LIT 6216: Comics and ImageText

Syllabus for Comics & Image-Text (new version 2024)

LIT 6216: Comics and ImageText

  • Instructor: Dr. Anastasia Salter
  • Email: anastasia@ucf.edu
  • Office: Zoom

Contents

Course Description

In this seminar, we will explore the contemporary comic, considering literary and cultural works across a range of platforms and markets. As we survey works by influential artists and authors including Ta-Nehisi Coates, Gilbert Hernandez, Jeff Lemire, George Takei, and Gene Luen Yang, we will consider the influence of changing technologies and distribution mechanisms on our understanding of “comics” and image-text more broadly. Topics under examination include:

  • Newspaper one-panel and “daily” strips
  • Experimental graphic novels
  • Comic as memoir / Autobiographical comics
  • Literary influences on mainstream superhero comics
  • Representation and cultural reception of comics
  • Experimental webcomics and zines
  • Motion comics and interactive work

Through our attention will be primarily focused on the recent state of comics and comic studies as a field, lectures and discussions will draw in historical perspectives on each form, as well as the shifting impact of cultural discourse and conflict on how comics are perceived. Assignments include weekly discussions with shared close readings; comic annotation; and an iterative conference-length or short journal research paper. Venues recommended for the paper include graduate-student friendly journals such as The Comics Grid; ImageText: Interdisciplinary Comic Studies; Transformative Works and Cultures; and relevant conferences.

Each week, plan on following following instructions in online modules regarding readings and online exercises. Each module will be divided into three sections:

  • Weekly readings. Complete this combination of primary and secondary texts prior to engaging with the rest of the module. The full schedule of required readings is listed in the syllabus: additional recommended readings will be provided in each module.
  • Analysis. A combination of prerecorded lectures, recommended readings and viewings, and annotations from the instructor for reflection.
  • Discussion. A weekly discussion will focus on progress towards the course paper, with opportunities to share and reflect upon the works with your peers. Discussions are required, and will be graded on completion.

Course Objectives

  • Develop an understanding of comics as a form, including the terminology and theoretical frameworks necessary to discuss image-texts broadly
  • Explore the influence of comics on culture through both popular icons and independent, literary works
  • Analyze comics and graphic novels through an intersectional lens, situating them as a site of cultural conflict and identity discourse
  • Situate arguments in the history of comic studies, and draw parallels to other literary forms and theories
  • Critique emerging and experimental works in the context of changing platforms and technologies impacting creation, distribution, and reception of image-text

Materials and Texts

While students are welcome to purchase the individual books, all primary texts will be available through Comixology Unlimited, a service with a free one-month trial ($6 monthly after) that is significantly cheaper than the purchase price of the course texts. Additional texts will be available as PDFs.

  • Coates, Ta-Nehisi, et al. Black Panther: A Nation Under Our Feet, Vol. 1, Marvel, 2016.
  • Takei, George. They Called Us Enemy, Random House, 2020.
  • Lemire, Jeff. Sweet Tooth: Out of the Deep Woods Vol. 1, Vertigo, 2010.
  • Kobabe, Maia. Gender Queer, Lion Forge Comics, 2019.
  • Campbell, Eddie. The Second Fake Death of Eddie Campbell & The Fate of the Artist, Top Shelf Productions, 2023.
  • Morrison, Grant, et al. All-Star Superman, DC Black Label, 2018.
  • Kinney, Jeff. Diary of a Wimpy Kid, Vol. 1, Amulet Books, 2007.
  • Shulz, Charles. The Complete Peanuts Vol 1: 1950-1952, Fantagraphics, 2004.
  • Hernandez, Gilbert, and Brian Evenson. Julio’s Day. Fantagraphics, 2013.
  • Jason. Tell Me Something. Fantagraphics, 2004.
  • Karasik, Paul, et al. How to Read Nancy: The Elements of Comics in Three Easy Panels. Illustrated edition, Fantagraphics, 2017.
  • Satrapi, Marjane. Embroideries, Pantheon Graphic Library, 2006.
  • Wilson, G. Willow, et al. Ms. Marvel, Vol. 1: No Normal, Marvel, 2014.
  • Yang, Gene Luen. American Born Chinese, First Second, 2021.

Supplementary recommended readings are included in each module to guide work towards the final research paper, while providing additional entry points into each form and genre under examination. Recommended primary texts will take advantage of the “Unlimited” offerings in Comixology. Not all works need to be read in their completion (guidance and suggestions will be offered in the modules), but as graphic novels are generally short, we will typically look at one to two primary texts a week alongside supplemental secondary readings.

Evaluation and Grading

Points Assignment Summary Due Date
5 Activity Verification - Complete the brief survey posted on Webcourses as soon as possible to confirm your enrollment in the course. As this is required by the university, please attend to it as soon as possible at the start of classes. Friday, May 17th
40 Discussions - Weekly discussions will consist of sharing preliminary readings and arguments, as well as progress towards the final paper. Students are encouraged to use screenshots from the works under discussion, and models will be provided for annotating and engaging through these visuals. Weekly
10 Comics Annotation - Using the methodology of How to Read Nancy, annotate a section of the work chosen for final analysis. Students are encouraged to use graphics programs to break down the panels and components, and draw attention to details of symbolism, design, and structure in the chosen sequence. A 2-page spread is recommended. Sunday, June 9th
10 Literature Review - Following the selection of a text or text(s) for the final project, students will develop a literature review to become familiar with the discussion of the work or its genre. Plan to gather at least five additional scholarly sources, and two journalistic or fan sources, to complete a literature review for the final analysis paper. Students are encouraged to use Zotero to manage their works cited efficiently. Sunday, June 23rd
25 Paper Draft - An approximately 3,500 to 5,000 word draft of a final paper targeting a single graphic novel or comic, chosen in consulation with the professor, and building from the annotation and literature review. Students should follow the formatting guidelines of their chosen venue, or default to MLA requirements if targeting a conference without specific format requirements. This draft should be coherent and complete, and will serve as the foundation for instructor feedback to guide revision planning. Sunday, July 21st
10 Revision Plan and Reflection - Afer receiving feedback, students will complete a revision plan and reflection, speaking to plans for future work and the student’s goals in targeting their revised work to a specific venue or purpose. Revision plans and reflections should be between 500 and 750 words. Friday, August 2nd

Students can access their grades and feedback at any time using the Grade Book function of Webcourses. All assignments will be submitted through Webcourses. Plan on checking the site at least twice a week for updates and assignment information. Grades are calculated out of 100 following a standard letter scale.

Late work is accepted without penalty through one week after the assignment deadline. If circumstances require extension beyond that deadline, please reach out to the instructor immediately. As assignments throughout the course are designed to build on the previous exercise, assignments must be completed in sequence.

There is no extra credit work available in this class. Grades will be available through Webcourses and updated weekly.

Asynchronous Course Structure

This course uses an asynchronous format, and relies upon students to complete all readings, engage with both pre-recorded and external videos, and join in on course discussions. All assignments are due on Sunday night at the close of their listed module, but will be accepted with no penalty through the next listed deadline except the draft and final paper, due to the schedule of the summer semester. Once an assignment closes, late work will not be accepted unless an additional extension has already been approved by the instructor: please reach out early if circumstances will require additional time!

  • Office hour assistance is available both through text on Webcourses messages and via Zoom: Zoom is recommended for advanced technical problems, where screen-sharing might be helpful to resolving errors.
  • All course materials are asynchronous, using a mix of video and text as appropriate.
  • Students will need access to a reliable internet connection and computer, chromebook, or tablet in order to participate in the course.
  • In the event of an emergency or medical challenge, additional flexibility beyond the grading guidelines is available: when anticipated, students should reach out to the instructor as soon as feasible to form a plan or discuss an incomplete if needed.

Weekly Schedule

Week One: “Kid Stuff” (Opens Monday, May 13)

We open with an exemplar of a classic “all-ages” comics: Peanuts, a still-iconic newspaper daily comic. Using it alongside current and past Nancy and the Diary of a Wimpy Kid series, we will discuss the history of the children’s comic, and consider how the “daily newspaper” strips and ephemeral, disposable, comic books influenced early reception of the form.

  • How to Read Nancy: Strip, Script
  • Kinney, Jeff. Diary of a Wimpy Kid, Vol. 1, Amulet Books, 2007.
  • Shulz, Charles. The Complete Peanuts Vol 1: 1950-1952, Fantagraphics, 2004. (Read pages 1-50)
  • Hatfield, Charles. “Comic Art, Children’s Literature, and the New Comic Studies.” The Lion and the Unicorn, vol. 30, no. 3, Johns Hopkins University Press, 2006, pp. 360–82.
  • Due: Activity Verification (Friday, May 19th)

Week Two: Pictures (Opens Monday, May 20)

In week two, we use a wordless comic by Norwegian cartoonist Jason, Tell Me Something: through considering his sparse minimalism, we can think through the role of visual expression in image-text. We place Jason’s work in the context of other wordless, or limited text, pieces, including picture books that serve a dual audience as a bridge towards literacy.

  • How to Read Nancy: Cast
  • Jason. Tell Me Something. Fantagraphics, 2004.
  • Nikolajeva, Maria, and Carole Scott. “The Dynamics of Picturebook Communication.” Children’s Literature in Education, vol. 31, no. 4, 2000, pp. 225–39.

Week Three: Words (Opens Monday, May 27)

As we move towards contemporary comics, we consider how borders are defined based on texts and their placements: using Eddie Campbell’s work as a starting point, we contextualize the ways that image-text relationships are ever-changing, and focus in on the role of words as both aesthetic and literary.

Week Four: Time (Opens Monday, June 3)

Considering the challenges and opportunities of closure, we move to exploring the space between panels, and the potential for play and experimentation with time. Using the century-spanning Julio’s Day as a starting point, we consider how comics relates to more linearly time-driven media.

  • How to Read Nancy: Production, Staging
  • Hernandez, Gilbert, and Brian Evenson. Julio’s Day. Fantagraphics, 2013.
  • Souza, Marcelo Mendes de. “Comic-Chronotope in Julio’s Day: Gilbert Hernandez’s Explorations of the Form-Shaping Ideologies of the Medium.” Journal of Graphic Novels and Comics, vol. 8, no. 4, Routledge, July 2017, pp. 359–75.
  • Due: Comics Annotation (Sunday, June 9th)

Week Five: Memory (Opens Monday, June 10)

As we move from time to our hazy recollections, we explore the comic as a space for memoir, considering both the nature of self-representation and the intentional use of layers of the real and the abstracted. By considering both more traditional comics and web-based work, we can consider the role that changing platforms play in comics as a site of memory.

  • How to Read Nancy: Performance
  • Takei, George. They Called Us Enemy, Random House, 2020.
  • Brosh, Allie. “The God of Cake.” Hyperbole and a Half. 2010.
  • Quesenberry, Krista. “Intersectional and Non-Human Self-Representation in Women’s Autobiographical Comics.” Journal of Graphic Novels and Comics, vol. 8, no. 5, Routledge, Sept. 2017, pp. 417–32.

Week Six: Body (Opens Monday, June 17)

Continuing to consider the body and its contested representation in image-text, we move to contested works, examining the frequently-banned graphic novel Gender Queer. We will explore the history of feminist and queer graphic art, and its role in reshaping both indie and mainstream comics.

  • How to Read Nancy: Eye, Hand
  • Kobabe, Maia. Gender Queer, Lion Forge Comics, 2019.
  • Mok, Annie. The Personal Politics of “Passing.” 2019.
  • Chute, Hillary. “Feminist Graphic Art.” Feminist Studies, vol. 44, no. 1, Feminist Studies, Inc., 2018, pp. 153–70. JSTOR, doi:10.15767/feministstudies.44.1.0153.
  • Due: Literature Review (Sunday, June 23rd)

Week Seven: Self (Opens Monday, June 24)

Continuing with the exploration of comics as a mediation on memory and culture, we turn to Marjane Satrapi’s Embroideries. By placing her famous work alongside other web and indie comics artists, we explore the current role of image-text in exploration of the self.

Week Eight: Adaptation (Opens Monday, July 1)

Building on our discussions of platforms, we look to several works outside of the mainstream superhero genre that have recently been made into series adaptations: Jeff Lemire’s Sweet Tooth and Gene Luen Yang’s American Born Chinese.

Week Nine: Heroes (Opens Monday, July 8)

Drawing on the ongoing threads of “indie” interventions pushing change in mainstream comics spaces, we move to the big two of comics (DC and Marvel), and consider critical changes in race, identity, and the superhero. While we will be attentive to the impact of such work on transmedia cultural franchises, and their corresponding influence on culture, we focus on the books that represent key sites of cultural change and tensions.

  • Wilson, G. Willow, et al. Ms. Marvel, Vol. 1: No Normal. Marvel, 2014.
  • Morrison, Grant, et al. All-Star Superman, DC Black Label, 2018.
  • Kent, Miriam. “Unveiling Marvels: Ms. Marvel and the Reception of the New Muslim Superheroine.” Feminist Media Studies, vol. 15, no. 3, Routledge, May 2015, pp. 522–27. Taylor and Francis+NEJM, doi:10.1080/14680777.2015.1031964.

Week Ten: Futures (Opens Monday, July 15)

As we draw towards the close the semester, we turn towards the future of superhero comics, considering the significant influence of Afrofuturism on the current graphical and literary imagination of image-text. Does such work suggest an anti-racist, queer, and feminist move within the mainstream of comics, shifting the margins towards the center?

  • Coates, Ta-Nehisi, et al. Black Panther: A Nation Under Our Feet, Vol. 1.. Marvel, 2016.
  • carrington, andré. “Desiring Blackness: A Queer Orientation to Marvel’s Black Panther, 1998–2016.” American Literature, vol. 90, no. 2, June 2018, pp. 221–50. Silverchair, doi:10.1215/00029831-4564286.
  • Chambliss, Julian C. “The Evolution of the Idea.” Science Fiction Film and Television, vol. 12, no. 3, Liverpool University Press, 2019, pp. 373–80.
  • Due: Paper Draft (Sunday, July 21st)

Week Eleven: Platforms (Opens Monday, July 22)

Continuing our theme of comics-futures, we turn towards the role of technology in changing the form and function of the “comic”: from the square multi-paneled posts of Instagram, to the animated gif comics of Tumblr, to the motion comics popularized by larger publishers, how will technology continue to redefine the image-text and its limits?

  • Carroll, Emily. The Worthington. 2018.
  • Explore Webtoons
  • Gillman, Melanie. As the Crow Flies. Iron Circus Comics, 2017.
  • LaPensée, Elizabeth et al. When Rivers Were Trails. 2019.
  • Close, Samantha. “The Absent Presence of Gender in Webcomics.” Feminist Media Studies, vol. 15, no. 3, May 2015, pp. 533–38. DOI.org (Crossref), doi:10.1080/14680777.2015.1031969.
  • Resha, Adrienne. “The Blue Age of Comic Books.” Inks: The Journal of the Comics Studies Society, vol. 4, no. 1, The Ohio State University Press, 2020, pp. 66–81. Project MUSE, doi:10.1353/ink.2020.0003.

Week Twelve: Revision Plan and Reflection (Submit by Friday, August 2nd)

All work (including extensions granted throughout the semester) is due by the close of classes on Saturday, August 7th. Any work submitted after that time must be part of an approved incomplete.

  • Due: Revision Plan and Reflection! Class ends Friday, August 2nd!

General Policies

Academic Integrity

The Center for Academic Integrity (CAI) defines academic integrity as a commitment, even in the face of adversity, to five fundamental values: honesty, trust, fairness, respect, and responsibility. From these values flow principles of behavior that enable academic communities to translate ideals into action.

UCF Creed: Integrity, scholarship, community, creativity, and excellence are the core values that guide our conduct, performance, and decisions.

  1. Integrity: I will practice and defend academic and personal honesty.
  2. Scholarship: I will cherish and honor learning as a fundamental purpose of my membership in the UCF community.
  3. Community: I will promote an open and supportive campus environment by respecting the rights and contributions of every individual.
  4. Creativity: I will use my talents to enrich the human experience.
  5. Excellence: I will strive toward the highest standards of performance in any endeavor I undertake.

Students should familiarize themselves with UCF’s Rules of Conduct. According to Section 1, “Academic Misconduct,” students are prohibited from engaging in

  1. Unauthorized assistance: Using or attempting to use unauthorized materials, information or study aids in any academic exercise unless specifically authorized by the instructor of record. The unauthorized possession of examination or course-related material also constitutes cheating.
  2. Communication to another through written, visual, electronic, or oral means: The presentation of material which has not been studied or learned, but rather was obtained through someone else’s efforts and used as part of an examination, course assignment, or project.
  3. Commercial Use of Academic Material: Selling of course material to another person, student, and/or uploading course material to a third-party vendor without authorization or without the express written permission of the university and the instructor. Course materials include but are not limited to class notes, Instructor’s PowerPoints, course syllabi, tests, quizzes, labs, instruction sheets, homework, study guides, handouts, etc.
  4. Falsifying or misrepresenting the student’s own academic work.
  5. Plagiarism: Using or appropriating another’s work without any indication of the source, thereby attempting to convey the impression that such work is the student’s own.
  6. Multiple Submissions: Submitting the same academic work for credit more than once without the express written permission of the instructor.
  7. Helping another violate academic behavior standards.
  8. Soliciting assistance with academic coursework and/or degree requirements.

Responses to Academic Dishonesty, Plagiarism, or Cheating

Students should also familiarize themselves with the procedures for academic misconduct in UCF’s student handbook, The Golden Rule. UCF faculty members have a responsibility for students’ education and the value of a UCF degree, and so seek to prevent unethical behavior and respond to academic misconduct when necessary. Penalties for violating rules, policies, and instructions within this course can range from a zero on the exercise to an “F” letter grade in the course. In addition, an Academic Misconduct report could be filed with the Office of Student Conduct, which could lead to disciplinary warning, disciplinary probation, or deferred suspension or separation from the University through suspension, dismissal, or expulsion with the addition of a “Z” designation on one’s transcript.

Course Accessibility Statement

This course is built with universal design for learning principles in mind: if you encounter challenges with any of the course materials, assignments, platforms, or requirements, please reach out for assistance, and know that additional support is always available regardles of documentation.

Additionally, the University of Central Florida is committed to providing access and inclusion for all persons with disabilities. Students with disabilities who need access to course content due to course design limitations should contact the professor as soon as possible. Students should also connect with Student Accessibility Services (SAS) (Ferrell Commons 185, sas@ucf.edu, phone 407-823-2371). For students connected with SAS, a Course Accessibility Letter may be created and sent to professors, which informs faculty of potential course access and accommodations that might be necessary and reasonable. Determining reasonable access and accommodations requires consideration of the course design, course learning objectives and the individual academic and course barriers experienced by the student. Further conversation with SAS, faculty and the student may be warranted to ensure an accessible course experience.

Campus Safety Statement

Emergencies on campus are rare, but if one should arise during class, everyone needs to work together. Students should be aware of their surroundings and familiar with some basic safety and security concepts.

  • In case of an emergency, dial 911 for assistance.
  • Every UCF classroom contains an emergency procedure guide posted on a wall near the door. Students should make a note of the guide’s physical location and review the online version.
  • Students should know the evacuation routes from each of their classrooms and have a plan for finding safety in case of an emergency.
  • If there is a medical emergency during class, students may need to access a first-aid kit or AED (Automated External Defibrillator). To learn where those are located, see locations.
  • To stay informed about emergency situations, students can sign up to receive UCF text alerts by going to MyUCF and logging in. Click on “Student Self Service” located on the left side of the screen in the toolbar, scroll down to the blue “Personal Information” heading on the Student Center screen, click on “UCF Alert”, fill out the information, including e-mail address, cell phone number, and cell phone provider, click “Apply” to save the changes, and then click “OK.”
  • Students with special needs related to emergency situations should speak with their instructors outside of class.
  • To learn about how to manage an active-shooter situation on campus or elsewhere, consider viewing this video.

Deployed Active Duty Military Students

Students who are deployed active duty military and/or National Guard personnel and require accommodation should contact their instructors as soon as possible after the semester begins and/or after they receive notification of deployment to make related arrangements.

Make-Up Assignments for Authorized University Events or Co-curricular Activities

Students who represent the university in an authorized event or activity (for example, student-athletes) and who are unable to meet a course deadline due to a conflict with that event must provide the instructor with documentation in advance to arrange a make-up. No penalty will be applied. For more information, see the UCF policy.

Religious Observances

Students must notify their instructor in advance if they intend to miss class for a religious observance. For more information, see the UCF policy.

Title IX Policy

Title IX prohibits sex discrimination, including sexual misconduct, sexual violence, sexual harassment, and retaliation. If you or someone you know has been harassed or assaulted, you can find resources available to support the victim, including confidential resources and information concerning reporting options at Let’s Be Clear and CARES.