Diss1: Directions: please respond to the following questions and be sure to reply to the answers
from two classmates.
1. How does this comic challenge the conventional notion of the superhero as being virtually
flawless, impenetrable and a pioneer of good and upright society? Give specific examples from
the text (with pages if possible) to support your argument.
2. First, provide a definition for the term "protagonist." It must be a definition from outside of the
class lectures, so do some online research to find a source. Second, who is the true protagonist in
this story, Batman or Joker? Why do you believe the character you selected is the protagonist?
3. Provide WORKS CITED. This will include citation for The Killing Joke and for the source
you find that defines the term "protagonist."
Remember:
Posts should meet a minimum requirement of 250 words.
Please be sure that your posts are grammatically clean and your sentences are coherent.
Diss2: Directions: list a few literary elements present in The Killing Joke. Then choose one of
those literary elements and describe how it is employed or how it manifests in the text. For
example, you could identify a theme in the story, or you could discuss a metaphor you believe is
present in the text. You can also include literary elements/devices not mentioned in the
introductory lesson.
Since we have already covered protagonist/antagonist in the first discussion board, please avoid
using it here.
Finally, don't forget to include direct quotes if possible.
Reference specific incidents (using panel and page reference when possible)
Remember:
Posts should meet a minimum requirement of 250 words.
Please be sure that your posts are grammatically clean and your sentences are coherent.
Diss3: Directions: open a search engine and search the word "insanity, definition."
Copy/Paste a definition you find. (Don't forget to at least paste the link after the definition).
Now, tell us if Joker's behavior in The Killing Joke qualifies as insane according to your
definition.
Then, tell us if Batman's behavior in The Killing Joke qualifies as insane according to your
definition.
Give examples from the text.
Be careful: Many are predisposed to making their argument by referring to general traits of
Batman and Joker that they have noticed in films and cartoons. You must refer to specific
incidents (and quotes are even better!) from the text.
Even more troublesome is when students refer to specific incidents in the films, or to the wrong
commissioner. Remember: Bane, The Riddler, and all the other villains from the Batman films
are NOT in The Killing Joke.
Protip: acquiring and reading the book assigned for class will help.
Diss 4: Directions: Google search "Erikson's Stages of Psychosocial Development." Acquaint
yourself with the theory, then answer the following:
1. Which psychosocial stage of development do you believe Joker is at? Why?
2. What psychosocial stage of development do you believe Batman is at? Why?
You may review the Culminating Lesson in this week's folder for more on Erikson's stages and
conducting a psychological analysis of a literary work.
It should go without saying, but I'll say it anyway: refer to the text we read in class. You can't
conduct a basic literary analysis without referring specifically to the text.
Traditional western panel: square or
rectangular.
Sequenced from left to right, top to bottom
Non-traditional paneling: any paneling that
deviates from the standard rectangular panel.
Non-traditional sequencing: may move from
the outer perimeter to the inner page.
Eastern panel sequence: flows from right to
left, top to bottom
In comic books, each time a new panel is
introduced, time in the fictional environment
has transpired.
There are multiple factors which indicate how
much time has transpired between panels, two
of which are:
1. actions in each panel
2. colors
Actions in each panel:
Actions in each panel serve as a general
indication of how much time has transpired
between panels.
On page 4 of The Killing Joke, the card game
Joker plays with himself gives us a general
indication of how much time has passed.
Color can be used to indicate a transition from
the past to the present, or vice versa.
Page 7 of The Killing Joke serves as example.
Parallel paneling can also be used to indicate
shifts in time.
Parallel panels can also be used to indicate
geographical shifts as well, in the same way a
paragraph or a section break might do so in
fiction (page 6, The Killing Joke).
Non Sequitur: it does not follow
http://www.youtube.com/watch?v=Az8k0uzQ6sA
Non Sequitur paneling: when the progression
from one panel to the next makes little to no
sense, usually for comedic effect.
In graphic novels, more time transpires
between the panels of slow scenes.
Conversely, less time passes between scenes of
action. (page 14).
One technique used to move the comic forward
while time remains relatively static:
1. reverse POV: A sequence of panels in which
the same action occurs from multiple character
perspectives.
(page 14, The Killing Joke)
When a single image
is split by multiple
panels or borders.
The example featuring
the mountain is a
panoramic split
image.
In some cases, the split-image paneling will
focus on a background, and may act as an
establishing shot for a scene.
Other times, the split-image panel may focus
on a specific character, such as in Concrete (or
on page 29 of Eisner’s book)
A sequence of panels in which the image does
not change.
There are also tactics that allude to the passage
of time that can be employed in a single panel:
Effects: effects which imply movement, such as
the swooshing motion of one’s fist. (panel 5,
page 43, The Killing Joke).
These effects are wholly dependent of our
understanding of how long an action takes in
real time.
Consider panels 4 and 5 on page 14 relative to
panels 5-7 on page 43. Less time passes
between the panels on page 14 because we
know a gunshot moves faster than Batman’s
fist.
In fiction, authors generally write in short,
concise sentences during an action scene. This
speeds up the reading process, which is
supposed to draw the reader into the action.
In action scenes in fiction the pace at which one
reads generally matches the pace at which the
action occurs.
The same thing occurs in comics. In slower
scenes, the backgrounds may be very
overwhelming, filled with multiple colors and
images. (page 16 & 17, The Killing Joke)
This slows down the pace at which we absorb
the information.
In faster scenes, the backgrounds are sparse,
and sometimes disappear (this is a general
trend, not a mandatory rule) (pgs 14 & 43, The
Killing Joke)
This means we have less to absorb, and also
places emphasis on the action.
Critical Approaches
Critical Approaches
• Today you’ll get your first substantial look
at how critical approaches work. We will
discuss:
• Purpose
• Application
Purpose
• To focus research: For some, the basic
critical analysis can be overwhelming. We
always must narrow our focus. Don’t
think about approaches in the context of
quantity. Think quality. I’d rather see a
well-crafted paragraph analyzing a
character conflict than a shoddy
paragraph trying to crunch character, plot,
themes, symbols, etc.
Purpose Cont
• To enhance understanding: People choose
critical approaches that are relevant to their
lives. Most good literature can potentially be
relevant to everyone’s life. However, it is not
always apparent to the reader or the audience.
Purpose Cont
• Through the critical approaches literature
becomes more relevant to our life and our
interests. For example, reading
Shakespeare’s Othello might be boring,
but reading it in the context of feminist
criticism could make it more exciting,
more relevant to our lives.
How do critical lenses operate?
• Critical lenses are reminiscent of the
concept of “filters” in anthropology.
• Anyone familiar?
Operation
• According to anthropologists, everyone
has a personal filter, a particular way
that they view the world.
Operation Cont
• Likewise, each person is affected by a
cultural filter. As Americans we see
things differently than people in Iraq, for
example. Religion plays into it, tradition,
family values, etc.
Operation
• These filters also have the capacity to
influence the way we read and interpret
literature. This is one of the reasons
literature appeals to some while not
appealing to others. In order to fully
appreciate a text we must find relevance
to our own lives.
Operation
• So, initially, as a common reader of
literature, critical approaches will raise
your awareness about the relevance of
texts in contemporary culture, and will
broaden your appreciation of literature.
• As scholars, critical approaches will give
you the means to effectively narrowing
your topic focus
Rule of Thumb
• less is more
• If we get too broad, nothing meaningful is
extracted from the text.
• We must narrow our topic focus, and the
critical approaches give us ample material
to do so.
Rule of Thumb
• wide and shallow: if you skim the
surface of a lot, you are doing little more
than others.
• Narrow and deep: If you focus and go
into depth, you may cover some new
territory. See how deep you can go
before coming up for air.
Psychological Approach
• Today we’re going to talk about the
psychological approach, because it is
highly relevant to the Killing Joke.
Psychological Approach
• Quotation on following page is from X.J.
Kennedy and Dana Gioia's Literature: An
Introduction to Fiction, Poetry, and
Drama, Sixth Edition (New York:
HarperCollins, 1995), pages 1790-1818.
Psychological Approach
▪ Psychological Criticism: This
approach reflects the effect that
modern psychology has had upon
both literature and literary criticism.
Psychological Approach
• Fundamental figures in psychological
criticism include Sigmund Freud, whose
"psychoanalytic theories changed our
notions of human behavior by exploring
new or controversial areas like wishfulfillment, sexuality, the unconscious, and
repression" as well as expanding our
understanding of how "language and
symbols operate by demonstrating their
ability to reflect unconscious fears or
desires"
Application
• Now you have a better understanding of
what Psychological Criticism is. But how
do we apply it?
Application
– An investigation of "the creative
process of the artist: what is the
nature of literary genius and how does
it relate to normal mental functions?"
Application
• The psychological study of a particular
artist, usually noting how an author's
biographical circumstances affect or
influence their motivations and/or
behavior.
Application
• You’ll start to notice, and it will become
more apparent throughout the semester,
that many critical approaches bleed into
one another. For example, studying the
link between biography and an author’s
literature is considered the “biographical
approach.” Add psychological
terminology, and it becomes
“psychological.”
Application
– Another approach, the one we’ll
typically focus on, involves psychological
analysis of characters:
– The analysis of fictional characters using
the language and methods of
psychology.
Analysis of Fictional Characters
• For example, if you wanted to compose a
psychological analysis of Joker’s internal
conflict, you could use Freud’s theory of
“id, ego, superego.”
• Anyone familiar with Freud’s theory?
Internal Conflict
• Id: primitive urges
• Ego: mediator
• Superego: Conscience
Psychological Approach
• In many stories different characters
represent different aspects of the human
mind. For example, some posit that Joker
represents the ID, while Batman
represents the SUPEREGO. Finally,
Commissioner Gordon might represent
EGO.
Psychological Approach Cont
Look up Erikson’s 8 stages of development.
Character development, especially in coming
of age stories, often parallels Erikson’s 8
stages.
Application
• Each stage is characterized by a conflict.
Shame vs. Autonomy, Guilt vs. initiative,
etc.
• If the individual cannot resolve their issues
they get stuck at a certain level of
development.
Application
• For example, stage two is Autonomy vs.
Shame/Doubt.
• Perhaps you believe Joker does not
believe in Autonomy, and is filled with
shame and doubt. Therefore, Joker is
stuck at stage two.
Application
• Look up Erikson’s 8 stages of
development. Identify where you think
Joker or Batman is on the scale.
There are three elements of imagery used to
communicate messages to the reader in graphic
novels:
1. drawing (pencil)
2. Ink (color)
3. lettering
Drawing: the pencil artist uses drawings to tell
the story on its most basic level. They:
1. render the characters
2. reveal character emotion
3. establish the setting
Ink artists:
1. establish the tone
2. can establish timeframe (think “The Killing
Joke”)
Letterers:
1. represent the sound of voices by utilizing
different fonts.
2. place emphasis on terms of significance
(which can contribute to foreshadowing).
3. hate their jobs ☺
The artist and author (if separate entities)
collaborate to create the paneling techniques,
the most important of which are
1. montage
2. parallel paneling
3. splash pages
4. single-image panel break
Montage: a sequence of images, sometimes
seemingly unrelated at first glance, that
communicates a deeper message.
http://www.youtube.com/watch?v=x0QAjpe
osgU
Parallel Paneling: (a form of montage) a
sequence of two panels which look the same,
i.e. shapes take up the same amount of space or
shapes are doing the same thing in both panels.
Usually employed to indicate a shift in space or
time.
Splash page: a full-page or two-page image.
Single-Image Panel Break: may use any
number of panels to break an individual image
up. Could be used to indicate a rift between
characters (Concrete’s “Think Like a
Mountain”) or to fragment action across a
given terrain.
Images and words have a unique dynamic in
comic books.
1. Words frame the images and limit the
interpretation to certain parameters.
2. Likewise, images can limit the interpretation
of words.
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