Graphic Drama: Reading Shakespeare in the Comics Medium

This project adopts a formalist method of literary analysis to approach the modern genre of Shakespearean comic book adaptations. These texts have as yet received little attention from the academy, despite their sophisticated engagement with problems of visualizing the transition from stage to comics page, as well as their capacity for making original contributions to the interpretation of Shakespearean drama. The formalist method that this thesis employs is derived from the foundational work of comics theorists Will Eisner and Scott McCloud, combined with an understanding of Shakespearean language and stage conventions. Once this method is developed and explained, the dissertation uses it in a series of readings demonstrating the ability of Shakespearean comic books to emulate and elaborate on early modern staging practices, engage sensitively and imaginatively with Shakespeare’ literary language, and actually contribute to interpretive scholarly discussion of Shakespearean drama. Although many texts are examined, there is a particular emphasis on versions of The Merchant of Venice and Macbeth, which represent two extremes of the comics medium’s versatile formal engagement with Shakespearean themes

From Manga to Comic: Visual Language in Translation

Comics, under the umbrella of sequential art, constitute their own special medium with their own vocabulary, conventions, and use of symbols. They present their own unique problems to the translator, not least of which is the fact that the translator must successfully bridge the gap between not just two languages, but three: present in every form of sequential art is an elusive visual language, which is at once universal and provincial – and for which there are no dictionaries. In Japan, where the comic medium (manga in Japanese) grew over time to become one of the most pervasive forms of entertainment and communication, the visual language present in comics reached levels of complexity and sophistication unseen on such large scale in similar productions throughout the rest of the world until relatively recently, and even then due in large part to the influence of these Japanese works. This paper will explore the nature of visual language, how it presents itself in comics, and then apply the resulting framework to the translation of manga. Advisor: Richard TorranceNo embarg

An ontology-based framework for the automated analysis and interpretation of comic books' images

International audienceSince the beginning of the twenty-first century, the cultural industry has been through a massive and historical mutation induced by the rise of digital technologies. The comic books industry keeps looking for the right solution and has not yet produced anything as convincing as the music or movie have. A lot of energy has been spent to transfer printed material to digital supports so far. The specificities of those supports are not always exploited at the best of their capabilities, while they could potentially be used to create new reading conventions. In spite of the needs induced by the large amount of data created since the beginning of the comics history, content indexing has been left behind. It is indeed quite a challenge to index such a composition of textual and visual information. While a growing number of researchers are working on comic books' image analysis from a low-level point of view, only a few are tackling the issue of representing the content at a high semantic level. We propose in this article a framework to handle the content of a comic book, to support the automatic extraction of its visual components and to formalize the semantic of the domain's codes. We tested our framework over two applications: 1) the unsupervised content discovery of comic books' images, 2) its capabilities to handle complex layouts and to produce a respectful browsing experience to the digital comics reader

The Narratology of Comic Art

By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.Peer reviewe

Narration and Speech and Thought Presentation in Comics

The purpose of this study was to test the application of two linguistic models of narration and one linguistic model of speech and thought presentation on comic texts: Fowler's (1986) internal and external narration types, Simpson's (1993) narrative categories from his 'modal grammar of point of view' and Leech and Short's (1981) speech and thought presentation scales. These three linguistic models of narration and speech and thought presentation, originally designed and used for the analysis of prose texts, were applied to comics, a multimodal medium that tells stories through a combination of both words and images. Through examples from comics, I demonstrate in this thesis that Fowler's (1986) basic distinction between internal and external narration types and Simpson's (1993) narrative categories (categories A, B(N) and B(R) narration) can be identified in both visual and textual forms in the pictures and the words of comics. I also demonstrate the potential application of Leech and Short's (1981) speech and thought presentation scales on comics by identifying instances of the scales' categories (NPV/NPT, NPSA/NPTA, DS/DT and FDS/FDT) from comics, but not all of the speech and thought presentation categories existed in my comic data (there was no evidence of IS/IT and the ategorisation of FIS/FIT was debatable). In addition, I identified other types of discourse that occurred in comics which were not accounted for by Leech and Short's (1981) speech and thought presentation categories: internally and externally-located DS and DT (DS and DT that are presented within (internally) or outside of (externally) the scenes that they originate from), narratorinfluenced forms of DS and DT (where narrator interference seems to occur in DS and DT), visual presentations of speech and thought (where speech and thought are represented by pictorial or symbolic content in balloons) and non-verbal balloons (where no speech or thought is being presented, but states of mind and emphasized pauses or silence are represented by punctuation marks and other symbols in speech balloons)

Segmentation et indexation d'objets complexes dans les images de bandes dessinées

In this thesis, we review, highlight and illustrate the challenges related to comic book image analysis in order to give to the reader a good overview about the last research progress in this field and the current issues. We propose three different approaches for comic book image analysis that are composed by several processing. The first approach is called "sequential'' because the image content is described in an intuitive way, from simple to complex elements using previously extracted elements to guide further processing. Simple elements such as panel text and balloon are extracted first, followed by the balloon tail and then the comic character position in the panel. The second approach addresses independent information extraction to recover the main drawback of the first approach : error propagation. This second method is called “independent” because it is composed by several specific extractors for each elements of the image without any dependence between them. Extra processing such as balloon type classification and text recognition are also covered. The third approach introduces a knowledge-driven and scalable system of comics image understanding. This system called “expert system” is composed by an inference engine and two models, one for comics domain and another one for image processing, stored in an ontology. This expert system combines the benefits of the two first approaches and enables high level semantic description such as the reading order of panels and text, the relations between the speech balloons and their speakers and the comic character identification.Dans ce manuscrit de thèse, nous détaillons et illustrons les différents défis scientifiques liés à l'analyse automatique d'images de bandes dessinées, de manière à donner au lecteur tous les éléments concernant les dernières avancées scientifiques en la matière ainsi que les verrous scientifiques actuels. Nous proposons trois approches pour l'analyse d'image de bandes dessinées. La première approche est dite "séquentielle'' car le contenu de l'image est décrit progressivement et de manière intuitive. Dans cette approche, les extractions se succèdent, en commençant par les plus simples comme les cases, le texte et les bulles qui servent ensuite à guider l'extraction d'éléments plus complexes tels que la queue des bulles et les personnages au sein des cases. La seconde approche propose des extractions indépendantes les unes des autres de manière à éviter la propagation d'erreur due aux traitements successifs. D'autres éléments tels que la classification du type de bulle et la reconnaissance de texte y sont aussi abordés. La troisième approche introduit un système fondé sur une base de connaissance a priori du contenu des images de bandes dessinées. Ce système permet de construire une description sémantique de l'image, dirigée par les modèles de connaissances. Il combine les avantages des deux approches précédentes et permet une description sémantique de haut niveau pouvant inclure des informations telles que l'ordre de lecture, la sémantique des bulles, les relations entre les bulles et leurs locuteurs ainsi que les interactions entre les personnages

Using Graphic Novels to Teach English and American Culture in Japanese Middle Schools

English proficiency in Japan has historically been lower than other Asian countries despite students learning English as a core subject beginning in elementary school. To help address this, Japan has brought thousands of assistant language teachers (ALTs) from native English-speaking countries through both government and private companies to help teach English and promote foreign cultural exchange. These teachers often experience cultural misunderstandings and microaggressions from both colleagues and students yet must continue to respectfully teach culture as cultural ambassadors. The purpose of this project is to design a handbook that guides ALTs working with middle school students in how to incorporate graphic novels, or comic books, in the classroom to practice speaking, listening, reading and writing, as well as to touch on aspects of American culture. The project is intended to provide interesting, fun, and authentic materials for Japanese English learners by using activities and graphic novels of various genres. The project provides example lessons plans that can be immediately implemented or adapted, including the necessary materials, and resources such as a rubric for evaluating the usefulness of graphic novels and a list of recommended graphic novels to use in order to help teachers navigate the potentially overwhelming world of comics and graphic novels. Each lesson integrates the skills of listening, speaking, reading, and writing in ways that support the lessons found in Japanese English textbooks used in Japan. The lessons also address grammar patterns from the textbook and introduce new vocabulary. Overall, graphic novels are authentic, engaging materials that can help Japanese students improve their English abilities and potentially improve motivation by giving them comprehensible input and a connection to their own popular culture

Style and Intersubjectivity in Youth Interaction

This book examines how style and intersubjective meanings emerge through language use. While numerous studies on youth language focus on face-to-face interaction, this book draws data from conversation, e-forums, teen fiction, and comics to offer an integrated account of language change in a community in flux