the sense of ownership perhaps comes from other contributing elements like interpretations between "the gutter" and etc.

LOVE This line-- inclusivity and accessibility of the graphic novel

ELL students benefited from having their own copies of the books and having a teacher read aloud with them

teacher has to do a lot of SCAFFOLDING-- teach students how they are supposed to interpret visual texts, build this form of literacy

why this MEDIUM is most effective-- the materiality of it all

effect of the graphic novel

look up this guy Hatfield 2005

"complex visual metaphors" causes students to become UNFAMILIAR with the experience and interact with a familiar event in a different way

Getting into how to critically study style and the effects of the comic medium on interpretation of information

the main argument

graphic novels for all disciplines-- expanding literacies across the curriculum, not just limited to english or social studies

"translating" original stories into another medium --> great for companion/clarification and comparative analysis

definition of graphic novel v. comic as provided by Diamond Comics

"the gutter"

suggests two separate definitions for graphic novels and comics

brief history of comics

the point of it all

the study!

this model, being almost tested on Moby Dick could be the gateway to teaching ANY text (I don't want to stay confined to "classics")

another reason why it's important to LIKE the admins you work with. they have to have your back and trust that you are doing the right thing for your students.

shifting the narrative of public education to be student-centered rather than teacher centered. this is very Dreikurs and democratic model

connects to the initial quote at the beginning of my paper --teaching real skills through meaningful education

this is so true! my initial impression when Dr. Rigsby said we were playing games in our senior seminar was that it diluted the quality of study we were having. It was a fleeting impression, because then I remembered that I am the one who judges the quality of my learning, and it was pretty arbitrary to think that a game would take something away from our course of study. "unaccustomed to experimenting" is the perfect way to explain my reaction.

okay, so when I first finished reading here I think I felt what is being described here. I was really conflicted because on one hand, I felt empty... I felt insignificant, and I felt like things were moving around me much faster than I originally perceived. and it was a very somber feeling... but then at the same time, I was awe-struck reading this book. while I felt all of these melancholy feelings, I also felt like I was part of a greater narrative, and started to think about the beauty of everyday life-- like many of the events depicted in here... and now that I'm thinking about it, while it was weird for me to feel these two seemingly contrasting emotions at the same time, that's what's happening throughout here as well...

powerful

but the title of this book challenges this idea...

a game-changing comic indeed, especially when you think about it like this!

I didn't pay too much attention to this image when I read the text. It's so interesting! I am fascinated with that vermeer picture in the back of the hologram...

Woah. WOAH. I didn't even think about this. But this is so true. This is very surface level, but even think about an app like instagram where we preserve TINY BOX-LIKE PICTURES on our phones that we can access anywhere at anytime. We are physically standing in the present but holding a digital artifact from the past in the same "frame." Woah!

okay, I think I'm starting to piece this together better. are we talking literally about windows as metaphors, like the panels on the physical page of the text?

this part of the article is starting to go over my head. SOS!

ha!

I think that logically, the "rhythm" of Here shouldn't be a smooth as it is, because of all of the crazy stuff McGuire does with "simultaneous" moments happening through time all in the same space, but it flows so well... which I realize is probably because I suspend the reality of past/present/future while reading other graphic novels and this one demands that we are aware of the complexities of time that panels can produce

I love thinking about panels this way-- like it watchmen when we were describing the "staccato" like chapter of Dr. Manhattan's focus chapter

https://en.m.wikipedia.org/wiki/Serpent_(symbolism)

"Historically, serpents and snakes represent fertility or a creative life force. As snakes shed their skin through sloughing, they are symbols of rebirth, transformation, immortality, and healing.[7] The ouroboros is a symbol of eternity and continual renewal of life."

https://en.m.wikipedia.org/wiki/Serpent_(symbolism)

"Historically, serpents and snakes represent fertility or a creative life force. As snakes shed their skin through sloughing, they are symbols of rebirth, transformation, immortality, and healing.[7] The ouroboros is a symbol of eternity and continual renewal of life."

"In the Shadow of Young Girls in Flower is Proust’s spectacular dissection of male and female adolescence, charged with the narrator’s memories of Paris and the Normandy seaside. At the heart of the story lie his relationships with his grandmother and with the Swann family. As a meditation on different forms of love, In the Shadow of Young Girls in Flower has no equal. Here, Proust introduces some of his greatest comic inventions, from the magnificently dull M. de Norpois to the enchanting Robert de Saint-Loup. It is memorable as well for the first appearance of the two figures who for better or worse are to dominate the narrator’s life—the Baron de Charlus and the mysterious Albertine."

http://www.goodreads.com/book/show/28385.In_the_Shadow_of_Young_Girls_in_Flower

http://www.shmoop.com/great-gatsby/owl-eyed-man-symbol.html

http://www.shmoop.com/great-gatsby/gatsby-books-symbol.html

https://en.wikipedia.org/wiki/Word_Is_Out:_Stories_of_Some_of_Our_Lives

https://www.youtube.com/watch?v=AHMYSuUr_f8

Sunday Morning Related Poem Content Details BY WALLACE STEVENS

  I 

Complacencies of the peignoir, and late Coffee and oranges in a sunny chair, And the green freedom of a cockatoo Upon a rug mingle to dissipate The holy hush of ancient sacrifice. She dreams a little, and she feels the dark Encroachment of that old catastrophe, As a calm darkens among water-lights. The pungent oranges and bright, green wings Seem things in some procession of the dead, Winding across wide water, without sound. The day is like wide water, without sound, Stilled for the passing of her dreaming feet Over the seas, to silent Palestine, Dominion of the blood and sepulchre.

   II 

Why should she give her bounty to the dead? What is divinity if it can come Only in silent shadows and in dreams? Shall she not find in comforts of the sun, In pungent fruit and bright, green wings, or else In any balm or beauty of the earth, Things to be cherished like the thought of heaven? Divinity must live within herself: Passions of rain, or moods in falling snow; Grievings in loneliness, or unsubdued Elations when the forest blooms; gusty Emotions on wet roads on autumn nights; All pleasures and all pains, remembering The bough of summer and the winter branch. These are the measures destined for her soul.

   III 

Jove in the clouds had his inhuman birth. No mother suckled him, no sweet land gave Large-mannered motions to his mythy mind. He moved among us, as a muttering king, Magnificent, would move among his hinds, Until our blood, commingling, virginal, With heaven, brought such requital to desire The very hinds discerned it, in a star. Shall our blood fail? Or shall it come to be The blood of paradise? And shall the earth Seem all of paradise that we shall know? The sky will be much friendlier then than now, A part of labor and a part of pain, And next in glory to enduring love, Not this dividing and indifferent blue.

   IV 

She says, “I am content when wakened birds, Before they fly, test the reality Of misty fields, by their sweet questionings; But when the birds are gone, and their warm fields Return no more, where, then, is paradise?” There is not any haunt of prophecy, Nor any old chimera of the grave, Neither the golden underground, nor isle Melodious, where spirits gat them home, Nor visionary south, nor cloudy palm Remote on heaven’s hill, that has endured As April’s green endures; or will endure Like her remembrance of awakened birds, Or her desire for June and evening, tipped By the consummation of the swallow’s wings.

   V 

She says, “But in contentment I still feel The need of some imperishable bliss.” Death is the mother of beauty; hence from her, Alone, shall come fulfilment to our dreams And our desires. Although she strews the leaves Of sure obliteration on our paths, The path sick sorrow took, the many paths Where triumph rang its brassy phrase, or love Whispered a little out of tenderness, She makes the willow shiver in the sun For maidens who were wont to sit and gaze Upon the grass, relinquished to their feet. She causes boys to pile new plums and pears On disregarded plate. The maidens taste And stray impassioned in the littering leaves.

   VI 

Is there no change of death in paradise? Does ripe fruit never fall? Or do the boughs Hang always heavy in that perfect sky, Unchanging, yet so like our perishing earth, With rivers like our own that seek for seas They never find, the same receding shores That never touch with inarticulate pang? Why set the pear upon those river-banks Or spice the shores with odors of the plum? Alas, that they should wear our colors there, The silken weavings of our afternoons, And pick the strings of our insipid lutes! Death is the mother of beauty, mystical, Within whose burning bosom we devise Our earthly mothers waiting, sleeplessly.

   VII 

Supple and turbulent, a ring of men Shall chant in orgy on a summer morn Their boisterous devotion to the sun, Not as a god, but as a god might be, Naked among them, like a savage source. Their chant shall be a chant of paradise, Out of their blood, returning to the sky; And in their chant shall enter, voice by voice, The windy lake wherein their lord delights, The trees, like serafin, and echoing hills, That choir among themselves long afterward. They shall know well the heavenly fellowship Of men that perish and of summer morn. And whence they came and whither they shall go The dew upon their feet shall manifest.

   VIII 

She hears, upon that water without sound, A voice that cries, “The tomb in Palestine Is not the porch of spirits lingering. It is the grave of Jesus, where he lay.” We live in an old chaos of the sun, Or old dependency of day and night, Or island solitude, unsponsored, free, Of that wide water, inescapable. Deer walk upon our mountains, and the quail Whistle about us their spontaneous cries; Sweet berries ripen in the wilderness; And, in the isolation of the sky, At evening, casual flocks of pigeons make Ambiguous undulations as they sink, Downward to darkness, on extended wings.

This article was really difficult to get through!

powerful

this idea is very unamerican-- the idealistic american society absolutely champions the self-made man and the idea that if you dream something, you can achieve it. the repetition of the motif of fate and inevitability challenges this notion... since the novel critiques America and American life anyway, it makes sense. (we've been talking about the idea of fate v. destiny in my Moby Dick class with Captain Ahab and I can't help but see that same tension in this narrative)

probably one of my favorite chapters because of how complex it was

this was v. trippy to think about

a detail I didn't realize before

how awful is this concept?

This! Like I said in an earlier annotation, he's expected by his close peers to be human, but he has been transformed by his trauma and there's a barrier there that he can't overcome. I wish that we could get into his head more to see if he really is as physically, emotionally and mentally distant or if there are moments of humanity that linger in himself still.

one of my favorite quotes from understanding comics

creating a trauma narrative where the emotions and incidents were illustrating made the story more powerful. in a few of my other classes, we've talked about the power of silence, and that can't always be conveyed in traditional texts, which is why the comic is such a powerful medium... you can say everything through the image and not have to say a word.

I was just reading a little bit about trauma narratives for my Moby Dick class, and this certainly qualifies as one... but the ending is so abrupt that it feels like there's no healing, which is what makes some trauma narratives so compelling... even with Dan and Laurie and their new identities, everyone is still grieving and the trauma doesn't feel completely addressed after the mass murder of NYC

How awesome!

there he goes again using that phrase!

he keeps saying this phrase and i still don't really understand it...

interesting point about how the act of censoring donald's inappropriate language is a form of suturing... if i'm reading that correctly-- we see the control/editing of language when it's incorporated into the image

yeah, I guess it has to be noted that it's "a kind" of voyeurism, because it's typically in a sexual context and we don't really get those vibes in "vacation time"... or at least i didn't haha who knows

ah, I learned about this in visual rhetoric! but, it was in the context of studying music videos and it was part of a set that also included fetishism and narcissism

these are VERY special ducks

metaphoric function only works in this medium where images are "sutured" (cut) from certain scenes? does this also connect to the "Visual Narrative in 'Vacation Time'" article where Ault says that we trust Barks as the author/artist so we buy into his created world?

I think it's cool to consider the psychoanalytic effects of this medium, but i'm not 100% sure i'm following the oedipus complex/genitalia metaphor

is this saying that dimensional presence changes the meaning?

this idea of comics artists starting with a blank box and bringing the world in

so, is he saying that language (or text) needs to accompany these kinds of images? or that it's just a prime opportunity to pair words and images together when they're constructed in such a way?

like closure?

that's faster than the horse!

another caption

greedy monks!

this escalated very quickly

Oldbuck and the rival have been tossing her around like a sack of flour this entire time, too.

reference to the Arnold poem?? I haven't read it, but just looked it up

aha! he's back!

ha! of course he doesn't realize it as it's happening and has to retrace his steps.

those engaged monks just won't quit

LOL

again, so many fragments!

again, so dramatic hahaha

taking care of the dog, classic

omg so twisty

he looks so tough and sophisticated with his cello and eye patch

how romantic of him!

it's funny because it's all so dramatic!

I wish there was more context about who the rival is???

nice, a three hour long dance party

hahaha

ha, it sounds like he just woke up from a really long nap. I always feel like I'm dying of hunger when I wake up.

the writing one this panel is really only a caption to the picture-- it absolutely relies on the visual to explain what the dream is. the other text in the story so far could kind of stand alone, but this fragment makes the text totally reliant on the image.

so expressive with those facial expressions!

Here, is one of my hesitations. I don't have a lot of experience with this medium. I'm apprehensive about jumping into this medium without any background knowledge or previous exposure to this culture.

I'm in the education program and I'm interested in learning about how to incorporate these types of text into my future classroom because they can be much more accessible and engaging to students.