Graphic Novels

Comic books have increasingly become a vehicle for serious social commentary and, specifically, for innovative religious thought. Practitioners of both traditional religions and new religious movements have begun to employ comics as a missionary tool, while humanists and religious progressives use comics’ unique fusion of text and image to criticize traditional theologies and to offer alternatives. Addressing the increasing fervor with which the public has come to view comics as an art form and Americans' fraught but passionate relationship with religion, Graven Images explores the roles of religion in comic books and graphic novels.

In essays by scholars and comics creators, Graven Images observes the frequency with which religious material—in devout, educational, satirical, or critical contexts—occurs in both independent and mainstream comics. Contributors identify the unique advantages of the comics medium for religious messages; analyze how comics communicate such messages; place the religious messages contained in comic books in appropriate cultural, social, and historical frameworks; and articulate the significance of the innovative theologies being developed in comics.

Bande dessinée visant à démystifier l'aide médicale à mourir à travers l'emploi d'un récit expérientiel. Avec la collaboration de Samuel Blouin, doctorant en sociologie (Université de Montréal et Université de Lausanne) et boursier Trudeau 2016, dans le cadre des recherches exploratoires du projet de recherche-création: Les mémoires graphiques: outils d'éducation et de rencontre . Format: 150 dpi.

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Effective doctor patient relationships are predicated on doctors' relational engagement and affective/holistic communication with the patients. On the contrary, the contemporary healthcare and patient-clinician communication are at odds with the desirable professional goals, often resulting in dehumanization and demoralization of patients. Besides denigrating the moral agency of a patient such apathetic interactions and unprofessional approach also affect the treatment and well-being of the sufferer. Foregrounding multifaceted doctor-patient relationships , graphic pathographies are a significant cultural resource which recreate the embodied moment of clinical encounters as they also lay bare qualitative tensions between patient' illness experience with doctor's professional understanding of the same. Taking these cues, the present article drawing theoretical postulates of Rita Charon, Deborah Lupton, and Havi Carel close reads Peter Dunlap-Shohl's My Degeneration: A Journey Through Parkinson's (2015), Brian Fies' Mom's Cancer (2006), and Stan Mack's Janet & Me: An Illustrated Story of Love and Loss (2004) to investigate the nature of doctor-patient relationship vis-à-vis communication and the implications of bad doctoring/communicative practices on patient identity and emotions. Furthermore, the article also examines the aesthetic and functional role of comics in bringing into relief the graphically mediated doctor-patient relationship. Effective doctor patient relationships are predicated on doctors' relational engagement and affective/holistic communication with the patients. Specifically, a delicate alignment mostly J Med Humanit https://doi.

The research and discussion on the history of comics - its origins, its development, its maturity - must involve multidisciplinary and crossed approaches, which are able to embrace a multitude of perspectives: the history of caricature and humorous drawing, the semiotic analysis of graphics languages, development of the popular press, the controversial transition from the idea of ​​comics as a pastime for illiterates to that of colorful entertainment for enthusiasts, to that of art form for mature and educated readers. In this last passage are also enclosed the development and the change in the perception of the comic strip which recently involved for the first time in history an audience and a debate between intellectuals and journalists that goes beyond the specific sector of the comics as a form of entertainment economic in the press and entering the field of literary criticism. A passage summarized in the growing use of the term graphic novel, ‘graphic novel’ to replace and sometimes override the terms so far used for decades to indicate this expressive form. This book, a mammoth and detailed theoretical and historical treatise, recomposes the parable of the medium and the ways in which the relationship between word and image has been declined, since the seventeenth century, in the visual narratives that preceded and accompanied the comic, up to the consecration of this graphic-narrative medium and its recent cultural legitimation under the label - sometimes, often, mystifying or at least misleading - of graphic novel.
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La ricerca e la discussione sulla storia del fumetto - le sue origini, il suo sviluppo, la sua maturità - deve coinvolgere approcci multidisciplinari e incrociati, che siano in grado di abbracciare una moltitudine di prospettive: la storia della caricatura e del disegno umoristico, l'analisi semiotica dei linguaggi grafici, sviluppo della stampa popolare, la controversa transizione dall'idea di fumetto come passatempo per illetterati a quella di colorato intrattenimento per appassionati, a quella di forma d'arte per lettori maturi e acculturati. In quest'ultimo passaggio sono anche racchiusi lo sviluppo e la modifica nella percezione del fumetto, la quale di recente ha interessato per la prima volta nella storia una platea e un dibattito fra intellettuali e giornalisti che esula dal settore specifico del fumetto come forma di spettacolo economico a mezzo stampa e che entra nel campo della critica letteraria. Un passaggio sintetizzato nel crescente uso del termine graphic novel, 'romanzo grafico' (o 'romanzo a fumetti', appunto), a sostituire e a volte prevaricare i termini finora in uso da decenni per indicare questa forma espressiva. Questo libro, mastodontico e dettagliato trattato teorico e storico, ricompone la parabola del medium e delle modalità con le quali il rapporto fra parola e immagine è stato declinato, fin dal XVII secolo, nelle narrative visuali che hanno preceduto e accompagnato il fumetto, fino alla consacrazione di questo mezzo grafico-narrativo e alla sua recente legittimazione culturale sotto l'etichetta - a volte, spesso, mistificatoria o almeno fuorviante - di graphic novel.

En febrero de 2013, la editorial bilbaína Astiberri —especializada en la edición de cómics— publicó Nela, adaptación gráfica de Marianela de Benito Pérez Galdós; su autor, Rayco Pulido Rodríguez, es historietista canario. El objetivo del presente trabajo es doble: reseñar la adaptación de Pulido y extender algunos comentarios sobre el procedimiento técnico que se observa en esta intersección de cómic y literatura.