ENGLISH 417 §002 / 549 §001 GRAPHIC NARRATIVE (WINTER 08)
Lynda Barry, One Hundred Demons
Eric Rabkin
TTh 1:10-2:30 G463 MH
Consultation
3243 Angell Hall TWTh 3:10-4:00 & by appt
esrabkin@umich.edu & 734-764-2553
 
 
 
Course Overview Course Calendar gnw08@ctools.umich.edu
Written Work & Course Grades Online Resources Disability Accommodations
A Note on Obtaining Books Supplementary Materials Plagiarism

COURSE OVERVIEW
Graphic Narrative is a general term for Comic Books, Graphic Novels, Manga, Bandes Dessinées, Novelas Em Quadrinhos, Sequential Art, and even the Bayeux Tapestry. This seminar enrolls both advanced undergraduates (in English 417 Senior Seminar, 4 credits) and graduate students (in English 549 Contemporary Literature, 3 credits). We will use both primary (P) and secondary (S) readings to explore the modern history and theory of the field, the sociology of the field, and a rich assortment of excellent examples of many literary types within the field.
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WRITTEN WORK & COURSE GRADES
The written work consists of a daily reading journal, a shorter essay (1500-2400 words, which is approximately 5-8 double-spaced pages of text depending on font size and margins and excluding included images) and a longer essay (3000-4500 words, which is approximately 10-15 pages). In all three assignments, students are expected to consider both the form and the content of the materials read and to strive for insights that go substantially beyond the discussion in class. 
Essays. The shorter essay should be on a graphic (not chapter) children's book, and the longer essay should be either on some general aspect of graphic narrative (e.g., the use of framing, the use of thought bubbles, the use of color, the techniques of visual allusion, palimpsest, collage, the varieties of irony, the relations between drawing style and meaning, the handling of a specific theme, the uses of a specific image, cultural constraints on meaning, etc.) or on some aspect of the work of a single important graphic narrative artist, series, or genre. The topics for each paper must be approved by the course instructor in advance in writing. Proposal approval is likely to take multiple consultations. This proposal-approval process should be conducted during office hours or by appointment if necessary. Email may supplement but cannot replace those consultations concerning the proposals. The initial proposals need only indicate the subject, the reason for wanting to pursue that subject, and likely materials although they may be more extensive if the student prefers. The proposal process must be completed by the date on the calendar, so it is important to start early. The version of the proposal that has been signed by the instructor should be submitted in class the day the essay is due. For each essay, please bring the subject text (shorter essay) or texts (longer essay) to the consultations and please lend the children's book for the shorter essay to the instructor the day the essay is submitted. The finished essays should include scanned graphics so that the papers can be read by others who do not have access to printed copies of the works discussed. Students will be allowed to revise the first essay for grade but only if the instructor deems the essay to have been seriously attempted and susceptible to revision. All critical essays when submitted for grading should be uploaded in their finished forms using the Assignment tool on the class CTools website. The total file size for each essay ideally should not exceed 2M and in no case will be accepted if it exceeds 3M without advance permission of the course instructor. (Q&A on the essays)
Journals. In the reading journal, students are expected to record (a) any extrinsic details potentially relevant to a critical discussion of the work (including at least type of work, name and nationality of writer and/or illustrator, date and place of publication, publisher, format), (b) observations as one reads, including page references and quotes (which may need to include photocopies), and (c) conclusions and/or hypotheses and/or questions that seem noteworthy after reviewing (a) and (b) and perhaps the work as well.  The journals should be hand-written (printed if necessary for clarity) with two-inch margins all around because these journals will be exchanged at the beginning of each class meeting, read by a fellow student, and the contents commented on in the margins. The journal should be kept in a spiral-bound notebook into which can be glued copies of graphics if needed. Students should use these journals not only as a record of their reading of syllabus materials but also of any other course-related materials, and as a place to keep class notes and to record and sometimes work out essay topic ideas. Journal pages should be numbered so that one can make page reference when one backs-and-fills, reviewing one's journal periodically to attend to unanswered questions, to add later insights or cross-references, or to gather essay-topic ideas. When the journals are submitted at the end of the semester, they should be accompanied by a printed, double-spaced, two-to-three page self-analysis of the worth (both educational and in terms of grade) of the journal to the student. This self-analysis, too, can make specific reference to the journal page numbers.
The course grades
will be based on participation (25%), journal + self-analysis (25%), children's book essay (20%), general essay (30%).
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A NOTE ON OBTAINING BOOKS
Because they are illustrated, printed in unusual formats, and often use special papers, the books studied in this course are necessarily more expensive on a per page basis than books studied in a course focused on traditional textual narrative. Since many of the books studied in this course are quite short, we need to read more books than we would in a course on traditional textual narrative. Thus, unfortunately, the book costs in this course are comparatively high. As a way of easing this burden, some students may want to share books. Also, copies of most of the books will be available on reserve. In order to use the Library Reserve Service as efficiently as possible, Reserve Loan Periods have been set at differing lengths as shown in the course calendar below. Please check the Library Reserves tool in the course CTools site to see if the book you want is available.
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COURSE CALENDAR
Date

Reading Week

Text Type

Title, Author

Reserve Period

Th 3 Jan
 
 

Introduction of subject, class, and class members

 
T 8 Jan

1

S

Picture This: How Pictures Work, Molly Bang

2 hours

 
 

S

Understanding Comics, Scott McCloud

3 days

T 15 Jan

2

S

Comics, Comix & Graphic Novels, Roger Sabin

3 d

T 22 Jan

3

P

Dreams of the Rarebit Fiend, Winsor McCay

4 h

 
 

P

Krazy Kat: The Comic Art of George Herriman, Patrick McDonnell et al.

4 h

T 29 Jan

4

P

If I Ran the Zoo, Dr. Seuss

2 h

 
 

P

Amphigorey, Edward Gorey

1 d

 
 

P

The Stinky Cheese Man, Jon Scieszka and Lane Smith

2 h

Th 31 Jan
 
 

Finalize proposals for shorter paper

 
T 5 Feb

5

P

Little Black Sambo (available online; no purchase required)
Birth of a Nation
, Aaron McGruder


2 h
   

P

Alex Raymond's Flash Gordon, Vol. 1, Alex Raymond

 
T 12 Feb
6

S

The Great Comic Book Heroes, Jules Feiffer
(may need to be purchased online, e.g., from amazon.com)

3 d

    P A comic book chosen by each student and starring one of Feiffer's subject heroes; upload journal scans to course website for class review  
Th 14 Feb
    Shorter papers due by 11:45 p.m.  
T 19 Feb

7

S

Manga! Manga!: The World of Japanese Comics, Frederik L. Schodt 3 d
    P

Astérix the Gaul, René de Goscinny

2 h

T 4 Mar

8

P

Maus (vols 1 & 2), Art Spiegelman

3 d

T 11 Mar

9

P

The Dark Knight Returns, Frank Miller

3 d

Th 13 Mar
    Shorter paper revisions, if allowed, due by 8:00 a.m  
T 18 Mar

10

P

Watchmen, Alan Moore

3 d

Th 20 Mar
 
 

Finalize proposals for longer paper

 
T 25 Mar

11

P

Jimmy Corrigan: The Smartest Kid on Earth, Chris Ware

3 d

T 1 Apr

12

P

Blankets, Craig Thompson

3 d

 
 

P

Blood Song, Eric Drooker

2 h

T 8 Apr

13

P

One Hundred Demons, Lynda Barry

1 d

T 15 Apr
   

Summation. Journals w/ self-analyses due in class
Longer papers due by 11:45 p.m.

 
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ONLINE RESOURCES:
U-M Department of English Resources for Readers and Writers
U-M Fantasy and Science Fiction Web Site
U-M Fantasy and Science Fiction Web Site Dictionary of Symbolism
U-M Library Search Tools (may require login):
   GaleNet (authors & literary criticism)
   Humanities Text Initiative (searchable texts and text collections)
   Oxford English Dictionary (meanings, etymologies, and quotations)
   Encyclopedia Britannica
   Modern Language Association Bibliography (literary criticism)

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The New Yorker, 13 Dec 2004, p. 64
SUPPLEMENTARY MATERIALS:
The Anime Project
Bayeux Tapestry
Citation Style for Graphic Narrative Criticism
Coconino World
Comic Art & Graffix Gallery (history of comics, biographies of artists and writers, etc.)
Comic Art Collection at Michigan State Library
Comics Code
Comics Generator Sites (e.g., using Bayeux Tapestry; stripcreator)
Five Ways of Looking At a Thesis
International Children's Digital Library
Lambiek.net (comics encyclopedia, etc.)
Logic and Literary Argument
Lowering Image File Size
Marginal Notes on Essays
MLA Citation Style (Format) with Examples
Parc Astérix
Phoebe Gloeckner's Comics Course
Producing Side-by-Side Graphics in Word
Rocco Versaci's Spotlight on Comics
Secure Materials (restricted to U-M community for instructional and scholarly purposes)
Some Questions for Active Reading of Fiction
U-M Library Course Reserves Service
   includes required books and the following recommended book:
   Trina Robbins, A Century of Women Cartoonists (3 day reserve)
Who's Who & What's What in the books of Dr. Seuss &
The Dr. Seuss Collection at UCSD
Wikipedia (see under "comic book," "graphic novel," etc.)
Writing Samples for Use of Evidence
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