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Reading Autobiographical Comics: A Framework for Educational Settings

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Markus Oppolzer

This book updates reader-response criticism as the foundation of aesthetic reading in the classroom by bringing it in line with cognitive theories in literary studies and linguistics. With the help of Gilles Fauconnier and Mark Turner‘s conceptual integration theory, which shares a surprising number of correspondences with Wolfgang Iser‘s The Act of Reading, it is possible to flesh out the latter‘s model of narrative meaning-making. In turn, this allows for a consistent reader-response approach to the medium of comics and auto/biography as one of its dominant genres. The fragmentation of comics narratives, but also of human lives and identities, requires such a theory that can explain how different perspectives and experiences can be blended into an experiential whole.

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List of Illustrations

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List of Illustrations

Fig. 1: Blankets (360/4). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 2: Blankets (16). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 3: Blankets (54). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 4: Blankets (55). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 5: Blankets (51). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 6: Blankets (52). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 7: Blankets (12). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 8: Blankets (172). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 9: Blankets (246/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 10: Blankets (79/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 11: Blankets (88/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 12: Blankets (86/1–3). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 13: Blankets (116/1–3). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 14: Blankets (13/4). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 15: Blankets (19/4). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 16: Blankets (20/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 17: Blankets (53/2). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 18: Blankets (55/1). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

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Fig. 19: Blankets (183). © 2003 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 20: Fun Home (1). © 2006 by Alison Bechdel. Reprinted by permission of Houghton Mifflin Harcourt. All rights reserved.

Fig. 21: Fun Home (150). © 2006 by Alison Bechdel. Reprinted by permission of Houghton Mifflin Harcourt. All rights reserved.

Fig. 22: Stop Forgetting to Remember (back flap). © 2007 by Peter Kuper. Reprinted by permission of the author. All rights reserved.

Fig. 23: Perfect Example (n. p.). © 2005 by John Porcellino. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 24: Carnet de Voyage (22/2). © 2004 by Craig Thompson. Reprinted by permission of Drawn & Quarterly. All rights reserved.

Fig. 25: Seeds (34). © 2011 by Ross Mackintosh. Reprinted by permission of the author. All rights reserved.

Fig. 26: Seeds (28). © 2011 by Ross Mackintosh. Reprinted by permission of the author. All rights reserved.

Fig. 27: Clumsy (23). © 2006 by Jeffrey Brown. Reprinted by permission of Top Shelf Productions. All rights reserved.