C R I B B L I N G S
you steal from one author, it's plagiarism; if you steal from many, it's
Wilson Mizner, 1876-1933, American Author
This essay appeared in the Interdisciplinary Humanities Journal, Spring, 2012 and is available through EBSCO databases, including Academic Search Premier.
by Doré Ripley, ©2012-2023
WRITING, or what was once called remediation, is filled with college students
who are uncomfortable with texts. They don't want to read them and they
don't want to write them because they haven't been successful with the
written word. When students arrive to class with a graphic novel in hand,
they think, "This class is going to be easy." And that is my goal. If
students believe intensive reading and writing is going to be fairly painless,
they will relax long enough to think critically about what is going on
in the comic panels. Instead of parroting back written text, they'll have
to interpret the panels and add to the conversation already taking place
within the pages of a graphic novel. But readers of comics must not only
peruse speech bubbles, they must also decode images, creating a rich interpretative
source in a textually deficient medium. Students must dig deep for responsive
ideas and they must become comfortable interpreting the visual/textual
blend presented on the comic's page, the twentieth century precursor of
twenty-first century mediums where visuals are dominant, a medium that
can be interpreted and analyzed like any other text.
WANT TO READ MORE? Go to an EBSCO database such as Academic Search Premier for the full article.