Philip Nel > Courses > English 830: Comics and Graphic Novels (Fall 2009)
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This course offers an examination of the history and theory of sequential art -- what Scott McCloud has called "the invisible art." We'll read comics criticism and art criticism, comics, and graphic novels.
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Requirements: Papers | Response Papers | Book Review | Leading Class Discussion | Class Participation and Attendance | Message Board | Assignments
Class Participation and Attendance: Read everything, and come to class prepared to talk about what you have read. On the first day of discussion for each assignment, you must have finished the reading and be ready to discuss it. "The reading" is all the text assigned for that day. We make sense of literature by discussing it. For this reason, class participation will count for 20% of your final grade. Discussion will take place both in class and out of it, via the Message Board (explained below). I reserve the right to assign homework or in-class writing projects that are not listed on the syllabus.
Message Board: Post comments to the message board once a week (or more frequently, if you wish). An average posting should run one or two paragraphs in length. In other words, your postings do not need to be long, but they must be substantive -- long enough to convey clearly the problem you are taking up and your point of view, connecting your comment to others' comments, as appropriate. I will monitor these discussions and asses a grade (at the end of the semester) based on the thoughtfulness of your comments, their ability to foster discussion among your classmates, and their responsiveness to both our readings and to your classmates in comments on the message board. Though extra postings to the message board will not automatically replace participation in class discussions, regular contributions above and beyond your weekly posting can improve your class participation grade.
Access the message board via K-State On-Line.
Email: My email address is philnel@ksu.edu. Please use the subject line. Due to the increased volume of spam, messages without clear subject lines will be deleted unread. You can write with questions, send a thesis statement or outline for an essay, make an appointment to meet me in my office, or do anything else that could be handled with a quick exchange of messages. I check email several times daily, but I am not on-line at all times.
[W] = Web. [CP] = Class Pack. [R] = On Reserve (at Hale Library). [CSR] = A Comics Studies Reader, ed. Heer and Worcester
Note: "through" means "to the end of" (not "up to"). Page numbers refer to the editions assigned.
| August | R 27 | Introduction. Mark Newgarden and Paul Karasik, “How to Read Nancy” (1988) <www.laffpix.com/howtoreadnancy.pdf> [W]. |
| September | R 3 | Prose and comics. Scott McCloud, Understanding Comics (1993), Ch. 1. Paul Auster, City of Glass (1985). Karasik and Mazzucchelli, City of Glass: The Graphic Novel (1994). |
| R 10 | The vocabulary of comics. McCloud, Understanding Comics, Ch. 2. Art Spiegelman, Maus I (1986), Maus II (1991), and Funny Animals #1 [CP]. Hilary Chute, “History and Graphic Representation in Maus" [CSR]. | |
| R 17 | Some history (western). David Kunzle, “Rodolphe Töpffer’s Aesthetic Revolution” [CSR]. Robert C. Harvey, “How Comics Came to Be” [CSR]. Rodolphe Töpffer, Mr. Pencil (1831) [CP]. George Herriman, Krazy Kat [CP]. Charles Schulz, Peanuts [CP]. Readings 4-9 in the Class Pack (these are on Herriman and Schulz) [CP]. | |
| R 24 | What is an image? Mitchell, Iconology (1986), Introduction and Chapter 1. Concrete poetry & imagist poetry [CP]. Winsor McCay, Little Nemo [R]. Bill Watterson, The Calvin and Hobbes Tenth Anniversary Book (1995). | |
| October | R 1 | Superheroes and/as antiheroes. McCloud, Understanding Comics, Chapter 3. Wertham, excerpt from Seduction of the Innocent [CSR]. Peter Coogan, “The Definition of the Superhero” [CSR]. Moore and Gibbons, Watchmen (1987), first half. |
| R 8 | Watchmen, second half. Charles Hatfield, "Graphic Novel" [CP]. | |
| R 15 | Image and text. Mitchell, Iconology, Chapter 2. Mitchell, “Beyond Comparison” [CSR]. Thierry Groensteen, “The Impossible Definition” [CSR]. Brian Selznick, The Invention of Hugo Cabret (2007). | |
| R 22 | Space and time. McCloud, Chapter 4. Mitchell, Iconology, Chapter 4. Charles Hatfield, “An Art of Tensions” [CSR]. Gene Kannenberg Jr., “The Comics of Chris Ware” [CSR]. Chris Ware, Acme Novelty Library No. 18 (2007). | |
| R 29 | Some history (eastern); emotional range. McCloud, Chapters 5 & 6. Robert S. Petersen, “The Acoustics of Manga” [CSR]. Adam Kern, “Manga versus Kibyöshi” [CSR]. Tezuka, Dororo, Vol. 1 (1967-1968). Paper Abstract Due. | |
| November | R 5 | No class. (I'll be at ASA.) Work on your paper. |
| R 12 | Personal, Political. Bart Beaty, “Autobiography as Authenticity.” McCloud, Chapter 7. Alison Bechdel, Fun Home (2006). | |
| R 19 | Frank L. Cioffi, “Disturbing Comics” [CP]. Phoebe Gloeckner, The Diary of a Teenage Girl (1998). | |
| R 26 | Thanksgiving. NO CLASS | |
| December | R 3 | Journalism/photographic comics. Emmanuel Guibert and Didier Leferve's The Photographer: Into War-torn Afghanistan with Doctors Without Borders (2009). Paper Due. |
| R 10 | Modern Fables. Bill Willingham, et al., Fables: Legends in Exile (2002), Fables: Animal Farm (2003). Selected fairy tales [CP] |
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For his good suggestions, a hearty thank you to Prof. Charles Hatfield -- who knows far more about this subject than I. |