Algunas novelas gráficas sobre Frida Kahlo. De <i>Flâneuse</i> al <i>kahloismo</i>

Graphic novels have powerful language that can engage students by showing reality through multimodal arts and illustrations that a monolithic text may not do. Drawing on the post-structural theory of Deleuze and Guattrai (1987), this chapter provides ideas on using graphic novels in class and highlights the importance of rhizomatic literacy for adolescent learners with a special focus on multilingual students and English Learners (ELs). Graphic novels can cultivate multiliteracy. Using two non-fiction novels, The Harlem Hellfighters (Brooks, 2014) and Darkroom: A Memoir in Black and White (Weaver, 2012), this chapter shows how such multimodal texts can be used effectively for teaching history and culture as well as language to young learners in diverse contexts. Teachers may encourage students to read these books and write about their personal lives and experiences. It has been argued that these activities will enable students to positively construct their identities while enhancing their self-image and self-esteem in multicultural and multilingual societies.

The oeuvre of the graphic novel author Guy Delisle provides a unique window into the relationship between work and personal life in graphic novel creation and in cultural work more generally. In two books set in two non-Western countries, Chroniques de Jerusalem (2011) and Chroniques Birmanes (2007), Delisle considers his experiences as an expat father and graphic novelist, while at the same time depicting daily life and political realities in fraught locations. In another series, Le Guide du Mauvais Pere (2013–15), he focuses more specifically on fatherhood.

ABSTRACTThis article describes the development of two graphic novels as a new approach to mental health communication and coping strategies for the Navy and Marine Corps. The novels are intended to capture the attention of the younger target audience and provide vital teaching messages to better prepare personnel for deployment to combat zones. The novels were developed based on embedding the principles of combat and operational stress control (COSC) into realistic and relatable characters, stories, and images. Approaches used for development included (a) basing storylines on real-life service members and the situations they face in combat and their personal lives; (b) partnering with COSC experts to embed teaching points; (c) ensuring technical accuracy through research and target audience reviews of the storyboard and artwork; (d) developing characters that are representative of the target audience, with varied jobs, ages, backgrounds, and professional concerns; and (e) designing artwork in a manner sensitive to training objectives and the psychological effects on readers. Because technical accuracy, realism, and sensitivity were noted as essential components of an effective graphic novel tool, focus-group research and review of author drafts by the target audience and technical experts are strongly recommended.

In this interview, Sean Michael Wilson delves into his multifaceted career as a graphic novel writer, revealing the intricacies of his creative process, the challenges of adapting complex subjects into visual narratives, and the evolving role of graphic novels in cultural discourse. With over 40 projects under his belt, Wilson shares his approach to beginning new works, whether they stem from original ideas or are adaptations of historical events and existing literature. He discusses the balance between authenticity and readability, the importance of research, and the collaborative dynamic between writer and artist in bringing graphic novels to life. Wilson also touches on the broader implications of graphic novels in education and social commentary, the economic realities of the industry, and the impact of digital platforms on publishing. His experiences across different cultures, particularly between the West and Japan, provide insight into the global reception of his work. Throughout the interview, Wilson emphasises the power of graphic novels as a medium for storytelling, education, and political engagement.

Graphic novels are an incredibly popular format in all types of libraries. Popular movies such as Batman, Spider-Man, V for Vendetta, and Sin City are all based on graphic novels or comics and underscore the growing appreciation for the medium. Readers are leading the way, demanding these titles and teaching us the joys of the graphic form. Yet despite our patrons' call for these items in our collections, it is often hard to know what to buy, what is useful and popular in a sea of seemingly odd titles and collections, and how to approach the question of suitability and classification. An academic librarian undertaking a collection-building effort at her university wrote this Alert Collector column. fact that academic librarians are paying attention to the form simply strengthens the argument that this particular type of reading experience has far exceeded its day as a boyhood pastime (if indeed that perception was ever true). Anne Behler is a reference librarian at Pennsylvania State University who works in the Maps and Gateway Libraries specifically, and in the instructional programs department (which runs the services of the library that are geared primarily toward meeting undergraduate and first-time user needs). She is the selector in charge of contemporary topics, which led her to developing Penn State's graphic novel collection. Demonstrating her commitment to student outreach, she is the co-chair of the libraries' annual open house, an event that welcomes more than four thousand students to the libraries each year, and is involved in the library's pilot effort at providing remote reference services in the university's student union building (the HUB). She is an active member of the ALA and the Reference and User Services Association (RUSA), serving on the Reference Services Section's Education and Professional Development for Reference Committee, as well as serving as intern for the RUSA Thomson Gale Award for Excellence in Reference and Adult Services Committee.--Editor. graphic novel format, like all forms of narrative, includes many different types of stories. For example, the superhero story is intriguingly told in Mark Waid's Kingdom Come. In this graphic novel, a slew of well-known DC Comic superheroes, such as Superman, Wonder Woman, and Batman, confront the challenges of their new generation, and not so moral, successors. teen-interest novel, those sly and moody books that explore the angst of approaching adulthood, finds particularly rich expression in the graphic format, as exemplified by Ghost World by Daniel Clowes. Satire is also a common form, best represented by Robert Crumb's work. Takehiko Inoue's Vagabond is an excellent introduction to manga, which is an extension of Japanese anime and an art form in and of itself. These works often have strong appeal with teenage girls, proving yet again that stereotypes of the format are pointless. Graphic works include nonfiction as well and cover such topics as true crime, history, science, biography, and memoir. A good example of this is the stellar work Mom's Cancer by Brian Fies, which poignantly captures the story of his mother's battle with lung cancer. Finally, adaptations such as Jerry Bingham's Beowulf take well-known stories and recreate them in a graphic format, making accessible to some readers works that would otherwise be off-putting. This rich range of reading choices not only answers our patrons' calls for titles, it adds a richness and depth to our collections and helps encourage a love of reading. graphic novel represents a format that has come into its own in the last three decades. In the words of Will Eisner, the man credited with writing the first graphic novel and coining the term for the format, The manner of [comics] creation has evolved from a work written and drawn by a single individual to a wedding between writer and artist. This has established a creative process that employs the skills of an accomplished writer and an artist of great sophistication. …

Veillance is Steve Mann’s term for the act of mutual watching which has crept into our postmodern life and has triggered people’s concern over the widespread invasion of their personal lives. Though the different forms and practices of veillance, like surveillance, dataveillance, sousveillance, counterveillance, equiveillance, autoveillance, and dreamveillance (a term I coined), are hard to describe, graphic novels can provide stimulating points of reference for exploring them. The (non-)verbal pictorials they offer engage the readers/viewers, sharpen their understanding of the true essence of veillance and help them reflect on their own situation. The growth of veillance technologies and practices and the sur/sous/veillance nexus of mutual watching is the focus of Pratap Chatterjee and Khalil Bendib’s Verax: The True History of Whistleblowers, Drone Warfare, and Mass Surveillance and Mostafa Youssef’s Āyālw: Haql ālāḥlām (Ialu: The Field of Dreams), two black and white graphic novels from two different countries: USA and Egypt. Engaging with the works of Steven Mann and David Lyon, and other writers concerned with surveillance studies, my article considers the multiple veillance practices evident within Verax (a true story) and Ialu (a work of fantasy), and the constant sousveillant’s attempts to defy the surveillant gaze of power.

Humanities courses in medical college settings encourage students to consider perspectives often unexamined in professional texts and discussions. Fictional lives found in literature, film, and/or art invite care providers to think about their own-and their patients'-unspoken feelings, fears, and doubts within the context of personal lives and sensibilities. Medical students, in particular, engaged in the “everydayness” of professional training-deadlines, memorizations, isolation from family and friends, competition-have become adept at escaping or ignoring the angst that is part of suffering and loss. This article illustrates the value of interdisciplinary approaches to patient care by exploring visual articulations of suffering by Frida Kahlo, an artist who speaks eloquently about effects of traumatic injury using nonscientific tools.

Abstract. The first part of this article gives an overview of influential comics and graphic novels on paleontological themes from the last 12 decades. Through different forms of representation and narration, both clichés and the latest findings from paleontological research are presented in comics in an entertaining way for a broad audience. As a result, comics are often chroniclers of 20th century scientific history and contemporary paleoart. The second part of this article deals with the development of the bilingual graphic novel EUROPASAURUS – Life on Jurassic Islands, which communicates knowledge from universities and museums to the public. This non-verbal comic presents the results of a paleontological research project on a Late Jurassic terrestrial biota from northern Germany in both a scientifically accurate and an easily understandable way, based on the way of life of various organisms and their habitats. Insights into the creative process, the perception of the book by the public, and ideas on how to raise public awareness of such a project are discussed.

Life in a cosmopolitan space has the capacity to affect not only the outer but also the inner spheres of an individual’s life, i.e. professional development, personal and familial life and psychosocial aspects are a few of them. Kari (2010) by Amruta Patil is one such work in the mode of graphic novel that depicts life in a metropolitan city of Mumbai through the eyes of the eponymous character Kari. However, it is not only the exploration of the city, but also an investigation and constant search of identity within this strange place where Kari has dropped in, to make her career. With her astounding graphic style, Patil brings up various issues in her debut work, including identity crisis. The present paper intends to explore the theme of identity with reference to both the said text by Amruta Patil and the form of the text, that is, graphic novels.

In this article, we, colegas/colleagues of color, explore the ways in which the literary and artistic contributions of Gloria Anzaldúa, Octavia Butler, and Frida Kahlo have inspired, nurtured, and profoundly influenced our personal and professional lives as academics. We underscore the importance of mentoring for women of color in academe and educational leadership, particularly the psychosocial functions associated with informal mentoring. Further, we discuss how the lives and contributions of our “mentors” impacted our scholarly journeys, framed by third-wave and decolonial woman-of-color-feminism. In this article, we offer an alternative consideration for women of color in search of suitable mentors, concludes by sharing the lessons we learned from the artists. Thinking about mentoring from the position of alterity adds to the general mentoring discourse and serves to inspire women to consider alternatives when seeking mentorship to reach academic and professional goals.

The foundation of social relations is a symbolic exchange of deeds and benefits. Formally, the universal equivalent in modern society is money, for which almost everything can be exchanged. At the same time, money is only a tool with which a person tries to improve his life. Purpose. In fact, the fundamental equivalent in social exchange is a human's life time as a value that determines his worldview and actions. Methodology. As a starting point in this work, the theory of rational choice is used, postulating that a human minimizes costs and strives for maximum benefit for himself. In addition, the theory of social exchange is applied, which expresses, first of all, the reciprocity of people's actions (according to the formula “you to me - I to you”). The lifetime is considered as an equivalent in this symbolic exchange. Results. Subjective assessment of life time determines human behavior, which finds expression, in fact, in any social relation. For example, the period of execution of powers by elected officials and authorities is focused on the medium term, taking into account the need to adjust the direction of development of society quickly enough so that the voter could have time to feel positive changes in his life. When setting the retirement age, the average life expectancy of a person is taken into account, the increase of which determines the increase in the specified age. An increase in the standard of living, an increase in the subjective usefulness of a person's life time stimulates a decrease in the normal length of the working day. Since the subjective usefulness of life time among different segments of the population sometimes differs significantly, deviant behavior is observed, including the commission of crimes caused by a low estimate of one's own life time, lack of prospects in the future. Conclusion. Any equivalents in the system of social exchange, being culturally conditioned, represent a symbolic space that can be controlled. A human's lifetime is also subject to similar changes. It is possible to devalue time or vice versa to increase its value by lowering or increasing the standard of living, its quality, the "cost" of life, which will naturally affect human behavior. In particular, the increase in the welfare of society, the standard of living increases the extreme harmfulness, the repressiveness of criminal punishment with its invariable formal meaning, which ultimately stimulates the mitigation of sanctions.

This chapter describes the Peking opera star, both as a national celebrity and as a character on the stage. As stars and their images circulated throughout the nation, they became subjected to endless gossip and scrutiny, publicity that manifested the close interconnection between a growing commercial investment and the public's increasing emotional investment in these national figures. The attention paid to stars' personal lives and political commitments in the tabloid press not only informs people of the networks of patronage and influence to which stars were indebted; it also intersects with an increasing emphasis on the actor's ability to convey the deep emotional interiority of characters onstage.

Question: You began working on James Joyce. Portrait of a Dubliner about five years ago. Did it ever cross your mind that the book would have such a huge impact? Answer: No, I really had no idea. feels like a lottery win. When I began the artwork for James Joyce. Portrait of a Dubliner, I wasn't even living in France yet, I was living here in Asturias, in Langreo. I had just done Cafe Budapest, which is about Palestine, but I did it at home--I used the internet and didn't go anywhere. James Joyce. Portrait of a Dubliner was a step further. In a way, the book started out as a test to make me get around. It was quite easy to travel to Ireland and across Europe, so I decided to try and see if I was able to create a sort of travel sketchbook, if it was important to have a first-hand experience of the places you want to put in a book. It came out well, but it could have gone very wrong. As an author, every time you create a book, you expect something to happen, you're hopeful, you're eager to reach readers. Sometimes you do and sometimes you don't, you can't really explain why some books do well and others don't. It's the same with awards--I could have well not won the National Comic Award and James Joyce. Portrait of a Dubliner would still be the same book. However, then it wouldn't have reached so many readers, the Niemeyer Center wouldn't have organized the exhibition, it wouldn't have gotten this far. I don't know, maybe the success of the book is as much a result of chance as of the creative process. Q: I would dare say James Joyce. Portrait of a Dubliner is a bio-comic. How would you describe La ruta Joyce? And Pasos encontrados? A: Look, as graphic novels are so popular now, James Joyce. Portrait of a Dubliner has sometimes been described as a graphic They said, This is not a novel, but a biography, so it must be a graphic biography. La ruta Joyce is a hybrid book. It has a bit of a travel sketchbook. Still, it is not a proper travel sketchbook because the drawings were not made in situ, but from notes, memories, references... I'd say it's more like a travel guide than a travel sketchbook--a travel guide through four cities from the perspective of James Joyce and the creative process behind James Joyce. Portrait of a Dubliner. Pasos encontrados works as a little journey in time and in space. In time because the exhibition covers most of my career as an artist, and in space because it takes on James Joyce. Portrait of a Dubliner and La ruta Joyce--that's why we have included these four cities, that's why the exhibition is divided into four sections. Q: James Joyce is rather unlikely to come up when one thinks of a contemporary writer whose life seems ready-made for fiction. Why did you choose to do a graphic novel on him? I was wondering if you may have drawn some inspiration from David Zane Mairowitz and Robert Crumb's biography of Franz Kafka, which was first published in France in 2007. A: No, I didn't. I saw it later. The truth is that James Joyce. Portrait of a Dubliner wasn't modeled on any biography, at least not in comic book format. I did rely on Ellmann's book, (1) which is a very dense, detailed biography, but also quite peculiar and very human. I laughed a lot reading it; it has so many moments of comic absurdity. Certainly there are many authors who had a life of adventure, like Ernest Hemingway. I've been told all sorts of things, that I should do a book about Miguel de Unamuno, about this, about that. However, I like James Joyce because he is a free spirit and a paragon of creativity and artistic generosity. As a person he was rather selfish; however, as an artist he was very generous, he devoted practically all his life and energy--even sacrificed his health--to creating for others. Also important are Irish culture, so literary and yet so oral, and the city of Dublin, which provides a fabulous setting for any story, written or drawn. …

The article is devoted to onomatopoeia as a means of expressiveness in a graphic novel, to be precise, to the peculiarities of the translation of onomatopoeic words from French into Ukrainian. The purpose of the study is to find out the characteristic traits of onomatopoeia in a graphic novel and analyze its translation strategies, compiling a mini-dictionary of onomatopoeias (language pair French — Ukrainian). In the course of the research, it was found that the graphic novel relies on a purely visual and textual component. It is the visual accompaniment of colors, text and drawing style that helps to understand how to perceive onomatopoeia in context. Such an artistic tool as a speech bubble is also responsible for conveying the meaning of onomatopoeia, so the shape, size, and style of letters must be taken into account during interpretation. When working on the translation of onomatopoeia in graphic novels, it is necessary to rely on general linguistic knowledge, analyzing the type of onomatopoeia by origin (human sounds, animal sounds, nature sounds, sounds of objects) and the meaning of formative onomatopes for a more effective selection of analogues. At the same time, the process of translation is primarily a creative process, so it is impossible to offer a specific model of work on the text. Having studied the ways of translating onomatopoeia in a number of comics about Tintin (Hergé) and in “Persepolis” (Marjan Satrapi), we came to the conclusion that the translators used the following strategies: transcription / transliteration; partial adaptation (replacement of one or two letters); complete replacement of the onomatopoeic word with a word specific to the Ukrainian language; full replacement of the word with partial replacement of the meaning; replacing the onomatopoeia with the root of the corresponding verb. Common in translation practice is the addition and removal of certain elements (onomatopoeia included), which is generally not approved, but is not a drawback provided that the author’s intention is followed. Often the translator has to combine strategies to achieve an accurate and expressive result.

Harvey Kurtzman: The Man Who Created Mad and Revolutionized Humor in America