DHQ: Digital Humanities Quarterly: 2015

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href="/dhq/index/title.html"> Title</a></li><li><a href="/dhq/index/author.html"> Author</a></li></ul></div><img src="/dhq/common/images/lbarrev.png" style="margin-left : 7px;" alt=""/><div id="leftsideID"><b>ISSN 1938-4122</b><br/></div><div class="leftsidecontent"><h3>Announcements</h3><ul><li><a href="/dhq/news/news.html#peer_reviews">Call for Reviewers</a></li><li><a href="/dhq/submissions/index.html#logistics">Call for Submissions</a></li></ul></div><div class="leftsidecontent"><script type="text/javascript">addthis_pub = 'dhq';</script><a href="http://www.addthis.com/bookmark.php" onmouseover="return addthis_open(this, '', '[URL]', '[TITLE]')" onmouseout="addthis_close()" onclick="return addthis_sendto()"><img src="http://s9.addthis.com/button1-addthis.gif" width="125" height="16" alt="button1-addthis.gif"/></a><script type="text/javascript" src="http://s7.addthis.com/js/152/addthis_widget.js"></script></div></div><div id="mainContent"><div id="printSiteTitle">DHQ: Digital Humanities Quarterly</div><div id="toc"> <h1>2015 9.4</h1> <h2>Comics as Scholarship</h2> <div class="cluster"><h3>Editors: Roger Whitson and Anastasia Salter</h3></div> <div class="cluster"><h3>Front Matter</h3> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000210/000210.html">Introduction: Comics and the Digital Humanities</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Roger Todd Whitson, Washington State University; Anastasia Salter, University of Central Florida</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000210en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000210en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000210en"> This article reviews the difficulties of editing the “Comics as Scholarship” special issue by contextualizing the history of comics studies in English departments and the complexities of incorporating scholarly multimedia into the digital humanities. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Introduction%3A%20Comics%20and%20the%20Digital%20Humanities&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Whitson&rft.aufirst=Roger Todd&rft.au=Roger Todd%20Whitson&rft.au=Anastasia%20Salter"> </span></div> </div> <div class="cluster"><h3>Articles</h3> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000234/000234.html">Behind the Scenes of a Dissertation in Comics Form</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Nick Sousanis, University of Calgary</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000234en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000234en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000234en"> A behind the scenes look at the process and practice of the author's dissertation written and drawn entirely in comics form. Specifically, the commentary explores the thinking and sketches behind the opening part of the third chapter titled “The Shape of Our Thoughts,” which focuses on the interaction between image and text. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Behind%20the%20Scenes%20of%20a%20Dissertation%20in%20Comics%20Form&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Sousanis&rft.aufirst=Nick&rft.au=Nick%20Sousanis"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000230/000230.html">Is this Article a Comic?</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Jason Muir Helms, Texas Christian University</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000230en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000230en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000230en"> The article begins by asking why comics scholars should create comics as scholarship and traces possible answers through a variety of related fields: English, Rhetoric and Composition, Art, and Games. It then investigates the question of whether this article is itself a comic, by reviewing the history of the conversation about defining comics as an imitation of the Bayeux Tapestry. This tapestry section outlines the major camps, positions, and moves that comics scholars have made. The two major threads are the essentialist camp (with Kunzle, Eisner, McCloud, Harvey, Carrier, and Hayman and Pratt) and the constructivist camp (Meskin and Beaty). The section ends with Bart Beaty’s recent (2012) conceptualization of a comics world that does not need to define individual artifacts as being or not being comics. The article ends with a discussion of the importance of distinguishing definition from conceptualization. Building on Beaty’s conceptualization and Gilles Deleuze’s theory of the concept and critique of representation, it offers applications to the comics world. Finally, it returns to the question of whether or not this article is a comic. The answer (yes, and becoming something else), calls for further interventions throughout the comics world that don’t ask what comics are but what comics might become. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Is%20this%20Article%20a%20Comic%3F&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Helms&rft.aufirst=Jason Muir&rft.au=Jason Muir%20Helms"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000212/000212.html">Materiality Comics</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Aaron Jacob Kashtan, Miami University</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000212en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000212en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000212en"> Materiality Comics is a digital comic produced with a combination of Bitstrips and Comic Life. It argues and visually demonstrates that materiality is an important topic for comics scholars to consider, and that through creating essays in comics form, comics scholars can develop insights about materiality that are unavailable when analyzing comics by others. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Materiality%20Comics&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Kashtan&rft.aufirst=Aaron Jacob&rft.au=Aaron Jacob%20Kashtan"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000214/000214.html">Multimodal Authoring and Authority in Educational Comics: Introducing Derrida and Foucault for Beginners</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Aaron Scott Humphrey, University of Adelaide</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000214en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000214en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000214en"> Academic writing has generally been understood as operating primarily within the linguistic modality, with writing remediating the “voice” of an educator or lecturer. Comics, by contrast, are more explicitly multimodal and derive much of their meaning from visual, spatial and linguistic modalities. Because of their multimodality, educational comics challenge the conception of an authoritative author’s “voice,” as is typically found in traditional educational and academic writing. To examine how authorship and authority function in multimodal educational texts, this paper examines several books in the popular “For Beginners” and “Introducing” series of “graphic guides,” which use images, text, and comics to summarise the work of major philosophers – in this case Derrida and Foucault. The books chosen for this study are all collaborative efforts between writers, illustrators, and designers. In each book, the collaborations function differently, engendering different divisions of authorial labor and forging different constructions of multimodal relationships between image, text, and design. In order to more fully interrogate the ways that these educational comics combine multimodal modes of meaning, this paper itself takes the form of a comic, mimicking at times the books that it is examining. In this way, it serves as a self-reflexive critique of the idea that authorial voice is central to academic writing, and as an example of the challenges and opportunities presented by composing multimodal scholarship which eschews this conception of linguistic authorship. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Multimodal%20Authoring%20and%20Authority%20in%20Educational%20Comics%3A%20Introducing%20Derrida%20and%20Foucault%20for%20Beginners&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Humphrey&rft.aufirst=Aaron Scott&rft.au=Aaron Scott%20Humphrey"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000225/000225.html">Sequential Rhetoric: Using Freire and Quintilian to Teach Students to Read and Create Comics </a><div style="padding-left:1em; margin:0;text-indent:-1em;">Robert Dennis Watkins, Idaho State University; Tom Lindsley, Interaction Designer, Workiva</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000225en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000225en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000225en"> Our comic combines visual literacy, progymnasmata, and critical pedagogy to showcase a classroom study that used comics production to teach visual literacy. The comic first looks at comics criticism, visual rhetoric, and comics scholarship to set a base to build a methodology build in critical pedagogy and ancient rhetoric. Critical pedagogy’s tradition of inviting students to find meaning in the origin of ideas fits in with having students design and study a medium that’s often overlooked during their college experience. Such an approach echoes Freire’s ideas of using critical strategies as an effective model for change. Progymnasmata, and Quintilian’s work in general, allows students to approach the new medium of comics through reading and production through an ancient rhetorical practice that relies on a step-by-step process. Looking at Quintilian's pedagogy, we demonstrate a modern classroom study that uses progymnasmata to make the strange familiar while introducing visuality. The actual study is briefly discussed as well. This amalgamation of ancient rhetoric, comics studies, and critical pedagogy is the basis of the research behind this pieces’ goal of exploring comics as a multimodal means of composition. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Sequential%20Rhetoric%3A%20Using%20Freire%20and%20Quintilian%20to%20Teach%20Students%20to%20Read%20and%20Create%20Comics&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Watkins&rft.aufirst=Robert Dennis&rft.au=Robert Dennis%20Watkins&rft.au=Tom%20Lindsley"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000218/000218.html">Graphic Images of YHWH: Exploring and Exploding the Bounds of Sexual Objectification in Ezekiel 16</a><div style="padding-left:1em; margin:0;text-indent:-1em;">B.J. Parker, Baylor University</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000218en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000218en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000218en"> For nearly its entire textual life Ezekiel 16 has barely survived. Early Jewish communities were wary of including it in their canon of sacred texts because of the chapter’s explicit and disturbing imagery. Christian communities have likewise wrestled with the text by essentially barring it from communal worship (the text does not appear in any lectionary) as well as nearly bracketing it in scholarship (most, if not all, scholars see the text as a violent and gross misrepresentation of gender roles as well as one of the most exacerbating cases of divine violence. Kathryn Phisterer Darr’s work stands out as one of the few that allows the tension of the text to stand.). Despite all of these objections, however, the text remains in the canon. In this one chapter of the Book of Ezekiel, one finds themes of hope, love, despair, suffering, betrayal, grace, and abandonment — all foundational to the human experience. In addition to a colorful theological tapestry, one also finds a definitively historical text that is troubling to most contemporary readers. Theology, history, and contemporary reader combine to make the text and its message shocking at best and inaccessible at worst; this project proposes a solution by way of sequential art. Because the theological message of Ezekiel 16 is both wrapped up in the larger narratival context and presents itself through forceful and explicit imagery, exegeting the text via sequential art offers the reader a new medium for understanding the text. I propose a retelling of the story found in Ezekiel 16 that consciously creates space for the theological themes, historical realities, and contemporary cultural concerns all to be heard and to stand in tension with one another. Along with a sequential retelling of the story of Israel and YHWH, I will also annotate my work to provide historical, artistic and scholarly perspectives for the reader. I will first create the comic by traditional pencil and ink and then scan the images. The images can then appear in any form needed. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Graphic%20Images%20of%20YHWH%3A%20Exploring%20and%20Exploding%20the%20Bounds%20of%20Sexual%20Objectification%20in%20Ezekiel%2016&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Parker&rft.aufirst=B.J.&rft.au=B.J.%20Parker"> </span></div> </div> <h2>Reviews</h2> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/9/4/000220/000220.html">TypeWright: An Experiment in Participatory Curation</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Alan Bilansky, University of Illinois, Urbana-Champaign</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000220en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000220en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000220en"> TypeWright (housed on the website 18thConnect) is an experiment in participatory curation; it asks volunteers to make texts more findable, useable, and trustable. These contributions are not without rewards to the volunteer. TypeWright is part of some important trends in digitization, addressing two problems of digital texts: flawed optical character recognition (OCR) and the complicated terrain of intellectual property. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=TypeWright%3A%20An%20Experiment%20in%20Participatory%20Curation&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2015-12-23&rft.volume=009&rft.issue=4&rft.aulast=Bilansky&rft.aufirst=Alan&rft.au=Alan%20Bilansky"> </span></div> <h2><a href="/dhq/vol/9/4/bios.html">Author Biographies</a></h2></div><div id="footer"><div style="float:left; max-width:70%;"> URL: http://www.digitalhumanities.org/dhq/vol/9/4/index.html<br/> Comments: <a href="mailto:dhqinfo@digitalhumanities.org" class="footer">dhqinfo@digitalhumanities.org</a><br/> Published by: <a href="http://www.digitalhumanities.org" class="footer">The Alliance of Digital Humanities Organizations</a> and <a href="http://www.ach.org" class="footer">The Association for Computers and the Humanities</a><br/>Affiliated with: <a href="https://academic.oup.com/dsh">Digital Scholarship in the Humanities</a><br/> DHQ has been made possible in part by the <a href="https://www.neh.gov/">National Endowment for the Humanities</a>.<br/>Copyright © 2005 - <script type="text/javascript"> var currentDate = new Date(); document.write(currentDate.getFullYear());</script><br/><a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/"><img alt="Creative Commons License" style="border-width:0" src="https://i.creativecommons.org/l/by-nd/4.0/80x15.png"/></a><br/>Unless otherwise noted, the DHQ web site and all DHQ published content are published under a <a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/">Creative Commons Attribution-NoDerivatives 4.0 International License</a>. 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DHQ: Digital Humanities Quarterly: 2015