Illustrating Praxis: Comic Composition, Narrative Rhetoric, and Critical Multiliteracies. 6
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Contributor(s): Composition Studies.43(1): Spring 2015. pp. 75-104 5 6 [] |
Language: Unknown language code Summary language: Unknown language code Original language: Unknown language code Series: ; 46Edition: Description: Content type: text Media type: unmediated Carrier type: volumeISBN: ISSN: 2Other title: 6 []Uniform titles: | | Subject(s): -- 2 -- 0 -- -- | -- 2 -- 0 -- 6 -- | 2 0 -- | -- -- 20 -- | | -- -- Narrative Theory -- Reading. -- -- | -- -- -- 20 -- --Genre/Form: -- 2 -- Additional physical formats: DDC classification: | LOC classification: | | 2Other classification:| Item type | Current location | Home library | Collection | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|---|---|
| Book | PLM | PLM Periodicals Section | Periodicals | PE1404.C6256 (Browse shelf) | Available | PER 1701C |
ABSTRACT : Thus far, pedagogical discussions about comics in the college classroom have focused primarily on reading, with less attention paid to the complementary potential of composing comics. This essay advocates using narrative theory alongside comic studies to provide students and teachers with a flexible, transferable vocabulary compatible with literacy-focused pedagogies. For support, I draw upon the contributions of undergraduate students in an advanced composition course centered on graphic memoir, in which the combination of medium and genre provided a user-friendly but sophisticated environment for rhetorical experimentation and multimodal literacy development. Three core concepts-narrative gaps, narration, and focalization-are offered as helpful heuristics for rhetorical design; their application in two students' memoirs illustrate the insights and skills that can result from a theory-driven approach to comic composition. Ultimately, I suggest that such an approach holds significant potential for generating critical engagement, refining rhetorical consciousness, and fostering critical multiliteracies. 56
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