirigido a 37 docentes de ocho subsistemas publicos de educacion media superior. Los resultados apuntan a que el profesorado esta en un proceso de incorporacion del comic a su practica didactica. Los docentes aducen que el comic es un recurso util para atender algunos problemas: conceptos de dificil comprension, la atencion, genero discursivo, conducta kinestesica. Las principales reacciones observadas son interes, curiosidad y entusiasmo; creando asi nuevas disposiciones, propiciando un aprendizaje mas participativo y enriqueciendo los sistemas simbolicos de su campo educativo. EnglishIn this article, we present results about the perception and disposition that high school teachers show when incorporating comics as a resource in teaching narrative for any subject from the perspective of the Didactics of Language and Literature. Our research (Hermosillo, Sonora, Mexico, 2018) is quantitative, not experimental and transactional in an exploratory-descriptive type, in which we applied a questionnaire to 37 instructors from eight public sub-systems of public and private preparatory schools. Results show that instructors are in a process of incorporating comics to their practice. Instructors believe that comics are a useful resource when attending some problems in the classroom: attention, discursive genre, kinesthetic behavior. The primary reactions observed when using comics are a rising interest, curiosity, and enthusiasm, creating new dispositions, promoting more active and participative learning and enriching symbolic systems in their area. francaisCet article montre les resultats de la perception et disposition que instructeurs de baccalaureat manifestent quand les bandes dessinees sont incorpores comme moyens en l’enseignement de la narrative en n’importe quelle matiere du point de vue de la Didactique de la langue et la litterature. Notre recherche (Hermosillo, Sonora, Mexico, 2018) est quantitative, non experimental et transactionnel, exploratoire-descriptive avec un questionnaire applique a 37 instructeurs de baccalaureat. Les resultats indiquent que les instructeurs son en train de faire face a quelques problemes des etudiants dans la classe: attention, genre discursive, comportement inusuel. Les reactions principales des etudiants, exposes quand les bandes dessinees sont utilises: un interet croissant a la matiere, curiosite, enthousiasme ; au meme temps ils sont en train de provoquer un mieux apprentissage plus actif et participatif, et un enrichissement des systemes symboliques.

espanolLa Guerra Fria se constituyo como una nueva forma de conflicto entre los bloques liderados por Estados Unidos y la Union Sovietica, en el las armas son sustituidas por una guerra psicologica con la que se busca “conquistar los corazones y las mentes” de la poblacion. Para lograr la victoria se recurrira a todo tipo de soportes culturales como componentes propagandisticos, entre ellos el comic, donde se intercalan las historias ensalzando el American Way of Life como contraposicion al comunismo. EnglishThe Cold War was a new way of conflict between two blocs led by United States and the Soviet Union. Weapons are replaced by a psychological warfare to “win the hearts and minds” of the population. To achieve the victory will be all kinds of cultural media such as propaganda components, such as the comic, where stories were interwoven to extol the American way of life as opposed to communism.

s Penelitian ini membahas tentang strategi penerjemahan ungkapan bahasa slang dalam sebuah komik yang berjudul The Punisher. Komik ini diterjemahkan dari bahasa Inggris ke dalam bahasa Indonesia oleh Hindi R. Ibrahim. Adapun tujuan dari penelitian ini antara lain: pertama, untuk mengidentifikasi jenis-jenis ungkapan bahasa slang yang ada dalam komik The Punisher. Kedua untuk menjelaskan strategi penerjemahan ungkapan bahasa slang dalam komik The Punisher. Penelitian ini menggunakan metode deskriptif kualitatif. Sebagai alat pengumpul data, peneliti melakukan beberapa hal, antara lain: membaca komik The Punisher dalam bahasa Inggris dan Indonesia; menandai ungkapan bahasa slang dan menyeleksinya untuk diklasifikasi berdasarkan jenis dan strategi penerjemahannya menurut teori yang ada dalam beberapa sumber. Hasil temuan penelitian ini menyatakan bahwa terdapat empat tipe ungkapan bahasa slang dalam hasil terjemahan komik The Punisher, identifikasi-kelompok, kreatifitas, privasi, dan sekresi, (informalitas dan intimasi, vulgaritas dan ofensif). Adapun strategi penerjemahannya antara lain, penghalusan, secara literal, dan kompensasi stilistika.---Abstract In this research, the researcher concerns with translation study, that is, the translation strategy of slang expression in comic entitled The Punisher translated by Hindi R. Ibrahim. The objectives of the research are: (1) to identified the type of slang expression based on its function used in the target language, (2) to describe slang translation strategy applied in the translation. The researcher uses qualitative descriptive method in order to reach objectives of the research. The researcher employs herself to collect data; by reading the comic and its translation, marking the slang expressions, classifying, selecting and analyzing them based on the type of slang theory and slang translation strategy theory which are taken from some relevant references. Findings of this research show that: first, the four types of slang expression are used in source language \nc\udegroup-identification and creativity, privacy and secrecy, informality and intimacy, andvulgarity and offensiveness; second, all strategies applied in the translation they are literal softening, literal translation and stylistic compensation.

Con unos veinte actores de la historieta, entre autores, gestores y colectivos, Ecuador tiene una circulación exigua dentro del campo de la literatura gráfica mundial, a pesar de una historia que no dista de la historia general del noveno arte. Modulando una lectura del cómic ecuatoriano desde la noción de literatura menor propuesta por Deleuze y Guattari (Kafka, pour une littérature mineure, 1975), buscamos identificar la historieta de Ecuador –mediante ejemplos de estrategias, formas y contenidos– con las características de una literatura (gráfica) menor; mientras presentamos un panorama de su campo. Entonces, el uso minoritario de una lengua mayor, la desterritorialización, la conexión sobre lo inmediato-político y la enunciación colectiva son algunas pistas que nos permitirán esbozar las líneas de fuga para una circulación transnacional de la literatura gráfica ecuatoriana. Avec une vingtaine d’acteurs de la bande dessinée, dont des auteurs, des directeurs et des collectifs, l’Équateur a une maigre circulation dans le domaine de la littérature graphique mondiale, malgré une histoire qui n’est pas éloignée de l’histoire générale du neuvième art. En modulant une lecture de la bande dessinée équatorienne à partir de la notion de littérature mineure proposée par Deleuze et Guattari (Kafka, pour une littérature mineure, 1975), nous cherchons à identifier la bande dessinée équatorienne - à travers des exemples de stratégies, de formes et de contenus - aux caractéristiques d’une littérature (graphique) mineure, tout en présentant un aperçu de son champ. Ainsi, l’utilisation minoritaire d’une langue majeure, la déterritorialisation, le lien avec l’immédiat-politique et l’énonciation collective sont autant d’indices qui nous permettront d'esquisser les lignes de fuite pour une circulation transnationale de la littérature graphique équatorienne. With about twenty comic actors, including authors, promoters and collectives, Ecuador has a meager circulation within the field of world graphic literature, despite a history that is not far from the general history of the ninth art. Modulating a reading of Ecuadorian comics from the notion of minor literature proposed by Deleuze and Guattari (Kafka, pour une littérature mineure, 1975), we seek to identify Ecuadorian comics -through examples of strategies, forms and contents- with the characteristics of a minor (graphic) literature; while we present an overview of its field. Then, the minority use of a major language, the deterritorialization, the connection on the immediate-political and the collective enunciation are some clues that will allow us to outline the lines of escape for a transnational circulation of Ecuadorian graphic literature.

[ES] Reseña del libro: JOSÉ MANUEL TRABADO. (ED.). Lenguajes gráfico-narrativos. Especifidades, intermedialidades y teorías gráficas. Gijón: Editorial Trea, 2022., [EN] Review of the book Lenguajes gráfico-narrativos. Especifidades, intermedialidades y teorías gráficas , edited by José Manuel Trabado. Gijón, Editorial Trea, 2022.

There’s a party this evening but Tilde is feeling too awkward. Travelling between mediums. What are the visual narratives I use in comics? What can be told better when adapted to the movie format? Which comic elements am I unable to translate to the film format? The relationship with the reader suddenly has the limitations of time, and explorations of sound. Does the experience of diving into a different medium affect how I swim in my usual field? With a background of 17 years’ experience as a comic artist, I explore the art of making a short movie. My degree project is a stand-alone short film and a chapter from a comic in the making. Det är fest ikväll men Tilde känner sig för nervös. En resa mellan medier. Vilka visuella narrativ använder jag som serieskapare? Vad kan berättas bättre när det anpassas till film? Vilka serieelement kan jag inte översätta till film? Relationen till läsaren får här ett hinder i form av relationen till tid, men med ljudet som en ny möjlighet. Kommer erfarenheten av att doppa fötterna i ett annat fält påverka hur jag simmar i mitt egna? Efter 17 år i serietecknarbranschen kastar jag mig in i att göra en kortfilm. Mitt examensarbete är en fristående kortfilm och ett kapitel i en längre serieberättelse.

El mecanismo de cómo los virus atraviesan las estructuras intracelulares es el modelo que ejemplifica el tránsito intracelular por el sistema de endomembranas, el mismo que es utilizado en la descripción de los diferentes aparatos intracelulares. El objetivo fue desarrollar un método didáctico que explique un mecanismo de la biología molecular, como lo es la tira cómica en el tránsito y la señalización intracelular de los virus. Se diseñó una historia cómica-ilustrativa donde una estructura viral es personificada por un espía encubierto; el eje fundamental de la trama es la obtención de las moléculas de información genética en el núcleo. Para ello tiene que pasar por varios departamentos de la célula que representan las organelas intracitoplasmáticas con sus características funcionales; la secuencia obedece a la comunicación que tienen los sistemas de endomembranas desde la membrana celular hasta el núcleo. La elaboración de comics o historietas pueden recrear eventos y fenómenos estudiados en las ciencias médicas como la biología, teniendo los siguientes resultados: aumentar el interés, la comprensión, la creatividad, la necesidad de conocimientos y generación de nuevas ideas en los estudiantes. El cómic es una herramienta didáctica útil en la enseñanza del tránsito intracelular a partir de la narración gráfica de un modelo viral que se transporta al interior de la célula. The mechanism of how viruses cross intracellular structures is the model thatexemplifies intracellular transit through the endomembrane system, the same that is used in thedescription of the different intracellular apparatus. The objective was to develop a didactic methodthat explains a mechanism of molecular biology, such as the comic strip in the transit andintracellular signaling of viruses. A comic-illustrative story was designed where a viral structure ispersonified by an undercover spy, the fundamental axis of the plot is obtaining the genetic information molecules at the nucleus level, for this it has to go through the various departments ofthe cell that represent the intracytoplasmic organelles with their functional characteristics, thesequence obeys the communication that the different organelles have from the cell membrane tothe nucleus. The development of comics or comics can recreate events and phenomena studied inmedical sciences such as biology, having the following results: increase interest, understanding,creativity, the need for knowledge and generation of new ideas in students. The comic is a usefuldidactic tool in teaching intracellular transit from the graphic narration of a viral model that istransported inside the cell.

Through selected close readings from plays by Arthur Adamov and Samuel Beckett, this article examines how language is herein used against itself to expose the impossibility of meaninglessness. By replacing significance with mere surface sounds, language emerges from these plays as a carrier of unexpected—and inescapable—meaning. Tracing a series of comic reversal techniques common to both Adamov and Beckett, famously grouped together under the moniker Theater of the Absurd, the author demonstrates how the attempt to deprive words of sense-making is repetitiously usurped by other sensory elements which doggedly invest the striving for senselessness with profound ambiguity, against all odds. À travers l’analyse des pièces de théâtre d’Arthur Adamov et de Samuel Beckett, cet article propose d’explorer comment le langage y est utilisé contre lui-même pour démontrer l'impossibilité du non-sens. En remplaçant la signification par de simples sons de surface, le langage apparaît dans ces pièces comme porteur d'un sens inattendu - et inéluctable. Retraçant une série de techniques de renversement comique communes à Adamov et à Beckett, tous les deux regroupés sous le nom de Théâtre de l'absurde, l'auteur illustre comment les tentatives de priver les mots de leur sens sont usurpées de manière répétitive par d'autres éléments sensoriels qui investissent obstinément la recherche du non-sens d'une profonde ambiguïté, contre toute attente.

The main goal of this research was to analyse the perception of trainee primary education teachers regarding motivation when using comics as a resource to teach and learn history. To achieve this objective, a history education programme was designed based on the use of comics and the outcomes evaluated via a mixed qualitative-quantitative post-test questionnaire (Likert scale 1–5). Two hundred twenty-one trainee primary teachers from the University of Alicante, Spain participated in the study during the 2020/2021 academic year. Data were collected using the IBM SPSS v.24 statistical package and AQUAD 7. The results showed that the majority of future teachers felt highly motivated when using comic resources to learn history instead of textbooks (90.5% of participants); trainee teachers recognise that the use of comics improves their capacity to be more creative and that they feel able to design and use their own comic resources to teach history in the future. This research is part of the project “Accept the challenge! Gamification in online higher education” (2020-1-PL01-KA226-HE-096034) funded by the European Union ERASMUS+ KA2 programme Cooperation and innovation for good practices.

The article focuses on irony as a multilateral phenomenon, which is the subject of many spheres: history, philosophy, culture, literature, linguistics etc. Different views on irony’s production and interpretation, as well as its development in history, are analyzed. Irony is viewed as a historic and cultural phenomenon, as well as a linguistic one. Irony exists in the sphere of other phenomena - humour, satire, sarcasm, joke etc. These notions are interrelated, they have something in common, yet irony has its own characteristics and peculiarities. It is stated that irony and language are inseparable, irony can function as an utterance, as a speech act and as a speech genre. The aim of the article is to analyze the characteristics of irony in discourse and to determine the conditions of efficient ironic communication. The author argues that irony as a discourse category is a common product of both the speaker and the recipient. Thus, to be effective, an ironic speech act needs proper cultural, social and psychological atmosphere. Theoretical basis is represented by both classical works on the nature of the comic, and contemporary research on irony.

The present paper aims to compare and analyse three versions of Garfield comic strips, the original and two different translations into Spanish (from the United States, Spain and Argentina, respectively). More specifically this case study focuses on the treatment of onomatopoeias and interjections in the translations, with the purpose of examining the degree of influence of culture and context in the different linguistic equivalents. Finally, some pedagogical implications of the use of comic strips in the foreign language classroom are also discussed.

The paper is devoted to the analysis of the variability of historical forms of comic, in particular the specifics of the organization of contextual socio-cultural practices and the appropriate way of the syndication. For this angle of study, reference is made to the works of modern British scholar Scott Lash, who substantiates the methodological connection of the cultural paradigm and the signification mode. The comparison is made out of the specifics of the organization of a comic in the conditions of the ancient Greek policy and modern Ukrainian politics. Postmodern synthesis of political comic and administration of horror testifies to a new level of cultural de-differentiation, and is a symbol of the end of the social. The horror of the total chaos of personified corruption highlights the ironic evidence of their political scheme and the comic populism of their representations. Unlike the comic of Antiquity, where theatrical satire was a way of social criticism of political leaders, and, consequently, a way of increasing meaning, the comic populism of post-modernity is a way of concealing the disappearance of meaning. Although both historical versions of the interaction of political and comic work in the logic of the sign. The analysis of Ukrainian situation has its own specific of the synthesis of political comic and administration of horror

espanolEn el comic espanol reciente han debutado autoras que refutan la (auto)representacion corporal de la mujer tal y como ha sido historicamente custodiada por el orden hegemonico-patriarcal. Ana Galvan (Murcia, 1975), Roberta Vazquez (Santiago de Compostela, 1989) y Amanda Baeza (Chile, 1990), se encuentran entre ellas. Desafian las normas esteticas mediante el uso de la deformidad y el antropomorfismo, vertebrando un discurso politico de rechazo a la relacion entre corporalidad e identidad femenina. Las obras que contiene este articulo, dos procedentes de fanzines colaborativos y la tercera de una publicacion, han sido seleccionadas a partir de la singularidad de sus lenguajes graficos y de la critica que comparten hacia los roles sociales y la dictadura del canon fisico normativo. El analisis grafico de las propuestas dialoga con la reflexion desde los estudios de genero para hacer patente en que medida subvierten grafica y simbolicamente la iconografia del cuerpo femenino. EnglishIn the recent Spanish comic, authors have debuted that refute the (self) bodily representationof women as it has been historically guarded by the hegemonic-patriarchal order. Ana Galvan (Murcia,1975), Roberta Vazquez (Santiago de Compostela, 1989) and Amanda Baeza (Chile, 1990), are amongthem. They defy aesthetic norms through the use of deformity and anthropomorphism, structuringa political discourse of rejection of the relationship between corporality and feminine identity. Theworks contained in this article, two from collaborative fanzines and the third from a publication, havebeen selected based on the singularity of their graphic languages and the criticism they share towardssocial roles and the dictatorship of the normative physical canon. The graphic analysis of the proposalsdialogues with the consideration from gender studies to make clear to what extent graphically andsymbolically subvert the iconography of the female body.

This thesis is an annotated translation consisting of a translation and translator’s arguments for choosing the equivalents of a number of translation units which are deemed to cause translation problems. The source text of this study is a comic book entitled Psychiatric Tales. The researcher used all contents of the comic book as research corpus. The translation methods applied in this study are communicative and semantic methods. In order to solve translation problems, the researcher applied several translation procedures. The annotation data were found to be related to several psychiatric nursing terms, metaphors, idioms, and onomatopoeias. This study shows that most of the translation units had to be translated using the communicative method even though the source text is a creative text. Moreover, the translator has taken account of the visual elements of the comic book and made use of informal language register. In conclusion, the translation of a comic book that contains psychiatric nursing terms and concepts requires particular attention because of the creative and informative nature of the text.

Concept cartoon teaching strategy have the potential to increase creativity and innovation as well as the students' interest in understanding concepts. It is considered as a method that encourages students to continue exploring the issues raised and seeking solutions. This concept cartoon lesson is very suitable to be applied in the field of Science, Technology, Engineering and Mathematics which is often regarded as an abstract and difficult field. Therefore, it is becoming a necessity to see how far the cartoon concept in learning has been implemented in schools. This systematic literature review analysis aims to focus on the similarities and differences such as the objective used, the methodology used and the findings of the study. The study article was selected through a database of various types of journals according to keywords. Keywords used in the search are Concept Cartoon AND comic AND Problem-based learning. The search has been limited between 2009 and 2017. A total of 9 studies have been selected to be analyzed based on the four steps in systematic literature review. The four steps included frame a question, run a search, read the abstract and tittle of individual papers and abstract information from selected set of final articles. The results of the systematic literature review analysis can be concluded on recent research and previous research that cartoon concept teaching strategy is very effective in enhancing creative thinking as well as cultivating students' interest in Science, Technology, Engineering and Mathematics.

This article presents different public uses of comics in representing difficult pasts on the basis of four case studies: the National Socialist and the German democratic Republic pasts in the German memory field, and the Fascist past and the terrorist/mafia massacres in the Italian memory field. The comparative analysis focus on three factors of influence: 1. the narratives and aesthetic forms culturally legitimated in the two national public memory spaces; 2. the cultural frames which define a specific past; 3. the cultural paradigms hegemonic in the transnational memory comics field. In the final analysis, the article contemplates not only the graphic representations of the past, but also the social actors (artists, publishers, political institutions, public intellectuals) involved in this process of collectively working memory, their symbolic and cultural resources, and their power relationships

Sul ‘padre del fumetto croato’ rimane ancora molto da scoprire. La storia del fumetto in Croazia e nell’ex Jugoslavia ha inizio con il nome di Maurović, sicuramente il più importante fumettista croato del XX secolo. Il suo primo fumetto, Vjerenica mača, fu pubblicato nel 1935. Maurović visse tutta la complessità del secolo breve e il destino dei suoi fumetti seguì i grandi sommovimenti di quell’epoca: prima, durante e dopo la Seconda guerra mondiale. Come artista, dovette fare i conti con diversi sistemi e regimi. Partecipò alla lotta di liberazione partigiana, rimanendo fedele a se stesso e alle proprie idee fino alla fine dei suoi giorni. Sulla sua vita ‘fuori dagli schemi’, con alti e bassi, circolano numerose leggende. Oltre al fumetto, si dedicò alle caricature, ai poster, alle pubblicità ed alle illustrazioni, iniziando e concludendo la propria parabola artistica con opere a tema erotico. Much remains to be discovered about the ‘father of Croatian comics’. The history of comics in Croatia and Yugoslavia starts with the name of Maurović, certainly the most important Croatian cartoonist of the 20th century. His first comic book, Vjerenica mača, was published in 1935. Maurović experienced all the complexity of the short century and the fate of his comics follows the great events of that time: before, during and after the Second World War. As an artist, he lived under different systems and regimes. He took part in the Partisan liberation movement, remaining faithful to himself and his ideas until the end of his days. About his life ’ outside the box’, with ups and downs, there are many legends. In addition to comics, he drew caricatures and posters, advertising and illustrations, starting and ending his artistic life with erotic themes.

Aleksandar Zograf, pseudonimo di Saša Rakezić, rappresenta una delle voci più importanti del graphic journalism in Serbia. Le sue opere sono tradotte in diverse lingue, e in Italia è presente ormai da più di vent’anni, da quando nel 1999 scrisse la sua cronaca quotidiana dei bombardamenti della Nato con Lettere dalla Serbia. Zograf è un testimone speciale degli eventi storici a cui assiste, ma spazia anche in epoche diverse e riserva sempre uno sguardo particolare che istantaneamente ci riporta nei tempi che furono. Partendo spesso da una prospettiva autobiografica con il personaggio protagonista che riprende le sue stesse sembianze ci porta in viaggio nello spazio e tempo, sempre con uno stile originale e riconoscibile sia dal punto di vista della scrittura che del disegno dei fumetti. Questa panoramica insieme alla traduzione di alcune sue tavole a fumetti è un tentativo di avvicinarlo a chi in Italia ancora non conosce le sue opere, che fanno ormai parte della storia del fumetto serbo e europeo. Aleksandar Zograf, pseudonym of Saša Rakezić, represents one of the most important voices of graphic journalism in Serbia. His works are translated into several languages, and he has been known in Italy for more than twenty years, since the publication in 1999 of Letters from Serbia, a chronicle of the NATO bombings which happened that same year. Across his books, Zograf not only depicts contemporary events, but also travels in time and lets us immerse in different eras. Often starting from an autobiographical perspective with the protagonist impersonating the author himself, he takes us on a journey through space and time, always with an original and recognizable style both from the point of view of writing and drawing comics. This overview together with the translation of some of his comics is an attempt to bring him closer to those in Italy who still do not know his works, which are now part of Serbian history and European comics.

Comics bieten ein vielversprechendes, aber bislang kaum genutztes Potenzial für die Kommunikation von Gesundheitsinformationen. Über die Wirkung von Comics bei der Aufklärung über psychische Erkrankungen wie Depressionen oder Burnout ist wenig bekannt. Depressionen werden von Laien oft als Burnout bezeichnet, was zu einer geringeren Stigmatisierung der Betroffenen, aber auch zu einer Verharmlosung depressiver Symptome führen kann. In der vorliegenden Studie (N = 1.201) wurde untersucht, wie das Geschlecht des Fallbeispiels und zusätzliche Sachinformationen in Comics die Stigmatisierung der Rezipierenden gegenüber Betroffenen beeinflussen und welche Rolle kognitive Prozesse dabei spielen. Die Ergebnisse bestätigen die destigmatisierende Wirkung des Burnout-Labels im Vergleich zu einem Depressions-Label. Die beobachteten Effekte sind jedoch von geschlechtsspezifischen Wahrnehmungen und in gewissem Maße von kognitiven Prozessen bei der Bildung stigmatisierender Einstellungen abhängig. Implikationen für die strategische Anti-Stigma- und Gesundheitskommunikation werden diskutiert., Comics are considered a promising, but often neglected medium for health information. However, little is known about the effects of comics providing health information about mental illnesses like depression or burn-out. Depression is often labeled by laypersons as burn-out, which can lead to reduced stigmatization of affected individuals, but likewise to a trivialization of depressive symptoms. The present study (N = 1,201) examined how the depiction of mental illness labels, exemplar's sex, and additional factual information in comics influences recipients' stigma-related perceptions about affected individuals and which role cognitive processes play in this regard. Results confirm the stigma-reducing effect of the burn-out label compared to a depression label. The observed effects, however, rely on sex-specific perceptions and, to some extent, on cognitive processes for the formation of stigmatizing attitudes. Implications for strategic anti-stigma and health communication are discussed., Gesundheitskommunikation in Zeiten der COVID-19-Pandemie: Beiträge zur Jahrestagung der Fachgruppe Gesundheitskommunikation 2021

How do white queer people portray our own whiteness? Can we, in the stories we tell about ourselves, face the uncomfortable fact that, while queer, we might still be racist? If we cannot, what does that say about us as potential allies in intersectional struggles? A careful analysis of Dykes To Watch Out For and Stuck Rubber Baby by queer comic icons Alison Bechdel and Howard Cruse traces the intersections of queerness and racism in the neglected medium of queer comics, while a close reading of Jaime Cortez's striking graphic novel Sexile/Sexilio offers glimpses of the complexities and difficult truths that lie beyond the limits of the white queer imaginary.

Können Weltausstellungen und internationale Ausstellungen als Drehbuch für Hollywood-Blockbuster dienen, die auf dem Mythos der Eroberung Amerikas und den Abenteuern von Superhelden basieren? In dieser Fallstudie helfen das Kino und seine Geräte, die Stadt oder die Städte des MCU durch zwei komplementäre Zeitlichkeiten zu denken und zu sehen: die imaginäre urbane Zeitlichkeit von Superheldenfilmen und die bewährte Zeitlichkeit von Universalausstellungen in den Vereinigten Staaten. Die hier analysierten Filme sind die Zeugen, ja die Propaganda einer westlichen Welt, die sich erlaubt, eine fiktive Chronologie nachzubilden, nur um in das Szenario eines Hollywood-Blockbusters ein Element der Massenkultur, Popkultur genannt, einzufügen, das als Rahmen dienen kann und Dekor für eine ganze Reihe von Zuschauern. Die Weltausstellungen werden in den Vereinigten Staaten von den Erinnerungsspuren an die großen Demonstrationen von New York, Chicago und Seattle als gemeinsame Bezugspunkte verwendet, die den Erinnerungen an die großen Partys in Paris, London oder Asien hinzugefügt werden. Ein erster Blick auf Drehbucheinrichtungen, die urbane Legenden schaffen, wird anhand der Darstellungen des Fortschritts und seiner Schrecken für Helden wie Tony Stark analysiert, während an die engen Verbindungen zwischen Kino, Architektur und Weltausstellung (I.) erinnert wird, die es ermöglichen, sich die Entstehung vorzustellen eine fiktive Weltausstellungs-Timeline als verbindendes Element einer Fantasy-Geschichte für die Massen als Teil des Marvel Studio (II.)-Franchise. Schließlich ist die Stadt eine Umgebung, die wichtige Kontrapunkte zum MCU-Szenario bietet, insbesondere mit dem Verschwinden von mehr als der Hälfte der Weltbevölkerung, einer Katastrophenstadt, einer Stadt des Kampfes, einer Stadt der Kopräsenz zwischen Leben, Tod und sein Verschwinden (III.)., Can universal and international exhibitions - world's fairs - worl expo serve as a screenplay for Hollywood blockbusters based on the myth of conquering America and the adventures of superheroes? In this case study, cinema and its devices help to think and see the city or cities of the MCU through two complementary temporalities: the imaginary urban temporality of superhero films, and the proven temporality of universal exhibitions held in the United States. -United. The films analyzed here are the witnesses, even the propaganda of a Western world allowing itself to recreate a fictitious chronology for the sole purpose of including in the scenario of a Hollywood blockbuster an element of mass culture, called pop culture, which can serve as frame and decor to a whole range of spectators. The universal exhibitions are used as common referents in the United States by the traces of memory of the great demonstrations of New York, Chicago and Seattle which are added to the memories of the giant parties in Paris, London or Asia. A first look at scriptwriting facilities that create urban legends is analyzed through the representations of progress and its horrors for heroes like Tony Stark, while recalling the close links between cinema, architecture and the Universal Exhibition - world's fair (I.), allowing to envision the creation of a fictional World's Fairs timeline as a unifying element of a fantasy story for the masses as part of the Marvel Studio (II.) franchise. Finally, the city is an environment that offers important counterpoints to the MCU scenario, notably with the disappearance of more than half of the planet's population, a disaster city, a city of combat, a city of co-presence between the life, death and its disappearances (III.)., ¿Pueden las exposiciones universales e internacionales servir de guión a las superproducciones de Hollywood basadas en el mito de la conquista de América y las aventuras de los superhéroes? En este caso de estudio, el cine y sus dispositivos ayudan a pensar y ver la ciudad o ciudades del MCU a través de dos temporalidades complementarias: la temporalidad urbana imaginaria de las películas de superhéroes, y la temporalidad comprobada de las exposiciones universales realizadas en Estados Unidos. Las películas aquí analizadas son los testigos, incluso la propaganda de un mundo occidental que se permite recrear una cronología ficticia con el único fin de incluir en el escenario de una superproducción de Hollywood un elemento de cultura de masas, denominado cultura pop, que puede servir de marco y decoración a todo tipo de espectadores. Las exposiciones universales son utilizadas como referentes comunes en Estados Unidos por las huellas de la memoria de las grandes manifestaciones de Nueva York, Chicago y Seattle que se suman a los recuerdos de las gigantescas fiestas de París, Londres o Asia. Se analiza una primera mirada a las instalaciones de guion que crean leyendas urbanas a través de las representaciones del progreso y sus horrores para héroes como Tony Stark, recordando los estrechos vínculos entre el cine, la arquitectura y la Exposición Universal (I.), permitiéndonos vislumbrar la creación de una línea de tiempo ficticia de ferias mundiales como elemento unificador de una historia de fantasía para las masas como parte de la franquicia Marvel Studio (II). Finalmente, la ciudad es un entorno que ofrece importantes contrapuntos al escenario del MCU con, en particular, la desaparición de más de la mitad de la población del planeta, una ciudad desastre, una ciudad de combate, una ciudad de co-presencia entre la vida, la muerte y sus desapariciones (III.)., Les expositions universelles et internationales peuvent-elles servir de trame scénaristique pour les superproductions hollywoodiennes reposant sur le mythe de l’Amérique conquérante et les aventures des super-héros ? Dans cette étude de cas, le cinéma et ses dispositifs aident à penser et à voir la ville ou les villes du MCU par deux temporalités complémentaires : la temporalité imaginaire urbaine des films de super-héros, et la temporalité avérée des expositions universelles tenues aux États-Unis. Les films ici analysés sont les témoins, voire la propagande d’un monde occidental se permettant de recréer une chronologie fictive au seul but d’inclure dans le scénario d’une superproduction hollywoodienne un élément de culture de masse, dite pop culture pouvant servir de cadre et de décor à tout un panel de spectateurs. Les expositions universelles sont utilisées comme des référents communs aux États-Unis par les traces de mémoire des grandes manifestations de New York, Chicago et Seattle qui s’additionnent aux souvenirs des fêtes géantes parisiennes, londoniennes ou asiatiques. Un premier regard sur des facilités scénaristiques créatrices de légendes urbaines s’analyse par les représentations du progrès et de ses affres pour des héros comme Tony Stark, tout en rappelant les liens étroits entre cinéma, architecture et exposition universelle (I.), permettant d’entrevoir la création d’une ligne temporelle fictive d’expositions universelles comme élément fédérateur d’une histoire fantastique pour les masses dans le cadre de la franchise Marvel Studio (II.). Enfin, la ville est un environnement qui offre des contre-points importants au scénario du MCU avec notamment la disparition de plus de la moitié de la population de la planète, une ville catastrophe, ville des combats, ville de la co-présence entre la vie, la mort et ses disparitions (III.)., Le mostre universali e internazionali possono servire da sceneggiatura a blockbuster hollywoodiani basati sul mito della conquista dell'America e sulle avventure dei supereroi? In questo caso di studio, il cinema e i suoi dispositivi aiutano a pensare e vedere la città o le città del MCU attraverso due temporalità complementari: la temporalità urbana immaginaria dei film di supereroi e la temporalità comprovata delle mostre universali tenutesi negli Stati Uniti. I film qui analizzati sono i testimoni, anche propagandistici, di un mondo occidentale che si permette di ricreare una cronologia fittizia al solo scopo di inserire nello scenario di un kolossal hollywoodiano un elemento di cultura di massa, detto cultura pop, che possa fare da cornice e l'arredamento a tutta una serie di spettatori. Le esposizioni universali sono utilizzate come referenti comuni negli Stati Uniti dalle tracce di memoria delle grandi manifestazioni di New York, Chicago e Seattle che si aggiungono ai ricordi delle feste giganti di Parigi, Londra o Asia. Un primo sguardo alle strutture di scrittura di sceneggiature che creano leggende metropolitane viene analizzato attraverso le rappresentazioni del progresso e dei suoi orrori per eroi come Tony Stark, mentre ricorda gli stretti legami tra cinema, architettura ed Esposizione Universale (I.), permettendo di immaginare la creazione di una linea temporale immaginaria delle fiere mondiali come elemento unificante di una storia fantasy per le masse come parte del franchise Marvel Studio (II.). Infine, la città è un ambiente che offre importanti contrappunti allo scenario MCU, in particolare con la scomparsa di oltre la metà della popolazione del pianeta, una città del disastro, una città del combattimento, una città della compresenza tra la vita, la morte e le sue sparizioni (III.)., Exposições universais e internacionais podem servir de roteiro para blockbusters de Hollywood baseados no mito da conquista da América e nas aventuras de super-heróis? Neste estudo de caso, o cinema e seus dispositivos ajudam a pensar e ver a cidade ou cidades do MCU por meio de duas temporalidades complementares: a temporalidade urbana imaginária dos filmes de super-heróis e a temporalidade comprovada das exibições universais realizadas nos Estados Unidos. Os filmes aqui analisados ​​são as testemunhas, mesmo a propaganda de um mundo ocidental que se permite recriar uma cronologia fictícia com o único objetivo de incluir no cenário de um blockbuster hollywoodiano um elemento da cultura de massa, chamada cultura pop, que pode servir de moldura e decoração para toda uma gama de espectadores. As exposições universais são utilizadas como referentes comuns nos Estados Unidos pelos vestígios de memória das grandes manifestações de Nova York, Chicago e Seattle que se somam às memórias das festas gigantes de Paris, Londres ou Ásia. Um primeiro olhar sobre as facilidades roteiristas que criam lendas urbanas é analisado através das representações do progresso e seus horrores para heróis como Tony Stark, ao mesmo tempo em que relembra as estreitas ligações entre cinema, arquitetura e a Exposição Universal (I.), permitindo vislumbrar a criação de uma linha do tempo fictícia das Feiras Mundiais como um elemento unificador de uma história de fantasia para as massas como parte da franquia Marvel Studio (II.). Por fim, a cidade é um ambiente que oferece importantes contrapontos ao cenário do MCU, notadamente com o desaparecimento de mais da metade da população do planeta, uma cidade desastre, uma cidade de combate, uma cidade de copresença entre a vida, a morte e seus desaparecimentos (III.).

What if historians and cartoonists teamed up with each other? For such a partnership to work, one might choose to illustrate “great History.” Or, better yet, one can find inspiration in graphic investigations guided by a reasoning and based on new sources and original questions. Y si los historiadores y los dibujantes formaran equipo? Para poner en marcha esta pareja, podemos elegir ilustrar la “Historia”. Podemos también inspirarnos en investigaciones y reportajes dibujados, guiados por un razonamiento, basados en cuestionamientos originales y en nuevas fuentes.

JDM - Jahrbuch Dokumentarische Methode

This informative podcast aims to address the critique that comics are not inclusive to visually impaired readers. This format was chosen to be accessible to visually impaired readers, but also to show non-visually impaired readers an alternative information delivery method. This aids in giving listeners specific examples in which they can attempt to relate to visually impaired comic readers and understand our claims. The podcast explores three of the main methods that are currently in use to make comics more accessible. These include audio comics, tactile comics, and digital comics. The challenges of accessibility, where to find comics for visually impaired readers, and creators that are embracing new technology in their creation of comics are also examined.

El cambio climático no es un tema baladí, y su trascendencia y actual preocupación hacen que sea un tema serio y delicado. Aun así, es un tema que también tiene cabida en el cómic, pues se puede utilizar este para divulgar y concienciar sobre la importancia de dicho problema. Así, analizamos la presencia de esta temática en el cómic en castellano para finalmente centrarnos en dos ejemplos de Mortadelo y Filemón y Superlópez, respectivamente. En ellos, aunque la presencia del cambio climático es palpable, se echa en falta una mayor implicación que permita una concienciación del lector sobre el problema. Climate change is not a trivial issue, and its importance and current concern make it a serious and a sensitive issue. Even so, it is a topic that also has a place in comics, since it can be used to disseminate and raise awareness about the importance of this problem. Thus, we analyze the presence of this topic in Spanish comics to finally focus on two examples of Mortadelo and Filemón and Superlópez, respectively. In these items, although the presence of climate change is palpable, there is a need for greater involvement that allows the reader to become aware of the problem.

Visual communication is far from new and is almost as old as the social sciences. In the last decades, the interest in the visual dimension of society as well as towards the visual as expression of local and global cultures increased to the extent that specific disciplinary approaches took root --- e.g. visual anthropology and visual sociology. Nevertheless, it seems to us that whereas they are mostly engaged in collecting visual data and analyzing visual cultural products, little attention is paid to one of the original uses of visual material in ethnographic and social research, that is communicating social sciences. Departing from some general questions, such as how visualizing sociological concepts, what role non-textual stimuli play in sociology, how they differentiate according to the kind of public, and how we can critically and reflexively assess the social and disciplinary implications of visualizations of empirical research, we collect in the special issues contributions from social scientists and comics artists who materially engaged in the production of social sciences via comics and graphic narratives. The article is divided into three parts. Firstly, we briefly address the rollercoaster history of encounters between sociology and the sequential art. Secondly, we reconstruct the dynamics and processes which lead to the institutionalization of a transnational field of comics studies. Finally, we introduce the contributions collected in the special issue, based on the persona experiences of social scientists, sometimes in collaboration with illustrators., Sociologica, Vol. 15 No. 1 (2021)

"Mafalda" ist die erste deutschsprachige Monografie zum international beachteten und politisch bedeutsamen Werk des argentinischen Zeichners Quino (Jg. 1932), der im September 2020 verstorben ist. Wie Lia Roxana Donadon zeigt, ist "Mafalda" eine zeithistorische Fundgrube und zugleich eine subversive Antwort auf große bleibende gesellschaftliche Fragen. Die bis heute andauernde kulturhistorische Relevanz von Quinos Mafalda-Kosmos ist in der internationalen Forschung bislang nur teilweise aufgearbeitet worden. Das Buch trägt daher zur Schließung dieser Forschungslücke bei, indem es Mafalda akribisch in seiner Zeit verortet und Quinos kreativkritischen Blick auf das Argentinien der 1960er und 70er Jahre mit viel Empathie und Gusto untersucht.

The Universe is something that has always caught the attention of mankind and has given rise to Astronomy, which is one of the oldest sciences in our history. However, teaching and learning this content comes up against some difficulties on the part of teachers' insecurity and differentiated material to work on this content. Thus, this study presents the results of a survey with students from elementary schools in the city of Coxim [state of Mato Grosso do Sul, Brazil] through the use of a Comic Book elaborated in the form of comic strips as a way of verifying its potential as a motivational tool for the teaching and learning processes about the subjects that involve the Universe and the Earth. To this end, evaluations were applied at the beginning and at the end of a teaching sequence designed to work on the topic in question. We evidenced that the use of Comics as a motivational tool presented positive results for teaching Astronomy, particularly with the students of the Elementary School. O Universo é algo que sempre chamou a atenção da humanidade e talvez por isso a Astronomia é uma das ciências mais antigas da história. Contudo, o ensino e aprendizagem dessa disciplina esbarram em algumas dificuldades devido a uma certa insegurança por parte dos professores e pela falta de um material lúdico apropriado para trabalhar o conteúdo com crianças e adolescentes. Assim, este estudo apresenta os resultados de uma pesquisa junto aos estudantes de escolas do Ensino Fundamental do município de Coxim [MS], por meio do uso de História em Quadrinhos (HQs) elaboradas em “tirinhas” como forma de verificar a sua potencialidade como ferramenta motivacional para o ensino e aprendizagem dos temas que envolvem o Universo e a Terra. Para tal, foram aplicadas avaliações, no início e no final de uma sequência de ensino, elaboradas para trabalhar o tema em questão. Evidenciamos que o uso de HQs como ferramenta motivacional apresentou resultados positivos para o ensino de Astronomia junto aos estudantes do Ensino Fundamental. O Universo é algo que sempre chamou a atenção da humanidade e talvez por isso a Astronomia é uma das ciências mais antigas da história. Contudo, o ensino e aprendizagem dessa disciplina esbarram em algumas dificuldades devido a uma certa insegurança por parte dos professores e pela falta de um material lúdico apropriado para trabalhar o conteúdo com crianças e adolescentes. Assim, este estudo apresenta os resultados de uma pesquisa junto aos estudantes de escolas do Ensino Fundamental do município de Coxim [MS], por meio do uso de História em Quadrinhos (HQs) elaboradas em “tirinhas” como forma de verificar a sua potencialidade como ferramenta motivacional para o ensino e aprendizagem dos temas que envolvem o Universo e a Terra. Para tal, foram aplicadas avaliações, no início e no final de uma sequência de ensino, elaboradas para trabalhar o tema em questão. Evidenciamos que o uso de HQs como ferramenta motivacional apresentou resultados positivos para o ensino de Astronomia junto aos estudantes do Ensino Fundamental.

El propósito de este trabajo es mostrar cómo la novela gráfica El Violeta (2019) constituye un interesante ejemplo de diálogo entre el medio artístico del cómic, la memoria histórica y el activismo LGTB, al generar una experiencia colectiva homosexual del franquismo que resulta especialmente oportuna en el contexto de debate en torno al pasado reciente que vive la sociedad española en la actualidad. A partir de diversos testimonios individuales, este cómic emprende una reconstrucción ficcional de la violencia física y simbólica ejercida por el régimen franquista que conforma un lugar de la memoria narrativo de una experiencia traumática común, frecuentemente silenciada o invisibilizada. La obra que aquí se analizará contribuye, pues, a configurar la memoria histórica de los homosexuales que sufrieron la dictadura, plasmando, a través del lenguaje comicográfico, la homofobia represiva del régimen. Así, a falta de una plena reparación jurídica e institucional, supone al menos una tentativa de reconocimiento simbólico en el plano sociocultural.

The article considers the views of German theorists (from G. E. Lessing to P. Sloterdijk) on comic characters of improvised folk street performances. It is noted that German enlighteners, who defended their position in a struggle with supporters of French classicism, paid attention for the fruitfulness of the folk tradition and its role in the development of the national theatre. The active debate about the comic character that erupted in Germany in the XVIII century revealed more fundamental issues related to the boundaries of beauty in aesthetics. The article highrises not only the theoretical experience of G. E. Lessing and J. W. Goethe regarding the need of preserving the living branch of the folk tradition, but also its use directly in their artistic practice. The point of view of the German enlighteners on the creative potential of farcical improvisations has not lost its relevance in subsequent times. The question of the comic type and the concept of “comic” as a whole became the scientific interest of German scientists of the XIX–XXI centuries. The study of their works expanded the horizons of the problem by proposing its consideration in the philosophical, aesthetic, historical, sociological and art criticism aspects.

Digital, La implementación del arte de los nuevos medios como estrategia pedagógica para fortalecer los procesos de comprensión lectora en la escuela; a través de secuencias de aprendizaje, videos tutoriales y la implementación de herramientas tecnológicas para transformar las historietas en video comic; como un recurso educativo, que permite la construcción de secuencias narrativas que promueve el interés por la lectura y la creación de historias desde el contexto familiar. La propuesta se desarrolla en diferentes fases, desde el planteamiento del problema, la descripción y los antecedentes frente a los procesos de lectura compresiva, en la segunda fase se encuentra la fundamentación teórica en comprensión lectora, aprendizaje significativo, el comic, y el arte de los nuevos medios. La tercera fase plantea el tipo de investigación es de carácter descriptivo con ruta metodológica cuantitativa, que permite identificar los patrones sociales, económicos y lectores de los educandos al igual que las dificultades y fortalezas en la comprensión lectora. La cuarta fase es la implementación de una propuesta pedagógica coherente, versátil he innovadora desde el arte de los nuevos medios, aplicable a nuevos ambientes de aprendizaje, desarrollando habilidades artísticas, comportamientos y hábitos de un buen lector, en espacios innovadores y retadores de aprendizaje; encaminados a formar educandos responsables, coherentes y conscientes de la relevancia de la lectura y el arte como pilares fundamentales de formación, The implementation of the new media as a pedagogical strategy to strengthen the processes of reading comprehension at school; through learning sequences, tutorial videos and the implementation of technological tools in order to transform comics into video comics; as an educational resource, which allows the construction of narrative sequences that promote interest in reading and the creation of stories from the family context. The proposal is developed in different phases, from the statement of the problem, the description and the antecedents in front of the processes of reading comprehension, in the second phase is the theoretical foundation in reading comprehension, meaningful learning, the comics, and new media. The third phase states that the type of research is descriptive with a quantitative methodological approach, which allows to identify the social, economic and reading patterns of the students as well as the difficulties and strengths in reading comprehension. The fourth phase is the implementation of a coherent, versatile and innovative pedagogical proposal from the new media, applicable to new learning environments, developing artistic skills, behaviors and habits of a good reader, in innovative and challenging learning spaces; aimed at training students who are responsible, coherent and aware of the relevance of reading and art as fundamental bases of training., Maestría, Magíster en Tecnologías Digitales Aplicadas a la Educación, 1°ed, CONTENIDO ......................................................................................................... 10 LISTA DE FIGURAS .............................................................................................. 13 LISTA DE TABLAS ................................................................................................ 14 LISTA DE GRÁFICOS ........................................................................................... 15 LISTA DE ANEXOS ............................................................................................... 16 INTRODUCCIÓN ................................................................................................... 19 1. PRESENTACIÓN DEL TRABAJO DE GRADO ............................................. 20 1.1 PLANTEAMIENTO DEL PROBLEMA ....................................................... 20 1.1.1 Descripción de la situación problema ................................................. 20 1.1.2 Identificación del problema ................................................................. 22 1.1.3 Pregunta problema ............................................................................. 22 1.2 ALCANCE ................................................................................................. 23 1.3 JUSTIFICACiÓN ....................................................................................... 24 1.4 OBJETIVO general ................................................................................... 25 1.4.1 Objetivos específicos ......................................................................... 25 2 BASES TEóRICAS ........................................................................................ 26 2.1 estado del arte .......................................................................................... 26 2.2 MARCO REFERENCIAL. ......................................................................... 30 2.2.1 MARCO TEÓRICO. ............................................................................ 30 2.2.1.2 Arte y tecnología ............................................................................. 31 2.2.2 MARCO CONCEPTUAL. ................................................................... 36 3 DISEÑO METODOLÓGICO .......................................................................... 41 3.1 TIPO DE INVESTIGACIÓN....................................................................... 41 3.1.1 Investigación Cuantitativa. ................................................................. 41 Metodología descriptiva................................................................................... 42 3.2 HIPÓTESIS ............................................................................................... 42 3.3 VARIABLES .............................................................................................. 42 3.4 operacionalización de variables ................................................................ 43 3.5 POBLACIÓN Y MUESTRA ....................................................................... 43 3.6 PROCEDIMIENTO .................................................................................... 44 3.6.1 Fase 1. Diagnóstico inicial. ................................................................ 44 3.6.2 Fase 2. Diseño e implementación de la propuesta pedagógica. ........ 44 3.6.3 Fase 3. Diagnostico final. ................................................................... 46 3.7 INSTRUMENTOS DE RECOLECCIÓN .................................................... 46 3.7.1 Cuestionario ....................................................................................... 46 3.7.2 Las fotografías.................................................................................... 47 3.7.3 Anotaciones Temáticas ...................................................................... 47 3.7.4 Pruebas Escritas ................................................................................ 48 3.8 TECNICAS DE ANALISIS DE DATOS ..................................................... 48 4 CONSIDERACIONES ÉTICAS ...................................................................... 50 5 DIAGNÓSTICO INICIAL ................................................................................ 51 6 ESTRUCTURA PROPUESTA DE INTERVENCIÓN ..................................... 52 6.1 propuesta pedagógica VIDEO COMIC. .................................................... 52 6.2 componente tecnológico ........................................................................... 58 6.2.1 El comic o historieta como arte narrativo. .......................................... 58 6.2.2 VIDEO-COMIC. .................................................................................. 58 6.3 Implementación......................................................................................... 62 6.3.1 Fase 1. Aplicación Leer para comprender. Prueba diagnóstica 1. ..... 62 6.3.2 Fase 2. Implementación de la Estrategia Pedagógica de las historietas al video comic .................................................................................................. 64 6.3.3 Fase 3. Aplicación de la prueba diagnóstica final. El encanto de leer. 73 7 ANÁLISIS E INTERPRETACIÓN DE DATOS ............................................... 74 8 CONCLUSIONES .......................................................................................... 87 9 LIMITACIONES ............................................................................................. 88 10 IMPACTO – RECOMENDACIONES ............................................................. 89 REFERENCIAS BIBLIOGRÁFICAS ....................................................................... 90 ANEXOS ................................................................................................................ 95

Background Electronic health record (EHR) use can impede or augment patient-physician communication. However, little research explores the use of an educational comic to improve patient-physician-EHR interactions. Objective To evaluate the impact of an educational comic on patient EHR self-advocacy behaviors to promote patient engagement with the EHR during clinic visits. Methods We conducted a prospective observational study with adult patients and parents of pediatric patients at the University of Chicago General Internal Medicine (GIM) and Pediatric Primary Care (PPC) clinics. We developed an educational comic highlighting EHR self-advocacy behaviors and distributed it to study participants during check-in for their primary care visits between May 2017 and May 2018. Participants completed a survey immediately after their visit, which included a question on whether they would be interested in a follow-up telephone interview. Of those who expressed interest, 50 participants each from the adult and pediatric parent cohorts were selected at random for follow-up telephone interviews 8 months (range 3-12 months) post visit. Results Overall, 71.0% (115/162) of adult patients and 71.6% (224/313) of pediatric parents agreed the comic encouraged EHR involvement. African American and Hispanic participants were more likely to ask to see the screen and become involved in EHR use due to the comic (adult P=.01, P=.01; parent P=.02, P=.006, respectively). Lower educational attainment was associated with an increase in parents asking to see the screen and to be involved (ρ=−0.18, P=.003; ρ=−0.19, P Conclusions Our study found that an educational comic may improve patient advocacy for enhanced patient-physician-EHR engagement, with higher impacts on African American and Hispanic patients and patients with low educational attainment.

The relationship between science and art in teaching has enormous potential, which has been historically evidenced and has produced interesting results, such as those presented herein. Our science teaching activities focused on the theme of the five kingdoms of living beings in a class of the 1st year of Elementary School I, combining constructivist perspectives, meaningful learning and playful teaching. The interdisciplinary focus helped in the elaboration of a comic book, which allowed us to verify not only how the assimilation of the theme occurred, but also the promotion of both literacy and scientific education. The teaching methodology was carried out in stages and through qualitative research by participant observation. The proposed theme contributed surprisingly to the classes, as children felt rewarded for the interdisciplinary activities and we could observe that the inclusion of scientific themes for early age students, respecting the specificities of the age group, did not affect adversely their development, on the contrary, enhanced it. La relación entre ciencia y arte en la enseñanza tiene un enorme potencial, históricamente evidenciado, produciendo resultados interesantes, como los que aquí se presentan. Nuestras actividades, dirigidas a la enseñanza de las ciencias, se enfocaron en el tema de los cinco reinos de los seres vivos en una clase de la Educación Primaria, combinando perspectivas constructivistas, aprendizaje significativo y lúdico. El enfoque interdisciplinario ayudó en la elaboración de un cómic, permitiendo verificar cómo se produjo la asimilación del tema, la promoción de la alfabetización en sí y la científica. La metodología de enseñanza se llevó a cabo por etapas y se siguió a través de una investigación cualitativa a través de la observación participante. La temática propuesta aportó de manera sorprendente a las clases, ya que los niños se sintieron contemplados por las actividades interdisciplinarias, y se puede observar que la inclusión de temas científicos desde una edad temprana, respetando las especificidades del grupo de edad de los estudiantes, no cargó su desarrollo, por el contrario, contribuyó a su aumento. A relação ciência e arte no ensino tem enorme potencial historicamente evidenciado produzindo resultados interessantes, como os aqui apresentados. Nossas atividades, voltadas ao ensino de ciências, centraram-se na temática dos cinco reinos dos seres vivos em uma turma do 1º ano do Ensino Fundamental I, aliando perspectivas construtivista, da aprendizagem significativa e da ludicidade. O foco interdisciplinar auxiliou na elaboração de uma história em quadrinhos, permitindo verificar como ocorreram a assimilação do tema, a promoção da alfabetização propriamente dita e a científica. A metodologia de ensino foi realizada em etapas e o seu acompanhamento feito por meio da pesquisa qualitativa pela observação participante. O tema proposto contribuiu surpreendentemente para as aulas, pois as crianças sentiram-se contempladas pelas atividades interdisciplinares, podendo ser observado que a inclusão de temas científicos desde cedo, respeitando as especificidades da faixa etária dos alunos, não onerou o seu desenvolvimento, ao contrário, colaborou para o seu incremento.