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 418 Graphic Narrative) and graduate students (in English 549 Contemporary Literature). We will use both primary and secondary 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, ranging from illustrated childrens' books to graphic autobiography. Primary texts include modern classics like Krazy Kat and Maus, important historical works like Dreams of the Rarebit Fiend, and some excellent but less well known works, like The Arrival. Secondary texts include both theoretical works such as Understanding Comics and historical works like Manga! Manga! The World of Japanese Comics. Students are asked to keep a structured journal, write a deep analysis of an illustrated children’s book, and write a major essay on a general topic in the field, and, of course, participate vigorously.
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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 highly significant 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 written 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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COURSE CALENDAR
Date |
Reading Week |
Text Type |
Title, Author |
Th 7 Jan |
|
|
Introduction of subject, class, and class members |
T 12 Jan |
1 |
S |
Picture This: How Pictures Work, Molly Bang |
|
|
S |
Understanding Comics, Scott McCloud |
T 19 Jan |
2 |
S |
Comics, Comix & Graphic Novels, Roger Sabin |
T 26 Jan |
3 |
P |
Dreams of the Rarebit Fiend, Winsor McCay |
|
|
P |
Krazy & Ignatz 1929-1930, George Herriman |
T 2 Feb |
4 |
P |
If I Ran the Zoo, Dr. Seuss |
|
|
P |
Amphigorey, Edward Gorey |
|
|
P |
The Stinky Cheese Man, Jon Scieszka and Lane Smith |
Th 4 Feb |
|
|
Finalize proposals for shorter paper |
T 9 Feb |
5 |
P |
Little Black Sambo (available online; no purchase required)
Incognegro, Mat Johnson |
|
|
P |
Alex Raymond's Flash Gordon, Vol. 1, Alex Raymond
|
T 16 Feb |
6 |
S |
The Great Comic Book Heroes, Jules Feiffer |
|
|
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 18 Feb |
|
|
Shorter papers due by 11:55 p.m. |
T 23 Feb |
7 |
S |
Manga! Manga!: The World of Japanese Comics, Frederik L. Schodt |
|
|
P |
Astérix the Gaul, René de Goscinny
|
T 9 Mar |
8 |
P |
Maus (vols 1 & 2), Art Spiegelman
|
T 16 Mar |
9 |
P |
Batman: The Dark Knight Returns, Frank Miller
|
Th 18 Mar |
|
|
Shorter paper revisions, if allowed, due by 11:55 p.m. |
T 23 Mar |
10 |
P |
Watchmen, Alan Moore |
Th 25 Mar |
|
|
Finalize proposals for longer paper
|
T 30 Mar |
11 |
P |
Jimmy Corrigan: The Smartest Kid on Earth, Chris Ware |
T 6 Apr |
12 |
P |
Blankets, Craig Thompson |
|
|
P |
The Arrival, Shaun Tan
|
T 13 Apr |
13 |
P |
One Hundred Demons, Lynda Barry |
T 20 Apr |
|
|
Summation. Journals w/ self-analyses due in class
Longer papers due by 11:55 p.m. |
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