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A selection of articles on graphic novels available via the library's journal databases. Click on 'View Abstract' for a summary, or on the title to access the full text of the article in a new tab. Scroll down to see more articles.
Adams, J. (1999). Of Mice and Manga: Comics and Graphic Novels in Art Education. [Article]. Journal of Art & Design Education, 18(1). View Abstract
A justification for the inclusion of graphic comic art in post-14 art education following the development of graphic novels in Europe, Japan and the USA in recent years. The case is based on the visual dynamics of the medium and the potential for a critical realism which can be exploited in students' studio practice and research. Particular attention is given to the Holocaust novel Maus and selected Japanese 'Manga' comics which have made an impact in the west, such as Barefoot Gen and Adolf . The article analyses the various innovative visual forms that these graphic novels utilise and considers their effectiveness as a vehicle for practice and research in the institutional art curriculum.
Alverson, B. (2011). Shazam! Comic Apps! [Product Review]. 57, 38. View Abstract
The article reviews a number of smartphone applications (apps) that can allow users to read comics on their mobile devices, including Comics, which is located at www.comixology.com, Comics+, found at www.iversecomics.com, and Graphicly, which is accessible at http://graphic.ly.
Brenner, R. (2006). Graphic Novels 101: FAQ. Horn Book Magazine, 82(2), 123-125.
Bucher, K. T., & Manning, M. L. (2004). Bringing Graphic Novels into a School's Curriculum. [Article]. Clearing House, 78(2), 67-72. View Abstract
Adolescent readers have demonstrated considerable interest in graphic novels during the past several years. Increased sales, readers' preferences, and worn copies attest to the popularity of this genre. Educators can take advantage of this popularity by selecting graphic novels for collection centers, as well as incorporating appropriate novels throughout the middle and secondary school curriculum. An essential key is careful selection to ensure that the text is age and content appropriate. Although some educators are reluctant to promote and use graphic novels, others effectively use this genre to promote reading for enjoyment and learning across the curriculum.
Caldwell, J. (2011). Comic panel layout: A Peircean analysis. [Article]. Studies in Comics, 2(2), 317-338. doi: 10.1386/stic.2.2.317_1. View Abstract
In the study of visual design, comics have been infrequently analyzed. Major theoretical contributions have come from non-academics until recently. While Groensteen and Cohn have developed 'standard stimulisequence' systems for analyzing comics, I propose that a more comprehensive technique would be to follow Magnussen in applying the theories of C. S. Peirce, specifically the Peircean visual design paradigm as explained by Amare and Manning. This study will expand on Peeters' four-category framework to show a variety of complex and explanatory relationships that can exist between the rhetorical content of a comic and the panel design.
Campbell, E. (2007). What Is a Graphic Novel? World Literature Today, 81(2), 13-13. View Abstract
This article outlines several common definitions of a graphic novel. For some it is simply a synonym for a comic book, the kind traditionally associated with the medium. It is only used in reference to a bound collection of comics, sometimes these are several issues of a series that cover one story line. It can also refer to illustrated stories that transcend the typical narrative and thematic material of comics.
Carter, J. B. (2007). Transforming English with Graphic Novels: Moving toward Our "Optimus Prime.". [Article]. English Journal, 97(2), 49-53. View Abstract
The article shows how teaching graphic novels can transform teaching and learning in English classroom. It encourages educators to be actively aware of the newer and lesser-known graphic novels and offers approaches for examining the complex social issues the novels address. It is pointed out that the more graphic novels become integrated into the matrix of the English classroom, the more transformed English will become, moving away from notions of literacy that are only letter-based, from one size fits all literacy instruction, and from classroom libraries and reading lists devoid of panels and borders.
Carter, J. B. (2009). Going Graphic. [Article]. Educational Leadership, 66(6), 68. View Abstract
The article presents an exploration into the graphic novel and its treatment in education circles. An overview is provided outlining several defining elements and challenging common misconceptions of the form, citing its placement as a genre of visual art and not of literature, the scope of its thematic content, and its own developed history. It is suggested that the graphic novel can be easily adapted into literacy programs and should be addressed as a legitimate and distinct form of storytelling.
Foster, J. (2011). Picture books as graphic novels and vice versa: The Australian experience. Bookbird: A Journal of International Children's Literature (Johns Hopkins University Press), 49(4), 68-75. View Abstract
The author examines five Australian graphic novels for both older and younger readers, that contain important elements of picture books. These include "The Arrival," illustrated by Shaun Tan, "Captain Congo and the Crocodile Kine," written by Ruth Starke and illustrated by Greg Holfeld, and "The Hero of Little Street," illustrated by Gregory Rogers.
Gavigan. (2012). Sequentially SmART--Using Graphic Novels across the K-12 Curriculum. [Article]. Teacher Librarian, 39(5), 20-25.
Graham, M. A. (2008). Graphic Novels as Contemporary Art? [Essay]. Art Education, 61, 10. View Abstract
An essay is presented on graphic novels and their place as contemporary art. It describes graphic novels as a blend of comics, social criticism, and personal reflection. Some of the graphic novels explored in the essay include "Blankets" by Craig Thompson and "The Tale of One Bad Rat" by Bryan Talbot. Information on how to use contemporary art for instructional purposes and the relationship of graphic novels and art is also presented.
Griffith, P. E. (2010). Graphic Novels in the Secondary Classroom and School Libraries. [Article]. Journal of Adolescent & Adult Literacy, 54(3), 181-189. doi: 10.1598/jaal.54.3.3. View Abstract
The article focuses on the role of graphic novels in elementary education and describes the author's experience of incorporating graphic novels into her school's curricula. The author suggests that because graphic novels are a popular genre among children they can provide learning opportunities for readers, teachers, and researchers. She emphasizes the importance of understanding the importance of age appropriateness in graphic novels and presents criteria for teachers to use when evaluating graphic novels for use in the classroom. She suggests several books for different age ranges including "Houdini: The Handcuff King" by Jason Lutes, "The Arrival" by Shaun Tan, and "The Plain Janes" by Cecil Castellucci.
Lawn, J. (2011). Frame by Frame: Graphic Novels for the Primary Classroom. [Article]. Practically Primary, 16(2), 27-29. View Abstract
The article discusses the use of graphic novels in the primary education in Australia. It emphasizes that teachers can either read or skim the books themselves or rely on the advice of experts in the field, when selecting any books for close and wide reading. It also suggests to find examples of humour in the illustrations and make large replicas of famous paintings in gilt-like frames.
Lawn, J. (2012). Frame By Frame: Understanding the Appeal of the Graphic Novel for the Middle Years. [Article]. Literacy Learning: The Middle Years, 20(1), 26-36. View Abstract
Graphic novels are worth investigating for use in the middle school. They are enjoyed by students and have many features that are both motivating and able to underpin explicit and worthwhile teaching opportunities. A number of Australian and overseas publishers are realising the value of graphic novels and are publishing cutting-edge books that are also appropriate for children and young adults. This article will help you take the plunge into understanding and using graphic novels, whether you need a little help to get started or are a fan already.
Lightman, S. (2010). Gabrielle Bell on Clogging and why comics make everything smooth and refined. [Article]. Studies in Comics, 1(2), 369-378. doi: 10.1386/stic.1.2.369_7. View Abstract
An interview with comics artist Gabrielle Bell is presented. When asked the meaning of clog and why did he chose that form, he states that clog meant comic-web-log and he chose it because he feels safe doing comics. He states that he uses the term semi-autobiographical in relation to his work because he use himself as a character in his comic. He also discusses the creative process through which he creates his stories.
Mathews, S. A. (2011). Framing Preservice Teachers' Interpretations of Graphic Novels in the Social Studies Classroom. Theory and Research in Social Education, 39(3), 416-446. View Abstract
In this article the author examines (a) preservice teachers' reactions to graphic novels featuring social studies material, and (b) the potential for using graphic novels in secondary social studies classrooms. An analysis of preservice teachers' written book reports, classroom discussions, and individual interviews revealed the range of reactions individuals offer after reading the same text. The web of knowledge (Wertsch, 2002) and interpretive frameworks (Epstein, 2009) preservice teachers used when evaluating graphic novels were impacted by their personal reflections on the novel, their interactions with secondary students in the field, and their perceptions of parents and school communities. Findings also suggest that the preservice teachers support using graphic novels in order to provide an alternative perspective to traditional texts or to increase engagement amongst emerging or struggling readers. However, they rejected texts that included violent images or addressed controversial issues and events, implying that preservice teachers are reluctant to encourage their students to take a critical stance on social studies content.
Medley, S. (2010). Discerning pictures: how we look at and understand images in comics. [Article]. Studies in Comics, 1(1), 53-70. doi: 10.1386/stic.1.1.53/1. View Abstract
Scott McCloud (1993) has used a ‘realism continuum’ to classify comics characters between the points of realism and iconic abstraction. Before him, other theorists (Gropper 1963; Knowlton 1966; Dwyer 1972; Wileman 1993) have used this continuum as a means to judge the communicative and instructional potential of pictures as they become more distant from the realistic. At the same time, all comic artists employ at least some level of distillation or abstraction, some removal of realistic detail. This approach can allow for other design aspects to be emphasized in or imposed upon the comics' panels: such as line, shape, colour, orientation and composition. These attributes in turn accentuate connections or relationships that are less apparent in realistic images. But what are the psychological mechanisms by which we understand images abstracted away from realism, and how might knowledge of these help to build an understanding of comics' formal properties and contribute to the theory of comics? This article explores some important faculties of the human visual system, labelled by psychologists as perceptual constancies. Examples from comics are used to illustrate these faculties put to work by visually literate artists. The mechanics of caricature are also explained in terms of their importance to how the mind remembers images. Caricature, and not realism, is a mechanism for visual memory. There is a difference in the way images communicate depending on their realism quotient and this difference is key to the way that comics communicate, whether their artists are aware of this fact or not. Distillation and exaggeration can actually communicate more powerfully to the psyche than ‘the real thing’. This article explains why this knowledge should be central to an understanding of comics.
Pantaleo, S. (2011). Grade 7 Students Reading Graphic Novels: 'You Need To Do a Lot of Thinking'. English in Education, 45, 113-131. View Abstract
A multifaceted, classroom-based research project explored how developing Grade 7 students' knowledge of literary and illustrative elements affects their understanding, interpretation and analysis of picturebooks and graphic novels, and their subsequent creation of their own print texts. Analysis of two sources of data, the students' written responses to Amulet (Kibuishi 2008), one of the graphic novels read and discussed during the study, and the students' opinions about the knowledge that is required to read and understand a graphic novel, indicated how the instruction about various graphic novel conventions had impacted the students' awareness of and knowledge about the structural design of these multimodal texts. (English) [ABSTRACT FROM AUTHOR] Copyright of English in Education is the property of Wiley-Blackwell 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.
Shanower, E. (2005). The Art of the Graphic Novel. ALAN Review, 32(2), 32.
Smetana, L., Odelson, D., Burns, H., & Grisham, D. L. (2009). Using Graphic Novels in the High School Classroom: Engaging Deaf Students With a New Genre. [Article]. Journal of Adolescent & Adult Literacy, 53(3), 228-240. View Abstract
The article presents an overview of the ways that comics and graphic novels can be used by teachers to appeal to deaf students and other visual learners by providing unique and interesting combinations of text and graphics that engage and motivate the students. A discussion of class curriculum in a California high school English summer school class for deaf students who which used graphic novels to help them with literacy skills is presented. The importance of providing deaf students with alternative learning methods is discussed.
Stanley, S., & Sturm, B. W. (2008). Sequential Art Books and Beginning Readers: Can the Pictures Help Them Decode Words? Knowledge Quest, 37(2-), 50-57. View Abstract
Comics and graphic novels are being incorporated into upper elementary and middle school classrooms based on the novels' popularity and ability to stimulate interest in voluntary reading. Their format--combining words and sequential images--may hold power for an even younger audience. As beginning readers struggle to decode new words in books, they often turn to pictures for clues and contextual information. Graphic novels, with their myriad pictures, are being created for young children and considered as a potential format to help scaffold beginning readers' efforts. With this in mind, the authors wondered whether there was any evidence that these books were actually serving this function, and their study showed that, regardless of their potential, the current selection of books were of little value for beginning readers to read alone. This article presents a project that examines the text and pictures of books in a sequential art format that are intended for beginning readers. Based on their analysis, the authors conclude that sequential art books do not provide adequate visual support to enable beginning readers to decode difficult text. Creators of graphic novels for beginning readers do not seem to give conscious attention to pairing, clearly and unequivocally, each difficult word with a corresponding image. The authors offer some considerations that may increase the ability of beginning graphic novel readers to make sense of difficult words independently.
Sullivan, E. T. (2009). The Bard's Still the Thing: Shakespeare for Young Readers. [Article]. Book Links, 18(5), 31. View Abstract
The article offers information on several novels, picture-book and graphic-novel adaptations of the major plays including William Shakespeare's for young children. Several adaptations include "The Best-Loved Plays of Shakespeare," by Jennifer Mulherin and Abigail Frost and "Tales from Shakespeare," by Tina Packer. Meanwhile, several graphic novels and novels based on the plays include "King Lear," by William Shakespeare and retold and illustrated by Gareth Hinds and "Ariel," by Grace Tiffany.
Williams, R. M.-C. (2008). Image, Text, and Story: Comics and Graphic Novels in the Classroom. [Article]. Art Education, 61(6), 13. View Abstract
The article discusses the role of comics and graphic novels in art education and teaching. The article mentions the reading and making of texts, narratives, visual culture, the classroom environment, and the relationship between comics and the "Art" world. The article also discusses the role of comics and graphic novels have in creating a sense of empathy and empowerment in students. The article discusses the accessibility of comics, specifically referring to their low cost and simple vocabulary.
Zunshine, L. (2011). What to Expect When You Pick Up a Graphic Novel. Substance: A Review of Theory & Literary Criticism, 40, 114-134.
