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ABSTRACT With the mounting urgency to achieve a sustainable future, it is of paramount importance to provide pre‐service teachers with a robust understanding of de facto. The present study investigated the potential of ChatGPT‐supported educational technologies to enhance the understanding of sustainable development among 20 pre‐service teachers at a university during the 2023–2024 academic year. Over a period of 14 weeks of intervention, participants employed ChatGPT and Web 2.0 tools (Pixton) to create digital comic stories focused on sustainable development goals. The study employed an explanatory sequential mixed‐method design, utilising evaluation forms, semi‐structured interviews, inferential statistics and content analysis. The results revealed significant improvements in sustainability perspectives, awareness and knowledge, despite concerns about productivity, originality and ethical issues. [ABSTRACT FROM AUTHOR]

ABSTRACT Introduction Methods Results Conclusion The Relationships and Sexuality Research Team consists of researchers with learning disabilities who specialise in research on sexual citizenship and use visual and creative research methods. They are collaborating with academics on an innovative, cross‐national, interdisciplinary and co‐produced research project that brings together research teams from Ireland, the United Kingdom and the United States. Together, we gauged how effective this way of working was for use with an international research team.Each of the 10 researchers participated in an interview using graphic narrative to co‐create their story in comic form, uncover the origin stories and motivating elements of our mutual involvement and identify, in a formative way, conditions of equitable participation. Two focus groups followed this to explore perceptions and experiences of this project, one with the researchers with learning disabilities and one with the non‐disabled academics and practitioner‐researchers.Many benefits were identified. This approach fosters learning new perspectives and innovative research methods, leading to meaningful and equitable research outcomes. However, we identified various barriers relating to power and communication due to professional jargon, cultural terminology, speech and articulation differences, accents and online communication. This led us to devise several strategies to implement to work towards more inclusive research.For research teams with diverse teams, there needs to be the opportunity to build trust and find common ground. Reflecting on the process and making changes early on is crucial, as well as focusing on inclusion and equity rather than agendas. [ABSTRACT FROM AUTHOR]

Scholars know little of the inner lives of past children. Discovering a large collection of adolescent art, now older than 80 years old, seems like an archival treasure. James "Jimmy" Kugler (1932–1969) of Lexington, Nebraska, drew more than 120 sheets of comic strips, including retelling the Pacific theater of World War II as a violent confrontation of humanoid "Frogs" and "Toads." The rest of the collection are gangster horror stories and violently humorous, single-panel drawings. What historical context helps make sense of such art? My father died over 50 years ago, and few if any of his classmates and loved ones are still alive. I describe searching through local newspapers, telephone directories, contemporary American propaganda and comic books, movies, just about anything that my father might have read, watched or seen. I treat the project as a microhistory of adolescent rebellion inspired by wartime propaganda and popular culture. What we may want from the past, I argue, contrasts what the past cannot give us. I hope to depict the necessity, and limits, of historical explanation and speculation. [ABSTRACT FROM AUTHOR]

In this essay, I discuss the transformation of Anne Frank's diary into various forms of media, particularly focusing on comics and graphic novels as transnational lieu de mémoire. The research is based on a private Anne Frank comic collection of more than 40 publications collected from all around the world. I describe how the adaptation of Anne Frank's story in comics has contributed to shaping the memory culture of the Holocaust and the Second World War on a global scale. I emphasize the significance of Anne Frank as a historical figure and the widespread dissemination of her diary, which has been translated into numerous languages and recognized as a UNESCO world heritage. By following the comic productions of the diary around the world, I explore the role of popular history in gendering victimhood and sacrifice, particularly in the context of the 1950s narrative surrounding Anne Frank and the national memory of the Netherlands. Although the diary was widely present, the comic productions as exemplary access to pop culture reveal an underrepresentation of the Jewish heritage of the Franks and the persecution of Jews as a crime beyond national borders. Furthermore, the comics represent the international success of Anne Frank's diary, portraying themes of hope, freedom, and optimism, as well as its portrayal as a coming-of-age and first-love story. The comics show how these topics, and Anne's life and suffering, play out in different popular and memory cultures. [ABSTRACT FROM AUTHOR]

This essay considers the contemporary comic book's potential to generate an ecological consciousness that reflects on the many forms of heteropatriarchal oppression at the same time that it presents the reading experiences as a way of escaping them. I examine how Limeño artist Rodrigo La Hoz elaborates a queer urban ecology in his 2010 comic book Islas to critique and subvert Lima's normativity. Situating his work in the broader context of Peruvian and Latin American comics reveals it as a critical intervention about the failed attempts to humanize and normativize cities and a call to the creative possibilities of those failures. [ABSTRACT FROM AUTHOR]

What future aspirations have informed the incentives for producing children's literature in Muslim minority communities? What social dynamics and theological debates have accompanied its visions of Islamic futures? What narrative tropes, visual-aesthetics norms and literary genres has it appropriated, while maturing into an innovative religious-pedagogic-literary expression? Probing such questions, this article challenges distinctions between "Islamic" and "secular" to build a concept of Islamically minded children's literature. It follows the diversification of the literature as a globalised child cultural format, emulating genres such as picture books, fairy tales, detective stories, romantic fiction, autobiographies, handbooks, graphic novels and comics. As cultural texts, Islamically minded children's literature has developed through increasingly confident, open-ended and dialogic literary negotiations of the socio-cultural complexities of Muslim minority life vis-à-vis the formative pasts of sacred history, theology and textual canons – all under the pedagogical sway of envisioning Islam and Muslim futures, in minority communities and beyond. [ABSTRACT FROM AUTHOR]

The article explores the character of Pa in Laura Ingalls Wilder's Little House series, focusing on biblical allusions in "On the Banks of Plum Creek" to critique Pa's flaws and highlight Ma's heroic qualities. Scholars have criticized Pa for his racism, recklessness, and failures as a father and husband, contrasting with the uncritical admiration he receives from readers. The article argues that Wilder's literary critique of Pa through biblical allusions reveals his shortcomings and emphasizes Ma's strength and resilience in the face of adversity. [Extracted from the article]

The collision of opera with Iranian musical culture can be considered one of the most important points of intersection between Western and Iranian culture, which took place under the influence of certain political and social developments in Iran. After the Persian Constitutional Revolution, Iran was affected by political, social and cultural changes. Countless changes were made to help Iran's entry into the modern world, in which elites and intellectuals played a significant role. They insisted on bringing the modern form of theatre to the culture of Iran. This is how operetta first entered Iran under the influence of immigrants from northern European countries. The first operettas of the constitutional era were created under the influence of the Caucasian operettas. During several decades of activity in the field of operetta production in Iran, and with the provision of academic education in the field of Western singing in the music conservatory, conditions were created for the production of the first operas in Iran. The coexistence of music and drama was praised by Iranians from the very beginning and prompted many playwrights to create operettas. Since the first operettas in Iran were created with hints of Iranian music and culture, some experts did not consider it correct to use the word operetta for these performances. This essay, based on the theory of glocalization and relying on the descriptive-analytical method based on library documents, has listed some of the effects of Western operas and operettas on the post-constitutional operettas, with the study of three operettas, namely Rastakhiz'e Shahriaran'e Iran, Parichehr and Parizad and finally Elahe. These operetta artists included musical profiles other than Iranian music in their works by using descriptions under the title of "European song and ballet" and using "Western Instruments" and "the songs close to Caucasian and Turkish music", and tried to step closer to the Western operettas. In such a situation, the juxtaposition of Western operetta and Iranian musical culture had effects on each other, which were examined in the article in three stages: exposure, cultural influence, and acculturation. At first, Iranians had a cultural exposure with Western opera by hearing, reading and seeing it. Using the name "operetta" and influences from Western music and song, they advanced to the stage of cultural influence. And since the presence of operetta in Iran did not pose any threat to Iranian music, Iranians did not take a step towards acculturation. As for the results of this article, we can mention the process of producing a kind of glocalized operetta in Iran. Iranians took the title of operetta as one of the successful globalized examples. They combined this globalized musical show with Iranian classical music and singing. Sometimes they used humorous stories appropriate to the society of that time and sometimes they used epic myths and stories from Iranian classical poetry and created a new type of operetta in Iran. It was under these conditions that the glocal type of Persian operettas was born, influenced by the global type of Western operettas. [ABSTRACT FROM AUTHOR]

This study aims to explore the unique dimensions of social reality in domestic sitcoms, one of the fundamental dynamics of television narrative, from a Zygmunt Bauman sociological perspective. According to Bauman, causal relationships and proximities are inherent characteristics of human existence. At the core of love lies uncertainty. What makes love temporary is the ideal intention that it cannot exist without it. The ultimate goal of love for each individual is the happiness of its object. The perfect model of imitating love is not to love in order to acquire something one has not had before, to give up the richness of one's own life, security, and sense of integrity. All loves should be like this. In this study, the Turkish TV series "Avrupa Yakası," which was broadcast on ATV channel between 2004-2009, is examined. The series narrates the humorous story of the Sütçüoğlu family living in Nişantaşı and the employees of Avrupa Yakası. In this study, utilizing a sociological analysis method, the loves, emotional events, and gender relationships in the series are examined from Bauman's perspective. Problems such as temporary relationships among characters in the liquid modern life of the modern era, distancing couples, the depreciation of love, and the impermanence of emotions are analyzed and interpreted in light of Bauman's views on love. As a result, it has been observed that the series reflects the social and cultural dynamics of the phenomenon of love in society and likely tells the future direction of love in contemporary society. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

This paper presents a learning unit for teaching argumentative writing in English as a foreign language in secondary school. The learning unit follows a process-genre approach based on draft-feedback-revision sequences and genre-specific instruction. For the learning unit, a comic story was created in order to mitigate the inherent difficulty of the genre and to promote motivation. The learning unit was implemented in two intervention studies within a project funded by the German Research Foundation (DFG) that investigated the effects of different kinds of formative feedback on adolescent students’ argumentative writing competence. In the article, we present the learning unit’s goals, design principles, and contents. [ABSTRACT FROM AUTHOR]

The British Yiddish writer Katie Brown wrote humorous stories and sketches for the London Yiddish newspapers Di post (The Post) in the 1930s and Di tsayt (The Times) in the 1940s. The stories, set in London’s Jewish East End, concern the day-to-day effects of immigration, poverty, and Jewish culture in Britain. After the Second World War, in a bombed-out East End where Jewish migration to the suburbs was accelerating, Brown did not write entirely new sketches, but rather edited versions of her prewar stories. Looking at the earlier and later stories together, we get a sense of the changes happening to London’s Jewish community: the decline of Jewish culture and religious practice, the changing relationship with the Eastern European homeland, and the decline of the Yiddish language. Through close reading and analysis, this article gives historical background to Brown and the social, cultural, and political context of her stories. It situates Brown as the only female journalist writing regularly for the press and identifies her unique perspective in making poignant interventions into Jewish debates of the day through stories of small incidents in family life. She raises questions around how to maintain a Jewish identity in England and visibility as a Jew in a Christian world, and traces change through two decades by describing the tension between the immigrant generation and their children. Using a range of neglected source material in Yiddish, this article throws new light on the Jewish East End in its twilight years. [ABSTRACT FROM AUTHOR]

Childhood studies' long concern with elevating children's perspectives has focused attention on "voice" rather than researcher-participant dialogue, precluding critical attention to the normative adult researcher voice. This article investigates how cocreating comics with children about the COVID-19 pandemic engaged a different researcher voice and produced different representations of pandemic childhoods. Making comics with children aged 7-11, I asked: What does it mean for researchers to speak in speech? I suggest that shifting researcher voices can help researchers recognize the conventions that allow adults to colonize spoken conversation with children, denaturalizing adult voice and allowing us to tell more than one story. [ABSTRACT FROM AUTHOR]

Graham Greene's novella Loser Takes All has been unfairly ignored in the critical literature. Rather than the mere frivolity it is taken to be, it is a humorous examination of some serious theological issues. By means of an inversion of Pascal's Great Wager, Greene makes the case that attempts to rationalize the mystery that is the object of our faith will cheapen and diminish that faith. In the course of so doing, he alludes to and has fun with his earlier works, particularly Brighton Rock , and critiques the inversion of the Wager by Albert Camus. He shows the influence of Miguel de Unamuno, who years later would influence Greene's Monsignor Quixote. Greene also invokes a poem by Charles Baudelaire, which Greene has quoted in many works, that the possibility of damnation adds meaning to life, though it may drift into what von Balthasar called Greene's indulgence of the mystique of sin. [ABSTRACT FROM AUTHOR]

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

Bringing together comics analysis, autobiography studies, and narrative theory, this article aims to analyse different ways in which graphic life narratives expose the illusion of a stable and unified autobiographical subject. The first part focuses on the perceived split between the present and past self and its manifestation in autobiographical discourse as the narrating-I and narrated-I, exploring different methods autobiographical comics employ to foreground the fragmented self and to favour the perspective of the past or of the present. The next part analyses the interplay between the narrating-I and the narrated-I in a short comic story from Aline Kominsky Crumb's Need More Love (2007). Not only does this story challenge the divide between the two positions of the self, it also illustrates the view of identity as a performative construct. The final part of this article offers an interpretation of Katie Green's Lighter than My Shadow (2013), focusing on the way this graphic memoir enacts narrative self-construction as an interpretative and meaning-making process that can facilitate healing. While this process typically involves finding coherence and continuity in the narrated experience, the memoir also reveals that such coherence-building has its limitations. [ABSTRACT FROM AUTHOR]

There is an increasing use of graphic novels and comics (GnCs) in medical education, especially—but not only—to provide students with a vicarious learning experience in some areas of clinical medicine (palliative care, difficult communication, and rare diseases). This scoping review aimed to answer questions about how GnCs are used, the theories underlying their use, and the learning outcomes. Twenty-nine articles were selected from bibliographic databases and analyzed. A thematic analysis revealed four many themes: learning outcomes, students' reactions, theories and methods, and use of GnCs as vicarious learning. GnCs can support the achievement of cognitive outcomes, as well as soft skills and professionalism. The reactions were engagement and amusement, but drawing comics was also perceived as a protected space to express concerns. GnCs proved to be a possible way to provide a vicarious experience for learning. We found two classes of theories on the use of GnCs: psychological theories based on the dual concurrent coding of text and images and semiotics theories on the interpretation of signs. All the studies but two were single arm and observational, quantitative, qualitative, or mixed. These results suggest that further high-quality research on the use of GnC in medical training is worthwhile. [ABSTRACT FROM AUTHOR]

In this article, a native of Appalachia who has worked in secondary and post-secondary literacy education examines the ways that comics depict life in the region. Particular attention is given to the exploration of the paranormal found in the work of Brian Level, and Level serves as a first-hand voice in this researched work. Additionally, the author explores comics that focus the Appalachian region in terms of masculinity, roles of women, and domestic life, alongside other social norms. In sum, the author wishes to push back on limited and problematic visions of the region, and to comment on the ways in which Appalachian life is rich, diverse, and profligate with literacy practices. The strength of female characters, mysticism in the region, and dialectical distinctions all emerge as patterns from the author’s reading across visual literature, and the beauty of the region finds representation as well as juxtaposition with imagery in counterpoint through comics work. [ABSTRACT FROM AUTHOR]

This article is dedicated to discussing how the possibility of producing one's own stories and narrating one's experiences enables the perception of the plurality of experiences of transgender persons. Focusing on the graphic memoir scene, we evaluate the maturity of this medium to, in sequence, present a brief analysis of Monstrans: experiencing horrormones, autobiographical graphic novel by Brazilian comic artist Lino Arruda, addressing both the different ways in which the author visually constructs his self-representation and the way he cuts and structures moments of his life. [ABSTRACT FROM AUTHOR]

Response to a plethora of historical forces that devalue comics, including hostile cataloging standards, led to the creation of the Best practices for cataloging comics and graphic novels using RDA and MARC21. The guide supports comics cataloging using current standards, recognizing the great diversity in this sequential art medium, as well as needs particular to public, academic and special libraries. With this, and related current and future projects, the Graphic Novels and Comics Round Table (GNCRT) hopes to promote equity in comics cataloging, and improve patron access to comics. [ABSTRACT FROM AUTHOR]