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Why can we not bridge this gap between academia and popular culture? That is the most important aspect of Understanding Rhetoric. When I used this text in my composition class, the majority of my students engaged with the material and effectively applied the lessons to different writing scenarios, such as translating a personal narrative into a multimodal presentation. I also had students tell me that in previous English courses they were not able to fully comprehend rhetorical concepts, but after seeing them presented in this format, they were able to grasp what is going on through the interplay of words and images.

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  4. Comics And Language Reimagining Critical Discourse On The Form.

The emphasis of Understanding Rhetoric is ultimately on the creation of student compositions in a variety of media. By using this inviting text—in contrast to prior experience with traditional textbooks—I was able to actually influence students to consistently read the material and consider writing in new ways and as something relevant to their daily lives. When comics are beginning to be taken seriously in the humanities, it almost seems inevitable that the format can be used to remix and promote traditional studies, including rhetoric and composition.

Alexander, Jonathan, and Jacqueline Rhodes.

Heather Miodrag Takes a Scholarly Look at the Language of Comics

Urbana: NCTE, Kraver, Jeraldine. Losh, Elizabeth. McCloud, Scott. Understanding Comics: The Invisible Art. New York: William Morrow, Miodrag, Hannah. Jackson: U of Mississippi Press, Palmeri, Jason.

Comics and Language

Carbondale: Southern Illinois UP, Syma, Carrye Kay, and Robert G. Weiner, eds. Jefferson: McFarland and Company, Which are the functions of the use of text?

What is the style or the register of the discourses used? How do the verbal elements relate to the visual elements? Who is speaking? Next to the formal representation of the text, the way the text is written its style, register, direct or indirect speech, etc.

The collective force of the Spartan soldiers in Frank Miller's is stressed both in the way they are drawn as a massive force and by the repeated use of the first person plural "We march" , "We fight". In autobiography there is a big difference if discourse is put either in the first person singular think of Satrapi's Persepolis or the third person singular which implies some distance; think of Justin Green's Binky Brown. In the EC comics of the s, often a second person singular is used e. For a taxonomy of the various kinds of relations between images and texts, see Marsh and White Already early in the twentieth century, someone like Winsor McCay was playing in Little Nemo in Slumberland with the still very new conventions of combining balloons and characters in one panel.

Also Eisner , demonstrates, by combining the same text with divergent facial expressions and vice versa , how such combinations of text and images alter each time the interpretation of the panel.

Comics and Language: Reimagining Critical Discourse on the Form - Hannah Miodrag - Google книги

How to start an analysis? Global study 2.

Through engaging close readings and an accessible use of theory, this book exposes the problems embedded in the ways critics have used ideas of language, literature, structuralism, and semiotics, and sets out a new and more theoretically sound way of understanding how comics communicate. Comics and Language argues against the critical tendency to flatten the distinctions between language and images and to discuss literature purely in terms of story content.

It closely examines the original critical theories that such arguments purport to draw on and shows how they in fact point away from the conclusions they are commonly used to prove.

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The book improves on the field's use of existing scholarly disciplines and furthers the ongoing sophistication of the field.