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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