Theory of Change Review: A Report Commissioned by Comic Relief

Comic Relief does three things. It raises much needed cash, it then allocates that cash to projects in the United States and in the poorest countries in the world, and it raises awareness of the issues it feels strongly about. This report is one of a series of Comic Relief commissioned learning reports. Some learning reports aim to bring the impact of and learning from some of the work Comic Relief has funded in helping change lives to a wider audience. Other reports aim to draw together learning on key issues from a range of stakeholders to inform Comic Relief's thinking and promote debate in the sector. This report aims to draw together Comic Relief staff and partners' experiences in using theory of change; to identify others in development that are using theory of change and analyse their different approaches and experience; and to capture learning from everyone to promote debate, and to help inform what agencies using or advocating for the use of theory of change do next. This report was commissioned by Comic Relief and written by Cathy James, an independent consultant. The views expressed in this report are those of the author and do not necessarily represent the views of Comic Relief

The Illocutionary Acts of Luffy\u27s Utterances to His Addressees in Comic One Piece

One aim of this article is to show through a concrete example how illocutionary acts used in One Piece comic. The illustrative example is taken from the utterances of One Piece comic. Central to the analysis proper form of utterances in One Piece comic that contain of illocutionary acts; i.e. representative, directive, commissive, expressive, declarative. 90 utterances were interpreted by actor, and it was found that the use of iilocutionary acts

Comic Impossibilities

Argues for the controversial and initially counterintuitive thesis that theatrical magic (that is, the performance of conjuring tricks) is a form of standup comedy

Book Review: Louis Riel: A Comic-Strip Biography - Representing Canadian History through Graphic Art

This paper explores how graphic art, specifically in the comic-strip form, can represent events of the past and engage readers in historical narratives. Chester Brown’s Louis Riel: A Comic-Strip Biography tells history in a unique way by depicting heightened moments of drama in Riel’s life during the Red River Rebellion. Through vivid illustrations, Brown involves readers in the imaginative process and helps readers uncover Riel’s character and the choices he made during the series of events before his hanging for high treason in 1885. This paper contains original interpretations of Brown’s comic-strip biography, coupled with scholars’ opinions and critical analysis of Brown’s work. Brown’s comic-strip biography reveals how images in graphic novels can uniquely represent historical events and engage readers in historical narratives. The potential of graphic art at successfully representing the imagined communities of Canada should not be underestimated

When Poetry and Humor Get Hitched

Through humor, poetry explores the imagination and the mind just as it does through other means of expression. Comic poetry finds the truth in the illogical and in the absurd; it finds what unsettles us through its use of surprise; it finds delight and play in the unknown and uncertain. By its very nature, comic poetry clings to the edges of what we know, so pinpointing its characteristics is tricky. But the shared characteristic of all comic poetry is the permission the poet grants herself to disobey boundaries. The poet chooses not to fit her works within the reader’s expectations, the reader’s sense of logic, or the reader’s definitions of things in the world. Some of the boundaries crossed come out of breaking out of poetic custom. Many poems break boundaries of thought and expression; a comic poet uses one or more of these techniques to bring her funny poems to profound places. The result is always the exploration of unexplored or underexplored territory

Transgressive bodies in the work of Julie Doucet, Fabrice Neaud and Jean-Christophe Menu: towards a theory of the 'autobioBD'

As the comic book, and more precisely its exceptionally francophone doppelganger, la bande dessinée, begins to fulfil its potential as 'the Ninth Art', the range of styles, reading contexts, and genres which constitute the form as a signifying practice has consequently expanded. Consideration of 'what a comic is', such as is found in the works of Thierry Groensteen and Benoît Peeters1 needs therefore to be complemented by a range of subsidiary questions addressing not only 'what kinds of comics there are', but, as an integral part of those inquiries, how different comic genres signify, and how the enunciative and representational functions deployed by each might be conceptualised. This paper considers the work of three Francophone comic artists, Fabrice Neaud and Jean-Christophe Menu, both French, and the Québecoise Julie Doucet, all of whom could be considered as proponents of the genre of BD we will call 'autobiocomics'. It will be argued that Neaud and Doucet, through their exploration of ontologies of presence and self-representation, work against the visual order of the phallocentric and heteronormative, an order which Menu appears to replicate but ultimately calls into question

Twice-Two: Hegel’s Comic Redoubling of Being and Nothing

Following Freud’s analysis of the fragile line between the uncanny double and its comic redoubling, I identify the doubling of the double found in critical moments of Hegelian dialectic as producing a kind of comic effect. It almost goes without saying that two provides greater pleasure than one, the loneliest number. Many also find two to be preferable to three, the tired trope of dialectic as a teleological waltz. Two seems to offer lightness, relieving one from her loneliness and lacking the complications of a third who comes in between. And yet, we learn through Marx and Freud that the double (even the double of tragedy and farce) borders on something closer to horror than comedy. In the following, I would like to explore why four is funnier than two in my staging of dialectic as the doubling of the double or, to borrow a movie title from Laurel and Hardy, “Twice Two” (Roach et al. 1933a). I will begin by exploring the formulations of the double in the form of a pair of opposites and in the form of a pair of twins. The literary tropes of the double as the odd couple, on one side, and the twins, on the other, appear to serve very different narrative functions, which incite different kinds of affective responses from the audience. However, the form of the opposed double sometimes conceals the realization that the empty or fragmented content of the first is only reduplicated in the second. The “straight man” of the odd couple cannot see himself in his counterpart “the comic.” The redoubling of the double, however, forces not only the audience, but the original double on stage to confront what was already present, but unrealized, from the beginning. To illustrate this redoubling of the double within the opening of Hegel’s Science of Logic, I consider two short films by Laurel and Hardy in which the comic duo redoubles itself. The formula (2 x 2) produces a comic excess through the dialectical redoubling of there uncanny double

The Official Student Newspaper of UAS

Happy 420, Drive Safely / Summertime Radness -- Featured Student Poetry -- Remembering Sara Minton / Tidal Echoes 2k15 -- SAAM -- Calendar & Comic

Lovers, Enemies, and Friends: The Complex and Coded Early History of Lesbian Comic Strip Characters

This article seeks to recuperate three previously unexamined early newspaper comic strip characters that could lay the groundwork for queer comic studies. The titular characters in Lucy and Sophie Say Goodbye (1905), Sanjak in Terry and the Pirates (1939) by Milton Caniff, and Hank O’Hair in Brenda Starr, Reporter (1940) by Dale Messick are analyzed through close readings, supporting archival material, and interviews. The article also theorizes the identification of the creator of Lucy and Sophie Say Goodbye as George O. Frink, and offers an overview of LGBTQ comics holdings at institutions in North America.Embargoed for 12 months